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gear-project · 3 years

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GG Music Tribute Master List

As you may not know already, I’m a huge Metal Head, this list is just a sampling of songs I’ve come across over the years that GG has either referenced or just sounded like something GG’s music sounds like.

Obviously, you can find a link to a lot of these songs here.

But anyway, here’s the FULL LIST (at least for now):

Guilty Gear Music Tribute Master List

[Character Themes] Sol Badguy "Keep Yourself Alive" > Cochise [Audioslave] Ky Kiske "Holy Orders (Be Just or Be Dead)" > Lord of the Thunder [Rhapsody] Chipp Zanuff "Suck a Sage" > Speed [Angra] May "Blue Water, Blue Sky" > How Can I Refuse [Heart] Millia Rage "Write in Pain" > Nothing to Say [Angra] Zato/Eddie "Feel a Fear" > Kill the King [Megadeth] Slayer "Haven't you got Eyes in your Head?" > Raining Blood [Slayer] Venom "A Solitude that asks Nothing in Return" > Breed to Breathe [Napalm Death] Potemkin "Burly Heart" > A New Level [Pantera] Faust "The Original" > Peace Sells [Megadeth] Bridget "A Simple Life" > Keep Yourself Alive [Queen] Dizzy "Awe of She" > Change My Heart [Concerto Moon] A.B.A. "Keep in Hell's Gates" > Seventh Sign [Yngwie Malmsteen] Zappa "Good Manners and Customs" > Lay all your Love on me [Helloween ABBA Cover] Axl Low "Make Oneself" > You're Crazy [Guns'N'Roses] I-No "Kage Matsuri" > Fight From the Inside [Queen] Anji Mito "Fuuga" > Live Wire [Motley Crue] Baiken "Momentary Life" > Ray Bradbury Attack [God of Shamisen] Kliff Undersn "Pride and Glory" > Your Time has Come [Audioslave] Testament "Bloodstained Lineage" > Carry On [Angra] Johnny "Liquor, Bar, and Drunkard" > The Worm [Audioslave] Jam Kuradoberi "Babel Noise" > Hero [Tengger Cavalry] Dr. Paradigm "Intellect, Reason, and the Wild" > The Course of Nature [Angra] Izuna "Hiruandan" > Dragon String Attack (Finishing Blow) [God of Shamisen] Robo Ky Theme "Under Construction" > Aces High [Iron Maiden] Sin Kiske "Ride on Time" > BLAST! [Viper] Valentine "The Mask does Not Laugh" > Spellbound [Dimmu Borgir] Order Sol "Get Down to Business" > Great King Rat [Queen] Raven "Worthless as the Sun Above Clouds" > Death Trap [Taake] Asuka R. Kreutz "The Man" > Absinthe and Rue [Symphony X]

[Intro Themes/Options/Character Select Themes] GG1 Intro "Prickle Man" > Kickstart My Heart [Motley Crue] GGXX Intro "Feedback" > A Spider's Web [Rage] GGXrd Intro Theme /Alternate > Changes: Sign of Heaven [Rage] Character Select Theme "D.O.A." > Holy Wars:The Punishment Due [Megadeth] Character Select Theme "D.O.A."/Alternate > Kiss of Death [Dokken] Character Select Theme "Mince" > Rage in the Afternoon [Rage] Options Theme /Alternate > Cum on Feel the Noize! [Quiet Riot] DEAD ANGLE THEME > Dead Angle [Saver Tiger] TENSION THEME > Power [Helloween] DUST ATTACKS THEME > Angel Dust [Ария/Aria] THE MISSING LINK/EVOLUTION THEME > The Missing Link [Rage] TEAM NEOBLOOD THEME > Blood for Blood [Ария/Aria]

