#GDT Blog

[tinmanscarecrow]

My Intro :P

Hey gang, I'm Kyle. I also go by P★LIN online.

My pronouns are He/Him. I'm Bisexual.

I'm Australian!

John Tartaglia's #1 fan :P

Some of my other socials are: Tiktok: palindromexreal AO3: palindromesarentreal YouTube: Kyle-6969

Insta: palindromesarentreal

Discord: kyleiskoool

Twitter/X: pinHOEcchio

Fandoms I'm in: - Musicals/ Theatre   • Avenue Q   • Heathers   • 25th Annual Putnam County Spelling Bee   • Mean Girls   • Little Shop of Horrors   • Be More Chill   • Literally any and every musical: I will enjoy it - Pinocchio (Shrek/ GDT/ 1978/ Carlo Collodi... etc) - The Pals (DenisDaily/ SketchYT/ AlexCrafted/ SubZeroExtaByte / CorlHorl) - Flamingo + Friends (Kaden/ Jayingee/ Temprist...etc) - Commentary Youtube (Icebergs/ Danny Gonzalez/ Drew Gooden/ Kurtis Conner/ FunkyFrogBait/ Jarvis Johnson... etc) - Minecraft (Game and Youtubers) - Don't Hug Me I'm Scared - Rick and Morty - Spooky Month - South Park - Camp Camp - Fairly Odd Parents (Og + New wish) - Moral Orel - Lego Movie

-Peanuts/Dog Sees God + Probably many more!

I mostly do art and rambles :0

Irl I've done atleast 15 theatre productions as of June 2025 and I sing and act.

I love love love interacting with people! I don't usually reblog but I comment all the time! :D

Everything in my blog should be labeled with:

kylepxr art kylepxr yap kylepxr ideas kylepxr reblogs kylepxr sings

I'll probs come up with more as well so yah.

Enjoy my stupid blog!

[master-wwweb]

Guía de Informática -Grado 10

Hola chicos, subo la con la información de la clase.

Fecha: marzo 18 de 2024

Tema:

Reto Integrador: 1.        Evidenciar una página web interactiva y temática con contenido multimedia (según las indicaciones dadas previamente en sala)

2.           Crear una campaña sobre “Las Herramientas TIC y su importancia” infórmese y elabore la actividad en su página

Entrega: ____10 de ___ abril de 2024 (cualquier duda, consultar con su docente a tiempo, no el día que debe entregar)

Reto: Escoja uno de los siguientes sitios para elaborar su sitio web

•

     WIX

•    BLOGSPOT O BLOGGER

•    TUMBLR

•    WEBNODE

•    WEEBLY

•    WORDPRESS

•    MÉDIUM

•    OTROS

Si ya tiene uno, súbale contenido temático (temático significa que sea netamente académico enfocado a TECNOLOGIA E INFORMATICA).  

En su blog deben ir apareciendo semana a semana sus informes sobre la evidencia final

-Videos de la elaboración de su evidencia final (mientras realizan la actividad usted puede grabar y/o tomar fotos para ir evidenciando su proceso.

Nota: Cualquier duda, inquietud comunicármela a tiempo.  Quedo pendiente    

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

-Programas operativos y aplicativos

Desde la perspectiva de la informática, un programa de aplicación consiste en una clase de software que se diseña con el fin de que para el usuario sea más sencilla la realización de un determinado trabajo. Esta particularidad lo distingue del resto de los programas, entre los cuales se pueden citar a los sistemas operativos.

-Los sistemas operativos son los que permiten el funcionamiento de la computadora, existen varios, tales como (Microsoft Windows - Mac OS X - GNU/Linux – UNIX – Solaris – FreeBSD - OpenBSD: Sistema operativo libre, - Google Chrome OS - Debian – Ubuntu – Mandriva – Sabayon – Fedora - Linpus Linux - Haiku (BeOS)

- Lenguajes de programación (aquellos que dan las herramientas necesarias para desarrollar los programas informáticos en general) y las utilidades (pensadas para realizar acciones de mantenimiento y tareas generales). Tales como (Java - C.- Python.- C++ - C# - Visual Basic. - JavaScript. – Php – Swift – SQL

El software es el elemento intangible y lógico que forma parte de una computadora. Es decir (Los programas se presentan como herramientas para mejorar tu desempeño. Algunos ejemplos de estos programas o aplicaciones son los procesadores de texto, como Microsoft Word; las hojas de cálculo, como Excel; y las bases de datos, como Microsoft Access.)

El hardware, en cambio, es el componente material y físico. Se dice que los sistemas operativos constituyen el lazo que une al software con el hardware.

En ocasiones, los programas de aplicación son diseñados a medida, es decir, según las necesidades y pretensiones de cada usuario. Por eso, el software permite resolver dificultades específicas. En otros casos, se trata de paquetes integrados que solucionan problemas generales e incluyen múltiples aplicaciones. Por ejemplo, un paquete de oficina combina aplicaciones como procesadores de textos y hojas de cálculo.

10. Herramientas para crear maquetas de interfaz de usuario en aplicaciones de software

Balsamiq Mockups. Balsamiq Mockups es una aplicación es muy divertida y sencilla de usar.

Mockingbird.

Mockup Builder.

MockFlow.

HotGloo.

Invision.

JustProto.

Proto.io.

Framer

Origami Studios

InVision

Reto  autónomo: Elabore una presentación en PowerPoint o video explicativo, sobre los programas operativos y aplicativos para el manejo de registros, textos, diagramas, figuras, planos constructivos, maquetas, modelos y prototipos con herramientas informáticas.

INFORME FINAL

El docente explica a sus estudiantes como elaborar su informe final, con enlaces directos a las actividades solicitadas durante el periodo.

Nota: También dejo la guía para descarga

[dweemeister]

2023 Movie Odyssey Award for Best Original Song Final

TAGGING (interested observers, non-participating observers, and participants): @addaellis, @birdsongvelvet; @cinemaocd, @cokwong, @doglvr, @emilylime5, @exlibrisneh, @halfwaythruthedark, @idontknowmuchaboutmovies, @machpowervisions, @maximiliani, @memetoilet, @metamatar, @monkeysmadeofcheese, @myluckyerror, @phendranaedge, @plus-low-overthrow, @rawberry101, @rosymeraki-blog, @shootingstarvenator, @stephdgray, @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal.

OPEN INVITES go out to (longtime followers and former participants who have not accepted/declined): @dog-of-ulthar, @introspectivemeltdown, @mehetibel, @noelevangilinecarson, @qteeclown, @shadesofhappy, @the-lilac-grove

Hello everybody,

A good day to you wherever you are reading this. Following the most dramatic preliminary round in Movie Odyssey Award for Best Original Song (MOABOS) history, it is now time for the final.

Might the final also have some surprises and razor-thin close calls in store? As many of you know, this is the eleventh edition of MOABOS (MOABOS XI) and the tenth with participation from family, friends, and tumblr followers. At the beginning of every year, I never know whether or not this admittedly strange competition will return for another year. That it has persisted all this time – and grown – has been a personal joy. And it is not possible without all of you.

I began record-keeping for MOABOS XI when I saw Guillermo del Toro's Pinocchio (2022) on New Year's Day this year. From there, I kept a running shortlist until the preliminary began on American Thanksgiving weekend. That one song from GdT's Pinocchio has survived the entire year to get to the final. Over the rest of 2023, numerous songs from various movies filtered in and out on my master shortlist, culminating into this final round.

INTRODUCTION

For those who have never participated in this before, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time that calendar year (the "Movie Odyssey", in which any rewatches do not count) with an Oscar-like ceremony. I choose all the nominees and winners from each category except for this, Best Original Song. Original Song is the only category which does not require you to watch the movies in their entirety. As always, MOABOS is considered a sort of cinematic-musical thank-you for your moral support in various ways over how long I've known you for. In addition, I think it's a fun, novel way to introduce to all of you films and music you may not have otherwise encountered or sought and to give everyone a little bit of film and music history.

However, MOABOS is but a foot-deep glimpse into my much larger Movie Odyssey for this last year. There are many films I saw this calendar year that I consider much better than the ones that appear here. But did they have any original songs? They did not!

WHAT'S IN THE FINAL

This final will be contested by fifteen songs.

In a preliminary round filled will thrills and spills, some popular titles have failed to make it this far. That includes Lady Gaga's "Hold My Hand" from Top Gun: Maverick (2022) and "Take My Breath Away" by Berlin in Top Gun (1986). But there's a Top Gun song in here, even more widely recognizable than both of these songs, that will be looking to assert its frontrunner status.

Snapping back from what was the first-ever monolingual MOABOS last year, the 2023 final sets the record for the most multilingual field ever with six languages represented – English, French, Hindi, Japanese, Portuguese, and Vietnamese. This breaks the previous record held by MOABOS VI (2018), which featured five different languages. After three-year absences, both Hindi-language and Japanese-language songs have progressed to the final. A Portuguese-language song marks the language's (and Brazilian cinema's) first appearance in a MOABOS final.

Two films from 20th Century Fox's Golden Age will also be contending. The first film, Sun Valley Serenade (1941), has two entries by Glenn Miller and His Orchestra. In addition to the appearance of Orchestra Wives (1941) in MOABOS IX (2021), this ensures that each song featuring Miller that has qualified for MOABOS has made the final. In addition, some big news as Shirley Temple – so often on the wrong end of the points totals in the preliminary round – finally sees a final round with Curly Top (1935).

Finally, in a round usually riddled with multiple entries for certain films, there's a distinct lack of films with two or more contenders for MOABOS this year. The only exceptions to that are, surprisingly, Sun Valley Serenade and Good Morning and Good Night (which I encountered for Viet Film Fest this year).

2023's winner will join this company (winners' playlist):

2012 (Special): To be contested

2013 (I): “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

2014 (II): “Rainbow Connection”, The Muppet Movie (1979)

2015 (III): “Amhrán Na Farraige (Song of the Sea)”, Song of the Sea (2014)

2016 (IV): “Stayin’ Alive”, Saturday Night Fever (1977)

2017 (V): “Remember Me (Recuérdame)”, Coco (2017)

2018 (VI): “Love Is a Many-Splendored Thing”, Love Is a Many-Splendored Thing (1955)

2019 (VII): “I Wish I Didn't Love You So”, The Perils of Pauline (1947)

2020 (VIII): “Can't Help Falling in Love” , Blue Hawaii (1961)

2021 (IX): “Lullaby in Ragtime”, The Five Pennies (1959)

2022 (X): “9 to 5”, Nine to Five (1980)

INSTRUCTIONS

Please rank (#1-15) your choices in order. The top ten songs will receive nominations; all others get "Honorable Mentions". There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote (the tabulation method described in the "read more"), it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded in the later rounds of tabulation. Since this rule change (first implemented in MOABOS VI in 2018), no participant who has only ranked one song has seen their choice win MOABOS. Again, this is all described in the "read more".

The tabulation method used in the preliminary round (10 points for 1st place, 9 points for 2nd, etc.) is being used for this round. However, it is used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final – aka "single transferable vote" – is described in the "read more").