[Boss Themes] Boss Kliff Undersn Theme /Alternate > Sole Survivor [Helloween] Boss Order Sol Theme /Alternate > The Temple of Hate [Angra] Boss ZATO=ONE Theme /Alternate > Fear of the Dark [Iron Maiden] Boss EDDIE Theme /Alternate > Black in Mind [Rage] Boss Millia Theme /Alternate > Shoot the Fox [Chroming Rose] Boss Slayer Theme /Alternate > Too Much 21st Century [Bauhaus] Boss Johnny Theme /Alternate > Ride the Wild Wind [Queen] Boss Testament Theme /Alternate > Master of Puppets [Metallica] Boss Intro Theme "Death and Republic" > I want Out [Helloween] Boss Justice Theme "Meet Again" > Metal Icarus [Angra] Boss I-No Theme "The Midnight Carnival" > Kurenai [X-Japan] Boss I-No Theme /Alternate > The Gates of Babylon [Rainbow] Boss I-No Theme /Alternate > Megalomania [OUTRAGE] Boss Leopaldon Theme "Kill DOG as a Sacrifice to DOG" > Don't Fear the Winter [Rage] Boss Darkside Sin Kiske Theme /Alternate > Emergency Express [Saver Tiger] Boss Valentine Theme "Dignity" > The Sinister Awakening [Dimmu Borgir] Boss FINAL VALENTINE THEME “Diva” > Queen of the Dark Horizons [Rhapsody] Boss CONCLAVE THEME /Alternate > War Pigs [Black Sabbath] Boss Sol Badguy Theme /Alternate> Mr. Bad Guy [Freddie Mercury] Boss Ky Kiske Theme /Alternate > Emerald Sword [Rhapsody] Boss Ky Kiske Theme /Alternate > The Hellion: Electric Eye [Judas Priest]

[Rival Versus Themes] Sol versus Ky Theme "Conclusion" > Last Goodbye [Royal Hunt] Sol versus Ky Theme "No Mercy" > Don't Despair [Angra] Sol versus Ky Theme "Noontide" > Dream Chaser [Concerto Moon] Sol versus Ky Theme "The Re-Coming" > Time to Die [Concerto Moon] Order Sol versus Ky Theme "Keep the Flag Flying" > In the Name of God [Yngwie Malmsteen] Assassins' Theme "Existence" > Deadly Existence [Meliah Rage] Millia versus Zato Theme "Still in the Dark" > Wings of the Evil [Viper] Mirror Versus Theme "Fatal Duel" > Be Quick or Be Dead [Iron Maiden] Mirror Versus Theme "Nothing out of the Ordinary" > Alive [W.A.S.P.] Mirror Versus Theme "Misadventure" > Deja Vu [Yngwie Malmsteen]

[Ending Themes] Sol's Ending "Beyond the Dark Life" > Fade to Black [Metallica] Potemkin's Ending "D-A-M-E" > Make My Day [Rage] Millia's Ending "Love Letter From..." > Right Now [Van Halen] Staffroll A "Till next Time!" > I want it ALL! [Queen] Staffroll B "Boomtown Blues" > Voodoo Chile [Jimi Hendrix] Staffroll C "Missing" > Unfinished [X-Japan]

[Unaccounted For/Music Tribute To Be Added] Elphelt's Theme > ????? Ramlethal's Theme > ????? Bedman's Theme > ????? Ariels' Theme > ????? Leo's Theme > ????? Jack-O's Theme > ????? Kum Haehyun's Theme > ????? Answer's Theme > ????? Giovanna's Theme > ????? Goldlewis' Theme > ????? Nagoriyuki's Theme > ????? Happy Chaos' Theme > ????? Delilah's Theme > ?????

#Game Modding #GG Music Tribute #To Do List

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slovenlyrecordings · 3 years

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Whoa daddy, we just received a massive haul at Slovenly USA

You ready to get punched in the face and beg for more?

The Spits is a brand new repress of the original 2009 Thrift Store Records release. NEED! A brand new 7" from GINO and the GOONS is ready to rock your record machines like a mug. It cooks. We promise. The new one from Amyl and The Sniffers is here and we be diggin' it! The Alan Vega LP and Samhain recs (and Misfits, natch) just in time for Halloween? We got'cha!

PLUS, we got the Little Richard live LP from Paris in '66 LP back in stock. If you missed it last time, don't blow it this time!