Please consider, to the best of your ability (these are only suggestions, not strict guidelines):

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics (incl. and not limited to lyrical invention and flow); 

Contextual use within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable; I know that almost none of us have a dancing background, but please do not dismiss this aspect entirely);

The song's cultural/sociopolitical impact and legacy/listenability outside the film's context (if applicable, and, in my opinion, least important factor)

Remember: you are not judging music videos.

A notice on audio/video quality and colorization of black-and-white film: Because it is sometimes difficult to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song while you are drawing up your rankings – you're on the honor system on this one. In addition, in respect to personal and blog policy, I will not provide colorized videos of films that were originally in black-and-white. You can call this snobby all you want. But to yours truly, film colorization of B&W is disrespectful to the artisans who plied their craft and made decisions based on the fact the film was shot in black-and-white. It is essentially redirecting a movie without consent.

You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The deadline for submission is Wednesday, January 10 at 9 PM Pacific Time. That is7 PM Hawaii/Aleutian Time and 11 PM Central Time. That deadline is also Thursday, January 11 at Midnight Eastern Time / 5 AM GMT / 6 AM CET / 7 AM EET / 2 PM Korea Standard Time. This deadline – as it always seems to happen – will be pushed back if there are a large number of people who have not submitted in time. The deadline is later this year due to Christmas and New Year's being on Mondays this year.

All of the below songs can also be found in this YouTube playlist (but please note you may not judge the music video, but instead judge the song and how it is used in context).

Enjoy the music! Feel free to listen as many times as you need, and I hope you discover music and movies you may have never otherwise heard of that you find fascinating. The following is formatted... ("Song title", composer and lyricist, film title) and presented in alphabetical order (so feel free to shuffle the order!):

2023 Movie Odyssey Award for Best Original Song Final (playlist)

“Animal Crackers in My Soup”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple

6th in Group B

Young Elizabeth Blair (Temple) and her elder sister, Mary (Rochelle Hudson) are living in an orphanage and are the primary entertainers for their fellow orphan girls. This number occurs early in the film and is quoted multiple times in the film's score. For those of you who despised this song's placement in those Shirley Temple DVD infomercials, I have no apologies to offer you.

For those familiar with Over the Garden Wall, this number inspired "Potatoes and Molasses" and its respective episode.

Where Alice Faye (MOABOS X's "A Journey to a Star" from 1943's The Gang's All Here)   and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

“Barsaat mein hamse mile tum sajan (In the Rainy Season, We Met One Another)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949, India)

(initial version) / (end-of-film reprise)

Performed by Nimmi (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

5th in Group A

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of vacationing city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). Later in the films, we will find Pran (Raj Kapoor) and Reshma (Nargis) quickly falling in love. But this song surrounds the womanizing Gopal (Prem Nath) and Neela (Nimmi), whose faithful love for Gopal goes largely unrequited. After much convincing from Neela, Gopal attends a local festival – and doesn't pay much attention to this Neela-led song-and-dance number.

In the reprise, Neela has died near the end of the film. Reformed, realizing too late how horrible he has been to Neela, Gopal carries her body to her funeral pyre as the monsoon rains – as hinted in this film's very title – finally arrive.

“Chattanooga Choo Choo”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade (1941)

Performed by Glenn Miller and His Orchestra, Tex Beneke, Paula Kelly, and The Modernaires; danced and sung by the Nicholas Brothers and Dorothy Dandridge

Nominated for the Academy Award for Best Original Song

Advanced directly to the final

Midway through this musical, the Phil Corey Orchestra (Glenn Miller and His Orchestra) are anxiously awaiting for their pianist (John Payne) before rehearsal for a Christmas concert in the ski resort town of Sun Valley, Idaho. He's been delayed by an unexpected detour while skiing down the slopes in pursuit of a young woman (Sonja Henie) who has been flirt-trolling him on the slopes. Phil is asked to "stall for time" by the band's manager (Milton Berle). But, quietly, Phil essentially says "screw it" and starts the rehearsal. As one of my tumblr followers put it, classic Hollywood's legacy of weird shenanigans at ski resorts continues.

Nicholas Brothers' and Dorothy Dandridge's segment feels separate from the rest of this number by design. White-owned theaters in the American South would refuse to show films with prominent roles with black actors, so 20th Century Fox structured Nicholas Brothers numbers in a way so that their dances could be easily cut for those theaters. MOABOS IX (2021) participants will recall that "I've Got a Gal (in Kalamazoo)" from Orchestra Wives (1942) and the reprise to the title song for Down Argentine Way (1940) were impacted similarly.

It's a brief, but memorable role for Dandridge in her early career. She would become one of the best African American actresses ever, thirteen years removed for her Best Actress nomination for Carmen Jones (1954).

This was the first of only two films made by Glenn Miller and His Orchestra while contracted to 20th Century Fox (RIP "Fox"). They were to make more, but then Miller decided to join the U.S. Army Air Forces (the predecessor of the Air Force) to lead its official band. Miller, an enormous musical figure of the swing jazz era, disappeared over the English Channel in December 1944. This was the first song ever to receive a gold record, and it was musically referenced across numerous Fox movies during the 1940s and '50s, becoming an unofficial studio anthem.

The city of Chattanooga and railways have and still embrace the song; localized Dutch, Finnish, German, and Italian versions of this song exist.

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio (2022)

Performed by Gregory Mann

3rd in Group A

In this adaptation of Carlo Collodi's Pinocchio, director Guillermo del Toro injects the tale with his signature gothic touch – moving the narrative up in time to Fascist Italy and not shying away from the original book's grotesqueness and the title character's sociopathy. This song appears as part of a montage where Geppetto (David Bradley) goes in search of Pinocchio (Mann) after Count Volpe (Christoph Waltz) abducts the wooden son. Pinocchio is performing for Volpe in part to avoid conscription into Fascist Italy's military.

“Danger Zone”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun (1986)

Performed by Kenny Loggins

Advanced directly to the final

This song first appears in the film's opening credits, as a number of U.S. Navy F-14 Tomcats are about to lift off from the aircraft carrier USS Enterprise in the middle of the Indian Ocean. The Tomcats are being scrambled to address an incursion of what is heavily implied to be Soviet aircraft (and results in an exchange that should've immediately started WWIII, but the always-jingoistic Top Gun movies do not care about geopolitical consequences). The song is briefly played again for a similar scene later in the film.

“Esse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu (1964, Brazil)

Originally performed a cappella by Antônio Pitanga; provided version performed by Marina Lutfi and Adriana Lutfi (lead vocals), Sérgio Ricardo (vocals), João Gurgel (vocal/guitar), Alexandre Caldi (winds), Marcelo Caldi (piano/accordion), Lui Coimbra (cello), Giordano Gasperin (bass), and Diego Zangado (percussion)

Lyrics in Portuguese (extremely rough translation... "Saravá ogum" is an Afro-Brazilian exclamation; I'm not sure what "Mandinga" means in the song's context, but it's an Afro-Brazilian word that either refers to an ethnic group or "magic")

2nd in Group A

In this film almost never screened outside Brazil, two separate romantic storylines – a white couple and a black couple – play out in a Rio de Janeiro favela. In the latter storyline, Antônio Pitanga plays a shoeshiner. One day, while setting up his shoeshining equipment along the beach, he sings this song – an optimistic number in hopes for a better tomorrow. Black Brazilian romance was and is rare in Brazilian cinema, and the inclusion of such a romance so prominently featured in this film makes it a landmark of the nation's film history, alongside the likes of Black Orpheus (1959; although Esse Mundo é Meu came from a filmmaking movement – Cinema Novo – that rejected the likes of Black Orpheus).

From the song's humble origins and use in the film, Sérgio Ricardo turned it into bossa nova. That's the late composer/film director himself in the provided video (the older man furthest to the left). The lead singers are his daughters.

“Hooked On Your Love”, music and lyrics by Curtis Mayfield, Sparkle (1976)

Performed by Lonette McKee, Irene Cara, and Dwan Smith

(use in film) / (soundtrack version with Aretha Franklin)

Advanced directly to the final

Loosely based on the history of the Supremes, the musical Sparkle is the story of the three Williams sisters (the late Cara as lead singer Sparkle, McKee as Sister, and Smith as Dolores). They decide to take their church singing experience to become a semi-professional group called the Hearts.

This song appears midway through the film, as the boys have dropped out to become managers and the girls have renamed the group Sister and the Sisters (I would've kept the original name). This is the debut performance of Sister and the Sisters. If you're wondering what's going on with the lighting here, that's because the cinematographer of Sparkle didn't know how to light non-white actors.

The film's original soundtrack does not contain any of the original performances. Instead, Aretha Franklin sings all the songs from the film in the soundtrack.

“I Know Why (And So Do You)”, music by Mack Gordon, lyrics by Harry Warren, Sun Valley Serenade (1941)

(initial version) / (reprise)

Performed by Glenn Miller and His Orchestra, Lynn Bari (dubbed by Pat Friday), The Modernaires, and John Payne; reprise by Payne and Sonja Henie

6th in Group A

This song's melody forms the backbone of the film's score throughout. In the opening minutes of this musical, we find the Phil Corey Orchestra (Glenn Miller and His Orchestra) rehearsing in preparation for a Christmas concert they will be headlining in the mountainous resort town of Sun Valley, Idaho. The first 48 seconds of the first video are an instrumental version of Glenn Miller's "Moonlight Serenade".

The reprise occurs near the end of the film as Norwegian refugee/figure skating extraordinaire Karen Benson (Sonja Henie, a 3x Olympic gold medalist in figure skating) and pianist Ted Scott (John Payne) find themselves stuck in a mountainside cabin. Karen, who has fled Norway due to the Nazi takeover there, has been pursuing Ted for almost all of the film, and Ted finally succumbs to her charms here – to the outrage of his girlfriend (Lynn Bari). Suffice it to say nobody should watch 20th Century Fox musicals for the plot (but refreshingly, they're not pretending to be any more than what they are).

What the heck is an Olympic figure skater doing and singing in a movie? Well, Henie was used in a handful of Fox musicals in musical numbers set to an elaborate figure skating sequence. These days, Henie's movies are largely out of print and hard to find. Her popularity was such that Metro-Goldwyn-Mayer (MGM) hired aspiring swimmer Esther Williams (unable to compete at the canceled 1940 Summer Olympics) as response to Fox's Sonja Henie movies. 

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie (2023)

Performed by Ryan Gosling and company

3rd in Group B

The Kens of Barbieland have taken over power from the Barbies after Ken (Ryan Gosling) learns about patriarchy in our real world. In response, the Barbies, Allan, and Mattel employee Gloria and her daughter Sasha have manipulated the Kens into fighting each other (or, in the Kens' parlance, "beaching off") while they attempt to reestablish control. According to director Greta Gerwig, the dance segment seen here was influenced by "Lullaby of Broadway" from Gold Diggers of 1935 (1935; see the warm-up playlist I sent to many of you) and "The Broadway Melody" from Singin' in the Rain (1952).

The production design and overall look of Barbie was meant to have a sort of plastic toy aesthetic. Gerwig wanted to achieve an "authentic artificiality", injecting a sense of child's play into the filmmaking, and spiritually inspired by the production design of The Red Shoes (1948) – especially its 15-minute ballet sequence.