NEW ARRIVALS HERE:

THE SPITS"IV" (4) LP

GINO AND THE GOONS "Here We Go (Again) b/w I Feel Bad (I Gots Ta Boogie)" 7"

VARIOUS ARTISTS "You Didn't Think We Could Take It ! V.2 (A tribute to Subsonics) LP

VEGA, ALAN "After Dark" LP

AMYL AND THE SNIFFERS "Comfort To Me" LP (RED vinyl)

GEE TEE "Live N' Dangerous II" LP

LIPSTICK KILLERS "Strange Flash - Studio & Live '78-'81" (2xLP) (ORANGE vinyl)

SOULSUCKERS "On Parade" LP (GREEN vinyl)

VELVET UNDERGROUND "White Light / White Heat" LP (CLEAR PURPLE vinyl)

MISFITS "Beware - The Complete Singles 77 - 82" LP (CLEAR vinyl)

MISFITS "Beware - The Complete Singles 77 - 82" LP (GREEN vinyl)

VARIOUS ARTISTS "GAZ’S ROCKIN BLUES 40th ANNIVERSARY SPECIAL - Stag-O-Lee DJ Set Vol. 6" (2xLP)

GUN CLUB "Fire Of Love" LP (Random Colored vinyl)

SAMHAIN "Initium" LP (Random Colored vinyl)

SAMHAIN "November Coming Fire" LP (Random colored vinyl)

UNDERTONES "First Album Plus Bonus Tracks" LP (PURPLE vinyl)

MISFITS "Walk Among Us" LP" (Random colored vinyl)

CRYPT T-SHIRT-BLACK (Large)

CRYPT T-SHIRT-BLACK (Medium)

VELVET UNDERGROUND & NICO "S/T" LP (Gatefold) (Yellow Vinyl)

VARIOUS ARTISTS "Gunsmoke Volume 4: Dark Tales Of Western Noir From A Ghost Town Jukebox" 10"

VARIOUS ARTISTS "Gunsmoke Volume 5: Dark Tales Of Western Noir From A Ghost Town Jukebox" 10"

VARIOUS ARTISTS "Gunsmoke Volume 6: Dark Tales Of Western Noir From A Ghost Town Jukebox" 10"

BACK IN STOCK:

SCREAMERS "Screamers Demo Hollywood 1977" 12"

CRAMPS "Bad Music For Bad People" (YELLOW Vinyl) LP

GG ALLIN &THE JABBERS "1980's Rock 'N' Roll" (GREY MARBLED vinyl) LP

THE NOBLEMEN/ THE OTHER HALF "Short Time/ The Girl With The Long Black Hair" 7"

LYRICS "So What!!/ They Can't Hurt Me" 7"

GRIM REEPERS "Two Souls / Joanne" 7"

ESQUIRES "Come On, Come On" 7"

LITTLE RICHARD "Paris 1966" LP

NERVOUS EATERS "Eaterville Vol. 1" (Gatefold) LP

NERVOUS EATERS "Eaterville Vol. 2" LP

VARIOUS ARTISTS "Trashcan Records Volume 2: Midnight" 10"

VARIOUS ARTISTS "Trashcan Records Volume 3: The Devil’s Pad" 10"

VARIOUS ARTISTS "Trashcan Records Volume 4: House Of Horrors" 10"

VARIOUS ARTISTS "Songs From Satan's Jukebox Vol. 1" 10"

VARIOUS ARTISTS " Songs From Satan's Jukebox Vol. 2" 10"

VARIOUS ARTISTS "Gunsmoke Vol. 1 - Dark Tales Of Western Noir From The Ghost Town Jukebox" 10"

VARIOUS ARTISTS "Gunsmoke Vol. 2 - Dark Tales Of Western Noir From The Ghost Town Jukebox" 10"

VARIOUS ARTISTS "Gunsmoke Volume 3: Dark Tales Of Western Noir From A Ghost Town Jukebox" 10"

SPOONFUL EXOTIC BLUES & RHYTHM "Volume 7: Boom-A-Lay" 10"

SPOONFUL EXOTIC BLUES & RHYTHM "Volume 8: Chug-A-Lug" 10"

VARIOUS ARTISTS "Shadrach: Exotic Rhythm & Blues Vol. 9" 10"