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple (1985)

Performed by Margaret Avery (singing voice dubbed by Táta Vega)

Nominated for the Academy Award for Best Original Song

1st in Group A

Based on the book of the same name by Alice Walker, The Color Purple stars Whoopi Goldberg as Celie Harris in her breakthrough role. Celie, forcibly married off to Albert "Mister" Johnson (Danny Glover) as a teenager, has grown resigned after a lifetime of parental and spousal abuse. Mister has a mistress named Shug Avery (Margaret Avery), who works as a showgirl in Memphis. After one stormy evening, a sickly Shug appears at Mister's homestead for the first time and, over a few weeks, Celie nurses her back to health. The two grow attached and, as tribute, Shug performs this song at the local riverside juke joint.

In the book, the romantic relationship between Celie and Shug after this moment is more explicit. Director Steven Spielberg's greatest regret over this film was not making more of this romantic relationship. Given that the movie was released at the height of the HIV/AIDS crisis and in an environment where LGBTQ+ themes were verboten to the major movie studios, I don't believe much more could've been done in 1985.

“Qu'est-ce qu'on fait de l'amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest and Celestine: A Trip to Gibberitia (2022, France)

Performed by Pomme

Lyrics in French (rough translation)

1st in Group B

This song appears at the top of the end credits of this sequel to 2012's Ernest & Celestine, which was nominated (against the odds) for the Academy Award for Best Animated Feature. The original was, as I wrote back in 2014, "cinematic friendship at its most rewarding and profoundly beautiful." In this sequel for our dynamic mouse and bear duo, Celestine (the mouse) accidentally breaks Ernest's (the bear) precious Stradibearius violin. It leads the unlikely friends to search for an old violin maker acquaintance of Ernest's back in his homeland of Gibberitia ("Charabïe" in the original title, a name derived from "charabia", the French word for "gibberish").

A further shameless plug for all of you reading this to seek out animation that is not from the major American and Japanese studios.

“Return to Sender”, music and lyrics by Winfield Scott and Otis Blackwell, Girls! Girls! Girls! (1962)

Performed by Elvis Presley

5th in Group B

The eleventh of Elvis' 31 movies (if MOABOS returns for future editions, let's just say there's a lot more Elvis to come) and the second shot in Hawai'i after 1961's Blue Hawaii, Girls! Girls! Girls! is a misnomer as there are only two girls vying for Elvis' affections (it would be an appropriate title for many other Elvis movies). My sister thinks this film should've been titled Girls? Girls. Girls!

Here, Ross Carpenter (Elvis) is a fisherman who spends his evenings as a nightclub singer. Fellow nightclub singer Robin Gantner (Stella Stevens) and the secretly wealthy Laurel Dodge (Laurel Goodwin) are very much attracted to him. This number occurs after Ross starts seeing Laurel, inflaming Robin's suspicions, and resulting in a spat at the bar that immediately preceded the song.

“Suzume”, music and lyrics by RADWIMPS, Suzume (2022, Japan)

Performed by RADWIMPS and Toaka

Lyrics in Japanese (extremely rough translation)

2nd in Group B

This song's melody (especially the eighteen-note vocalized motif) appears throughout the film. But this version, with lyrics, only appears as the second song in the end credits. In this film, 17-year-old Suzume and a young man named Souta must journey across Japan to close a series of mystical doors. Mysterious phenomena are passing through these once-locked into our world, and are causing natural disasters.

Makoto Shinkai's latest, unadjusted for inflation, is the fourth-highest grossing Japanese film of all time. MOABOS regulars will recall previous entries from Your Name (2016) and Weathering with You (2019) – all RADWIMPS compositions. Suzume directly addresses a trauma that Your Name and Weathering with You danced around: the 3/11/11 earthquake, tsunami, and Fukushima Daiichi nuclear disaster.

“Tiền”, music and lyrics by Trần Khắc Trí, Good Morning and Good Night (2019, Vietnam)

Performed by Trần Lê Thúy Vy, Hà Quốc Hoàng, and company

Lyrics in Vietnamese (translation in provided video)

4th in Group B

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears about a third of the way through, after a conversation about money ("tiền" means "money" in Vietnamese). Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)”, music by Phạm Hải Âu, lyrics by Phạm Hải Âu and Chung Chí Công, Good Morning and Good Night (2019, Vietnam)

Performed by Hà Quốc Hoàng and Trần Lê Thúy Vy

Lyrics in Vietnamese (translation in provided video)

4th in Group A

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears at the top of the end credits. Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

Have a question or comment about MOABOS's processes? Maybe you would like to know something more about a song or a movie featured in this year's competition? I'm the one to ask! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

Once more to all, my thanks all for your support for the Movie Odyssey, the blog, and for me personally over this last calendar year and beyond. However long you've known me – it has been and is a distinct privilege and a pleasure to share all this music and (at least excerpts of) these movies with you. It's my hope you find this entertaining and enlightening about cinema and the music that goes along with it. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines get close. Happy listening, and I hope you have fun!

A happy holiday season to you and yours!

PS: TABULATION

The winner is determined by a process distinct from the preliminary round. For the final, the winner is chosen by the process known as single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually explained here):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one… i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the most recently-eliminated song(s). Their votes then go to the highest remaining non-eliminated song on their ballot.

The process described in step #2 repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. A song is declared the winner when it reaches more than fifty percent of all #1 and re-distributed votes.

NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner. No one who has ranked only one or two songs on their rankings and nothing more has succeeded since this tabulation method was implemented. I highly discourage, but do not forbid, these practices.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned (the preliminary round's primary tabulation method); 3) total #1 votes; 4) average placement on my ballot and my sister’s ballot; 5) tie declared

For reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final 2018 prelim / final 2019 prelim / final 2020 prelim / final 2021 prelim/ final 2022 prelim / final

[guttersnarls]

Hei

Cos u seem to be the expert on the topic:

What kind of movie is “Pans Labyrinth”?

Does it go into horror? How gory? Jump scares? How much storyline? More mystic?

I’ve mostly seen snippets with all the creatures of Doug Jones and I want to see more of them

Idk if any of this makes sense to u. I’m just trying to figure out what I have to expect from this film and if that’s something I want to watch with myself or with family

As always: I love ur blog! And have a great weekend with the most delicious food!

Hej Hej

Wow what questions!! And I am no expert but thank you and I’m gonna do my best to answer 🫠

I wouldn’t say Pan’s is a horror movie. More dark fantasy. BUT its also a war movie (yes with guns and brutality) which I think a lot of ppl forget only seeing snippets like you said of Doug Jones being awesome (but the Spanish civil war was fkd up)

It doesn’t have any jump scares, it’s not gory and as with most GDT movies the monsters or creatures aren’t really the villans, the villains are human.

If you are going to watch it with the family just know the movie is in Spanish and if thats not your language, y’all are going to be reading subtitles. I write that because I’ve known ppl who don’t like to read watching a movie 🤷🏻‍♀️😔

To me Pan’s is a beautiful movie and I won’t spoil it with my interpretation. You’ll just have to see it for yourself, maybe come back and we’ll talk again ✌🏻

[newtlesbian]

i do regret when i got a weird anon mad at me for not posting raleigh on this blog made specifically for scientists. and made fun of raleigh for it sorry raleigh cman im just being mean im just being mean to people. the movie is important to me favorite thing about raleigh is his pain i love a deep crushing sadness. fond of your pain really really good pain and good relationships. i do think charlie hunnam is boring though but gdt likes him. anyway. thanks for asking me to the prom im not taking you the prom but maybe you could ask someone else you know who cant get a date? maybe ask one of them. but uh anyway good luck and have fun at your prom

[galenwilson]

Something about Game Dev Tycoon

I've been thinking about Game Dev Tycoon recently. It's a relic from a fundamentally different time and I don't think it gets discussed as much as it perhaps should. First and foremost is the fact that it truncates the history of video games to only the 80's onward. This is perhaps true to a certain perception of gaming - the NES being the console which revitalized the industry in America. GDT was made by Australian developers, and from my Australian friends' testimony their perception of video games is pretty directly tied to the American market, but it could easily also be the fact that the game has a focus on the Home market scene, and the 70's was much more focused on the arcade scene.

All that aside, the perspective that the game ultimately supports is one which pitches every game developer as Valve - a plucky indie studio that becomes a billionaire Publisher, tech developer, and software giant while still being beloved by millions of fans. I'm not about to crucify the game for not showing every aspect of game development, especially the Crunch culture - while the EA Spouse blog post was made in 2004, conversations about Crunch culture were something that gained much more momentum throughout the mid-2010s. I still find it interesting that even at your maximum capacity, your studio only has less than a dozen employees when games had long since become hundred-person projects at the AAA level.

What I find most interesting is how many of the various community-related decisions boil down to "Boss, do you want to be inexplicably mean to the fans for no reason and save $40, or do you want to release the source code to a game you haven't touched for 50 years and make 5 whole new fans?" I'm exaggerating for effect, of course, but it's a perspective on corporation-fan interactions that clearly comes from people who are, themselves, fans first and foremost. It obviously makes sense from a fan perspective to, say, have a fan base who like to mod your games, because that's how they remain socially relevant. DOOM, Skyrim, Fallout, so many Bethesda properties are maintained in the general gamer sphere by their mods and custom content. But there's a failure to understand that businesses only care about these things to the extent that it will affect their bottom line. Bethesda would love to put a wall around the Garden that is DOOM, but they understand that doing so would be extremely unpopular and detrimental to their brand. Their closest attempt to this failed from a fan perspective, and was rife with content theft. Embracer Group, meanwhile, has no qualms squashing companies and hoarding IPs until they might one day be profitable to use. When Volition was shut down, it squashed the chance of a PC patch for Saints Row 2 (still the best Saints Row game, or at least the most well-regarded), which had been worked on by a since-dearly departed developer. Embracer doesn't have a reason to release the patch, because it would not tangibly make them money or value, it would only be a nice gesture (something companies are immune to.) They have no reason to do anything with the Saints Row brand because it recently had a high-profile failure and they can't recoup that loss until it becomes nostalgic. And the Saints Row fan base, however much of it still exists, doesn't have anywhere near the legacy or cultural capital to challenge Embracer, or convince fans of other works not to buy Embracer products.