VARIOUS ARTISTS "Loc-A-Li" Exotic Rhythm & Blues Vol. 11" 10"

VARIOUS ARTISTS "Eeny Meeny: Exotic Rhythm & Blues Vol. 12" 10"

VARIOUS ARTISTS "Kan-Gu-Wa: Yet Mo' Blues & Rhythm, Popcorn Exotica & Tittyshakers Vol. 3" 10" (CLEAR vinyl)

VARIOUS ARTISTS "Chop! Chop!: Exotic Rhythm & Blues Vol. 4" 10" (CLEAR vinyl)

VARIOUS ARTISTS "SADABA: Exotic Blues & Rhythm Vol. 6" 10" (CLEAR vinyl)

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ikiruwill · 4 years

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ok, but what does shinji actually think of his eva? personally, but also aesthetically

OHH omg?? 😭 thank you for asking this, amazing surprise!! mhajsjsj I ended up writing something verrrry long bc my brain kept throwing info at me, so now this a meta I guess rip

For Shinji’s personal thoughts / relationship with Unit-01, there’s extra long detail mainly of Ep1 bc of first impressions / context ( then I’ll try to summarize ). Insight into some tiny details like Shinji’s unspoken thoughts that were maybe missed:

Shinji’s early and personal impressions of Unit-01 is mostly fear if we’re summing things up. The very first scene with it is even a jump scare to emphasize that:

The frame is black, and then after the lights turn on, boom, this:

A GIANT FACE WITH MONSTER EYES THAT GLOW YES I AM LOOKING DIRECTLY AT YOU NOW SON ( with bby framed right in the middle so you know how tiny he is in comparison / and narratively, that he’s also the subject of focus )

.... can confirm scare. Plz no

Much fear. But even before this scene, it’s great to remember that Shinji is already terrified bc he saw Fourth Angel-kun AKA Sachiel wrecking havoc outside, understandably freaked out by its monster appearance / how it was shooting down military planes like they were pieces of paper. Shinji was also directly caught in that earlier crossfire and legit could’ve died just bc everything happening was too close for comfort until Misato finally shows up in her car to pick him up. Best uber But after that they get caught in a huge N2 mine explosion that hits Sachiel dead on but it comes out with barely a scratch / casually just regrows a head or something. Sachiel seems invincible to Shinji by this point and that fact already scares him— as it should.

But back to the Unit-01 scene: as far as Shinji can remember, he’s never seen an Eva or heard of one and he lets everyone know this once Gendo starts pressuring him to pilot it and do the thing to save the world right now plz or else everyone in city dead including Shinji-kun gg

Ofc to Shinji, it’s not a good feeling at all, he’s running through all the sudden facts : Unit-01 is manmade, looks powerful, and it’s supposed to protect us. It isn’t an Angel destroying the city and nonchalantly killing things of military force so there’s no need to hide and run from it— but it’s still alien to me and scary and now my impression of it is even worse because my estranged father and adult strangers are forcing me to get comfortable with it immediately to fight the ‘Angel’ I saw earlier. So I might die after all today.

Fear of death on top of feeling useless / cowardly / abandoned etc is a lot. Then injured Rei scene AKA Gendo’s master guilt tripping plan happens, and it works, but this is also where his impression of Unit-01 changes for the better : There’s a huge tremor, Rei falls off her stretcher, and giant debris is coming down from the ceiling right above her Shinji—

Unit-01 moves on its own does a giant good thing

So this part : It saved him? This robot that he’s only had bad feelings about so far? Shinji is confused af but now feels a strangely positive connection to Unit-01, one he probably can’t put into words, but it ultimately influences his decision on not to run away. bc now it finally feels like there’ll be at least something on his side if he agrees to do this— AKA Unit-01 is the literal “something that can protect / help him”, which we all know is a concept Shinji desperately wants and chases. In this terrifying mess, it’s encouraging to him. And then Shinji says the thing:

Brave bby ( it’s nice to know that he ends up saving Rei again a few eps later, shamelessly serious and gallant / heroic Shinji is underrated don’t @ me )

Fast forward : after that he gets in, syncs perfectly with it, fights Sachiel but almost dies bc he missteps once, starts to panic, but mainly bc he’s never had any proper training prior gg NERV. Unit-01 goes berserk, violently kicks Sachiel’s ass, scares the living hell out of everyone watching etc.