A company like Nintendo, meanwhile, is always in flux with its audience, because while it doesn't have to appeal to the 'core gamers' crowd like said crowd thinks they do, they're currently gunning to be the next Disney, and Bowsette was essentially their Zootopia; a reminder that the Fans are Always Watching. They have to carefully maintain their image, and the ways they've managed to do so and failed to do so are both worth a discussion much longer than this Tumblr post. But they're well known for taking legal action against both a pirate who they sued into a debtor's prison and emulator groups that fuck up a little too much. They understand what their IP is worth, and they'll (hyperbolically) murder anyone who gets in the way. Game Dev Tycoon doesn't offer any perspective like this, and I can't blame it - it was made in a wholly different time. But it was also kind of the last game like it to reached the level of success it did, and I really want there to be an updated version - if not a whole new product, then a mod that makes the game much more grounded in the reality of game development AND game publishing. I want it to give you the opportunity to experience a range of perspectives. For one thing, while your main character is the only one you directly control, there isn't an aspect of 'auteurship' in your games, since it's more like you're just one of many developers in a company that eventually also does Publishing, and then also creates consoles, and so on. And that's not an invalid perspective in the industry at all! But there's other perpsectives. Imagine a game where you could choose scenarios like, "you're John Carmack or John Romero, and you're making DOOM", to "You're one of 130 developers working on Mass Effect," to "You're Double Fine and you just got purchased by Microsoft," and so on. Really make you embody different people in different time periods, or naturally lead to scenarios inspired by the realities of developers. Naturally, on the other side, I want to be able to be more evil about being a Publisher. Once a studio has made it, the nature of private capital is to maximize profits and minimize costs, and that leads to extremely unethical and borderline illegal behavior. Let me do that, let me corrupt what I once held dear, let me take the fun out of making video games so that I, the average Gamer, can understand the perverse incentives of my favorite pastime. And, hell, let me do the opposite - let me be the one to sponsor weirdo Auteur directors like Kojima, or hire quirky studios that match my brand like a Devolver Digital. At the very least, if I'm going to be Valve, then I should be able to buy 7 Superyachts.

[oscarwoodland]

Introducing Me

Hello everyone! I figured I should probably have a pinned post for this blog, so I'll introduce myself a bit below.

⭐ The Academy Awards are a major special interest of mine, and I absolutely love following them from January-March (aka when I'll be most active here).

⭐ I don't take them overly seriously; obviously I massively enjoy them, and I will get very invested in my favorites winning, but at the end of the day it's all for fun.

⭐ This blog will be used for predictions (nominations and winners), as well as my personal opinions.

⭐ While I may occasionally discuss other major awards here (the Emmys, the Grammys, etc.) this will be primarily for the Oscars and all immediately related events.

⭐ I am active on GoldDerby and Vulture's Movie Fantasy League (I am much better at the former than the latter)

⭐ My favorite movies are 1917, Babylon, Booksmart, The Brutalist, Ferris Bueller's Day Off, The Florida Project, The Godfather Parts I and II, The Grand Budapest Hotel, The Holdovers, Inglourious Basterds, Knives Out, Lady Bird, Last Night In Soho, Murder on the Orient Express, Oldboy, Parasite, GDT's Pinocchio, The Power of the Dog, Psycho, The Shining, Skyfall, The Social Network, The Starling Girl and Stoker

⭐️ This is a sideblog, my main is @whitegownsandflowercrowns

[doseintox]

oh yeah when i gdt high somethimes i just. have the urge to make tandom posts.ik this is kink blog but it's what i do. maybe tag this stuff ass "sillies" idk

[marzipanandminutiae]

Oh God. As if this was prophetic, someone just got real weird with it in the tags, and not in a good way

(obviously people are free to interpret things how they want and these are fictional characters. But this is my personal blog, and this re-blog not show up in the tags, so. I’m going to vent a little bit)

Like, posting a lengthy screed about what an innocent woobie Thomas is and how terrible Lucille is, that’s partially taken from the bios but phrased as if it’s all 100% canon that GDT wrote. Including some bio sections that are taken entirely out of context

IE saying that Lucille literally breastfed Thomas, ew, so fucked up!!!- when the bio actually says that she held him against her chest when he was a baby, trying to imitate the wet nurse. Because she was TWO YEARS OLD. As I recall, the bio makes pretty clear that no actual breast-feeding is – or physically can be – going on

They also bring up that the bios say Thomas doesn’t particularly like noises of sexual pleasure, his own or anyone else’s, as further proof that the incest is non-consensual. Somehow. They conveniently leave out the part mentioning that Lucille‘s tears turn him on

And of course, among other things, the old chestnut that his eyes are closed during the hand job scene, so he’s clearly “closing his eyes to something that makes him uncomfortable.” never mind that he is literally pulling her closer to him and kissing her shoulder; never mind that his eyes are closed while he’s kissing Edith in other scenes

Although I guess that bothers me less than “I’m going to lie about what the creator said to make my view of things seem more Official”

I need to update one of my WIPs

The Crimson Peak AO3 section is in dire need of property value-lowering gunshots at the moment

[chazuramen]

friends, i am watching movies this weekend

[thankyoumskobayashi]

Here's a music video of his theme song, "Susume! Ultraman Zero" by the band Voyager, with some of his fight scenes! All made by the talented Mirai! Flashing light and/or eyestrain warning, of course, since this is from the Ultra Series

He's voiced by star voice actor Mamoru Miyano (voice of Light Yagami from Death Note), which contributes to his charisma.

He transforms using an eyegear, just like his dad UltraSeven. Here's all of his transformation types so far.

They are not all from the same show, but this editor started with Ultraman Zero The Movie II: The Revenge of Belial, where the first two are from. The third one is from the Ultraman Saga movie, where he fuses with Dyna and Cosmos to become Ultraman Saga. His red form... let's just say it was named before the pandemic was even a thing. I don't think Tsupro will be bringing it back anytime soon LOL. It's a shame they didn't show off Zero's sick purple Moustache-shaped sword with the Zero Beyond form, but I guess I'll have to show that off myself.

It's a bit blurry, but it's the best I could find for now:

The absolute drama, flair and pizzazz, of carving your initial into your enemy as you kill them with a sword shaped like a mustache. Image is from Tokupinoy.blogspot.com and I will link both as well.

Anyways, vote for Zero, he has such a cool bunch of powers and with his power to go through dimensions he keeps cameoing on new seasons of the Ultra Series. His episode of Ultraman X featured a battle on dusty Planet Guillermo (confirmed to be named after the director Del Toro)!

Pasting the links again at the bottom for ease of access.

AMV: https://www.youtube.com/watch?v=T8QEP8hLX6c

Mirai's Channel: https://www.youtube.com/@mirai2719

Ultraman Zero Transformations Compilation: https://www.youtube.com/watch?v=T8fUdpkuZ60

Property. S's Channel: https://www.youtube.com/@PropertySOfficial

Mustache sword image URL: https://3.bp.blogspot.com/-JpU2AqkcKIU/Wjt4KDvEZyI/AAAAAAAA0m4/s3YyxrgRyhsdNojMvaNijkG98zlGr6G8wCLcBGAs/s1600/25592121_1605306439507604_76939196381530526_n.jpg

Tokupinoy's blog: https://tokupinoy.blogspot.com/2017/12/ultraman-geed-action-files-24-ultraman.html

Confirmation GDT had a planet named after him (and Ultraman Zero was there): https://www.animenewsnetwork.com/interest/2015-10-23/director-guillermo-del-toro-happily-surprised-about-ultraman-x-planet-guillermo/.94432

Magical Boy Tournament: Round 1

Entrant Propaganda:

Ultraman Zero

He's babygirl he wants to steal the Plasma Spark (Ultra Planet's fake sun that powers everyone just by being there) and instead of getting locked in Cube Jail for 100,000 years like the last guy who tried that, he has to fight a guy on Sand Planet Hell until he realizes the true point of fighting. While the guy's brother and the guy who made Cube Jail watch and judge him. But he realizes that the purpose of fighting is to protect those who can't protect themselves and gets to go fight his new arch-nemesis!

He later went on to make a team of people who protect the multiverse (this was back in 2010), of which he was the leader and the one they were named after (of course). Given his ego, and his reputation, he'd be the equivalent of a precure pink or sentai red. Plus he's the son of the favorite Ultraman from the last generation, so he's doubly Tsupro's Favorite Boy. He also gets a friendship bracelet from a god in the parallel universe<3

[perrypixel]

AMERICAN IDOL

*wheeze*

[lovevalley45]

my relationship with toa is so weird bc on one hand i love GDT’s work but on the other hand i’m ready to throw hands with marcus f. guggenheim at any moment so i suffer

[levrathan]

Did you notice the photo u just reblogged is a pic of guilermo del toro on the set of crimson peak?

i didn’t notice but that’s okay because i love him 

[guysdoingthesplits]

Updates on GDTS

Good news: I've finally appealed the flagged posts on this blog so we're officially not a blurrie anymore! You can view it outside of your dashboard now.

Bad news: The theme for this blog is atrocious. It'll be a while before I get around to updating it.

No news: @meninsplits, formerly @gdtsnsfw, is still a blurrie for obvious reasons. Also I'm still not updating this blog very often because I'm still rather busy.

Cheers!

— GDTS admin

[worrywrite]

Unsolicited opinion: Student Loan Forgiveness is necessary to maintain the current profitability of high education.

As it stands, a college education in the United States is not a favorable option to achieve a higher salary position. Degree holding adults are highly saturated in the work force, with the current trend of employment taking the leftover degree holding adults to trade programs (electrical, plumbing, construction, HVAC, etc.). This is only going to get worse over the next 10-20 years as we see minimal numbers leaving the general workforce and a significant number more entering it. This gets worse because 1) social security benefits are being stripped back (we just had an increase in the age required to gain them) and older workers are being disincentivised from leaving the workforce and 2) we're going to see more large scale employers cut back on tech and writing positions as they attempt to slim the workforce with AI to increase profits.

High school age students are already seeing that a college education is not what it was worth to the previous generation (not that their high schools, advisors, peers are going to tell them that). What they're seeing is older siblings and young aunts/uncles struggle to work and find employment in the field of their choice. And worse, inflation is making it (and will continue to make it) even harder to pay of their college educations. They likely have parents still paying off their degrees which they also likely do not use in their work.

The governments wholesale rejection of the concept of assisting college students is a dangerous compaction of this trend. They aren't just saying that they don't want to give students (ones that have already shown they are in need, because they already had to qualify for federal financial assistance) a handout. That's they're surface level argument. But what they're getting at is that they don't want to support individuals that can't get into the workforce with their degrees. If you got one of a handful of degrees that are now useless in the US (including things like software engineering; because coding, tech support, and software design are much cheaper to outsource) no one is going to help you offset the cost of that useless degree unless you do something like join the military or the police force.

As potential students realize that they're going to be even less capable of dealing with student debt than previous generations they will be less likely to actually seek out degrees. Not only does this impact the number of skilled workers in the country, it also reduces the income of teachers, creates saturation on trade employment, and increases dependency on outsourced labor.

Increasing the availability of higher education won't always be a good investment, of course. But this offset in the debt burden of the middle class (because that is, primarily, the demographic shouldering the greatest portion of this debt) and gives them a greater employment mobility and buying power. They will be more likely to find work that will be satisfying to them and give them the opportunity to spend more money in the long term. Not to mention that, in many of the states where these repayments will be given they are taxable income. But, unlike student loan debt, taxes don't accrue interest and the state government will more than likely be able to help set up functional payment plans if the taxes for a refund can't be paid in the calendar year they were granted. So the states can actually increase their tax revenue from this money they wouldn't have seen any of anyways as the businesses that own student debt are pretty much all based out of other states.

It also isn't a long term solution. If we expect another wholesale loan payoff, we'd be doing the equivalent of tossing giant ice cubes in the ocean to offset climate change. But if we are going to lessen the burden of student loan debt over future generations of students, we need to offset the existing burden first. It isn't equitable to anyone if only the upcoming generation of students have an easier time paying off their debt, and it's less likely to happen if older generations are stuck working longer than they need to in order to pay off their debt.