At the end of Ep 2, after Shinji wakes up in the hospital and moves in with Misato, he remembers everything that night, traumatized:

The blood has settled, an already freaked out Shinji turns to see Unit-01 without its cool sci-fi unicorn headplate thing that it shed earlier in battle:

Oh.

It’s once again looking straight at him. Oh no this is much scarier than the first time plz no I want the yellow sci-fi Spiderman mask eyes back

Then Shinji understandably screams his lungs out ( and that’s when he probably fell unconscious? ) So now he’s back to fearing Unit-01 bc his Eva is a beast of a robot, on top of now having PTSD from the fight with Sachiel. Unit-01 protected Shinji twice now by going berserk, sure, but it’s also extremely unknown and frightening to him after in ways he couldn’t have expected when he first saw it— the primal kind of fear. ( side note: Primal fear, primal wants, and primal feelings, primal anything in general are a big thematic thing in nge, so it really lingers and comes back even harder in eoe )

Finally for the rest of his personal thoughts on Unit-01, badly summarized bc this is already 2 fucking long thank you to whoever’s still reading LMAOO: Shinji eventually gets used to piloting and tries to push the existential fear of his Eva to the back of his mind, mostly. He always wonders what it is exactly, once admitting that he really doesn’t know anything about Evas while peering into his NERV manual episodes later ( bc NERV is weird about everything and he’s too scared anyone ask past a certain point, ect ). Shinji thinks his Eva smells / feels weirdly calming to him inside despite being scary, but only when his life isn’t in violent danger. Things only suck whenever Unit-01 goes berserk / he loses control somehow / when he finds out certain truths about it. Youknow

On his opinions about Unit-01 aesthetically, I don’t think Shinji has any preferences that make him go ‘YES I totally vibe with this neon genesis green and purple it’s so me’ or anything, he’s just not caught up in the awesome looking giant robot idea at all ( Unlike Kensuke and Asuka ). For example his reaction was just ‘huh? oh... ok. I see?’ at Asuka when they first met when she was showing off shiny and red Unit-02 to him ( which is cool and cooler with a cape ). If you tell Shinji his giant robot is awesome and that you’re in love with the purple paint job, other than demurely acknowledge your praise, he might try to thank you surface level, very awkwardly bc he can’t take credit for that ( also will 1000/10 think that you remind him of Kensuke depending on who’s more intense LOL )

Confused and serious, I guess that’s Shinji’s attitude towards Evas in general ( minus when he’s not freaking out mhajsja ) and it fits the rest of his mild / boring / unassuming personality— like Kaji and Kaworu both said to his face, he can be clueless about his own position as a pilot and how it affects everyone around him. Like the random girls in his class, lots of people think Shinji’s cool for what he gets to do but to him it’s just a thing he has to do, for the most part.

On a sadder note, makes sense bc the only time we see Shinji enjoying something as a hobby is when he’s playing the cello and smiling, even then he just downplays his talent when asked. I think he would be a lot more passionate about music if his circumstances were better. That probably contributes to why he doesn’t care much about Evas in an aesthetic way either. But I think eventually, he’d come to prefer his own Eva just because of how familiar it would look and feel to him, plus his past experiences with it. Many ones.

Unrelated bonus note!! It’s interesting that Unit-01 is the only Eva with a completely different colour scheme when compared to its respective pilot’s plugsuit— in this case, Shinji’s plugsuit being blue and white instead ( as a side note Unit-13 is also purple and green but Shinji and Kaworu’s plugsuits match this time ) But why purple huh? My guess is that aside from wanting the main character’s giant robot to also stand out bc it’s special and awesome, Yui also wears a purple shirt in one of the later episodes showing a long flashback. That screencap stuck with me, idk why. Purple shirt confirmed in nge holy shit mind blown LOL jk in all seriousness we can only speculate. Maybe Yui’s fav colour was purple and Gendo decided to pay tribute to that when they made the Evas. Whatever headcanon hurts us more!

#skyvar #answer ; 𝐜𝐨𝐦𝐦 𝐥𝐢𝐧𝐤.#ooc .#meta .#bless you always give me random and awesome asks q-q #long post /

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brattywriters-anonymous · 6 years

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A Rose In Harlem

OC x Erik Story

Based on Teyana Taylor’s VII & KTSE

Warnings: Language

@chaneajoyyy

Chapter IX: Rize

February 6, 2014

22 HOURS BEFORE SHOWTIME.REHEARSAL, NINE PM.

"Ladies, Gents! Find Seats! Sit in them!" All twenty-four models followed Yani's request. We just wrapped our rehearsal, everyone did phenomenal. I can only pray that we get it like this at 583 Park Ave. Yani and I have been thee dynamic duo for the past seventy-two hours. I've been steaming outfits, she's been bagging accessories. I've been designing roll-away walls, she's been contacting every contractor in her contacts to design the black and gold glitter floors.

Honestly, in the past month, Yani and I have been on our hustle. I finished my last shoot and have been on go since. Erik and I have basically been like two ships passing in the night. I usually would leave before him, and come home after he arrived. We never talked about my father's birthday, our kiss..well..kisses. None of it. I've been too busy. Yasin and I have been texting here and there, but I haven't seen him either. He's been understanding about it though. The only person I've been spending my time with is Yani.

We've collectively gotten maybe eight hours of sleep in three days. So now, we're just exhausted and over it. We're trying to get this rehearsal over and done with. The theater's silence is my queue to step on the stage, I do so, scanning my models faces. They're looking like kids on Christmas Eve. So excited for what the next day has to bring. Their faces make me grateful, my smile spreads and everyone breaks out in applause. I decipher a few, "Yeah Syd!" "You did it girl!" and "Woos" in the crowd, I yield my hands up and down, they lower their yells. "Hey everybody, We're down to the wire here. We're less than a day away. We've been working our asses off for a month and a half. I couldn't have ever gotten this done without any of you. I'm excited for everyone to see our hard work. I'm even more excited for you to see your hard work pay off."

I point to Iyo in the control center, He dims the lights and lower the projector screen. "I now present to you.. UPTXWN." Applause rings out as the projector displays a drone clip of High Bridge among the sunrise and Syd's voiceover, "Uptown, Home of the greats. From The Bronx, to Harlem. The place I know, the place I love." The six models she started with appear on the screen, daringly sitting on the railing, laughing with one another in their high end garments. "Our hustles.. It always had this special..thing about it. We always went a little harder. Thought a little smarter. Emerged to the top a bit faster." Photos of me and all of Uptown's finest begins scrolling through from right to left. From a photo of me and Dapper Dan when I was fresh out of college. Diddy and I when I was an intern at Chanel. With Kerry Washington a bit after Save the Last Dance came out when I was twelve. Sistah Souljah, Kid Capri, Bianca (aka Young B), Cam'ron, Juelz, and Jim Jones back when Rock-a-fella were still together, Kalis, and finally, A$AP Mob & me when they were fresh in the game back in 2011.

"And when we're on top, we set trends. We define eras. Their stamps will forever be evident in our culture. Here's mine. Here's UPTXWN." All of the photos scroll backwards and the screen goes black for a few seconds. Images of the Big L tribute wall outside of the Harlem Up Deli Market, in black and white appear, then the same original six models; Sam, Levi, Von, Jade, Deanna, and Cass kneeling at different levels, crowded around the wall. Making sure not to block his face or name. Then Pretty Flako instrumental bangs through the theater's speakers. The TV flake transition changes to the Bailey house shoot. The drone shot pans around the corner of the property, all twenty four models posing looking like royalty draped in over $80,000 worth of clothes collectively. The visual pans over to a slowed down visual of Nina flashing her bottom grill, her thick frame vibing out to the up tempo beat. Then to Xierra kneeling beside her, giving face in her side profile. The screen shortly displays a wide pan of the property and models again, then switches to Levi. Iyo's suggested scene of displaying the details of his tattoos on his shirtless body-- while simultaneously showing the VVS necklace, the embroidery on the custom one of a kind jean jacket; came out perfectly.

The photos of each model in each of their looks scroll through at the right speed so each detail is fully displayed. Every model stands up, showing off as their photos went across the screen. As Gina's photoset emerges, I turn to the screen so I can roll my eyes. I instantly become reminded of how flirty she was with Erik before Yani had to snatch her up to take these. Yani stands beside me, peeping the entire scene, "Girl, suck it up. She in it now. Let's get it over with." I shake it off, turning back to the models.

The park Marcus Garvey Amphitheater scene pops up, it was a gloomy overcast. Which was perfect for the theme. As the looping instrumental repeats, each model was either sitting at the top of the folding seats, or crouched on the seat of the folding seats. The collective total of every look? $110,878. I'm lucky I got such great relationships with these clients and these models didn't fuck up any of they shit. The first visual was Von, on the center stage. His long hair hanging over his entire face. He rocked this black long open hooded jacket, shirtless. Displaying his massive musical themed chest piece. It gave me a grim reaper vibe that I was definitely looking for. The jacket was a piece I asked Chris Brown's people to create for their Black Pyramid line. They fucked with the vision and agreed to do it. Von flipped the bottom of the jacket back with force, the rest of the models appeared on stage, smoke filled the stage floor as the all black visual came to life. Gina and Cass rocked matching contrast dresses, Cass was the only model not in black that day. I put her in a white intricate lace Erdem Dress. Gina wore the matching Black dress.

Jade and Deanna were back to back. Jade was wearing a black deep v neck, with a leather ribbed comme des garcons jacket. With a cascading gold necklace reaching her stomach. Accompanied with black and gold aviator Louis Vuitton shades, Black ripped Levis I thrifted on the East side, and Jefferey Campbell's Legion booties. Deanna was wearing my favorite outfit of that day. A black long sleeved Oscar De La Renta ruffled shirt with cut out shoulders, a Burberry black ruffled skirt, and black Averil Doc Martin boots. Her bamboos and three finger ring spelling out her name put a street edge on her look that was near and dear to my Harlem bred heart. GG beat every woman's face and gave them the same cohesive smokey eye with the black, In The Spirit MAC lipstick. The only difference makeup wise was Cass' white undereye liner.

Once again the photos of every model starts cascading slideshow style. Johan was my second favorite look for that shoot, He rocked a black high low long sleeved Alexander Wang shirt, black distressed Givenchy jeans, and his personal black on black Ralph Lauren Hi Boots. I was going to put him in some other shoes, but I saw the ones he had on and they looked way better with the fit. We accompanied that look with a black Cuban link necklace, the matching bracelet, and Dolce & Gabana retro flip up round glasses.

Everyone's rave reactions trigger my tears of joy, it's all of our first times seeing the visual's final product and I couldn't be any more proud. This has really been my baby. I've nurtured it, I've put in the work for it. This moment was like its graduation. Everyone looks at me, "Awwwwww!" Yani gives me a big hug, "I'm proud of you, kid." I squeeze her, "I'm proud of us, kid." I push out a laugh.

The final shoot displayed the brownstones on Mount Morris Park, the street right outside of Marcus Garvey Park. Where my parents' old brownstone was. I only needed my original six for this one, since all twenty-four wouldn't fit on the stoop. That day, it was sunny. Not one cloud in sight. Perfect lighting for the intimate shoot. The theme was spring, specifically, pastel colors.

I dressed Jade in a pastel yellow Ted Baker maxi dress, I accessorized her outfit with vintage canary yellow teardrop earrings with a matching tennis bracelet. She wore some nude Christian Louboutin spiked peep toed heels. She stands up when she finds her face and yells while twerking, "Long Hair! Red Bottoms! Long Hair! Red Bottoms!" Everyone, including me burst out in laughter. She kept saying it so much during the shoot, I let her keep them. Paid the $1,500 tab too. Deanna was draped in a Monroe and Main white two piece suit with black accents on the collar and cuffs. We accompanied that with my personal pearls I got from my mom before she passed, some white Manolo Blahnic pumps, and some VVS diamond earrings while her hair popped in the sunlight. She wore her low cut with a rose gold tint. I put Cass in a pair of nude Emilio Pucci wide legged trousers, a White Alexander McQueen peplum top, and a matching nude blazer was draping over her shoulders. Her accessories was a silver double C Chanel choker, charm rings from Tiffany Co., and a vintage Chanel crossbody, gifted from Karl Lagerfeld himself. He said I needed something old for my collection.

The guys were matching my girls' fly. Von parallels Deanna with a Tom Ford cotton two piece suit, I laced him with some white Versace loafers with the gold Medusa emblem on the center, with the Cuban link chain Johan wore at the Marcus Garvey shoot, and golden Panthere De Cartier rounded sunglasses. Levi's parallel was for Jade's look. He wore a pastel yellow Calvin Klein. Accompanied with a large size canary ring on his index finger, and the Burberry vintage loafers. Sam paralleled Cass, in a nude ASOS suit with the matching vest. I kept it simple and just accessorized it with my dad's gold pocket watch and black Stacy Adams dress shoes.

I thought the presentation was over, but then the screen transitioned to me working behind the scenes. Me pointing and directing at the Bailey house, with the wind blowing like crazy, me filming on Highbridge at the crack of dawn, Iyo even snuck some footage of the meeting we had in Morningside Park. It looks like Yani snuck some footage of me putting the image board for the fashion show stage together as well. I'm just admiring the scene of watching the hard nights and amazing days I shared with an incredible team. The last shot was me sitting on my old stoop. I was just reminiscing, thinking of how my mom, dad, and I would eat ice cream in the spring in the same spot. I looked up, as I normally do when thinking of them, put my hands together and mumbled, 'allah , shkraan lak.' The camera was too far to catch my phrase. Afterward I bowed between my legs so I could have my emotional moment to myself.

Everyone hops on the stage to crowd around me and initiated a group hug. Once everyone slightly disbursed, I see Gina still sitting in the audience with Erik, I guess he just got here. I hear the doors open again and see Yasin, smiling at me.

By half past 10, everyone had gone home except for Yani, Nina, Gina, Erik, and Yasin. Nina is waiting on Rashad to pick her up, and I guess Gina is looking to Erik to take her home. She's literally been all up under him since his arrival.

"Tomorrow's gonna go great, babe. You got a great team behind you, you've been super focused. It can't go any other way." Yasin lands a kiss on my temple as I blush at his encouragement. I blink in Erik's direction, he's giving the same look he gave us at Rashad's party. He then grips Gina, pulling her closer to him, "Yeah. You got it Syd. We gon head out. See ya later." with that, Erik and Gina strut to the exit. Nina's phone dings, "Oh, bae is here! See ya tomorrow Syd! We gon kill it, boo!" She hugs me and Yani then jogs out the double doors, "Nice seeing you again Yasin!" he nods, "You too!"

"So tell me something about you, Sin! I've only talked about me when I see you. What was lil Yasin like?" We are strolling down Saint Nick Avenue after getting grilled jerk chicken from King Barka. We decide to sit on a park bench right outside Saint Nick Park to chat since I wasn't quite ready to go home. "Well, I was born and raised in Brooklyn. Flatbush. My moms is from Brooklyn as well. My dad's side of the family is from Harlem, the eastside, but they love uptown just as much." I grin as he continues, "I was a bad ass kid growing up. Always fighting, getting into trouble at school, I even got expelled in middle school." "Well damn! How did you go from that to--" I wave my hands around his silhouette, "This?" He takes a bite out of his chicken and flashes a sexy smile, "My mom sent me to live with my Uncle. The one that retired and gave me the maintenance business."

"Ahhhh, I see. He whipped you into shape?" He snorts, "Oh, he whipped me alright. A lot. He taught me what it is to be a man." "Where was your father?" He continues eating, pausing his story for a spell, "Uh.. He was in prison. He pushed weight for about ten years, he got caught up. He didn't snitch, so he got twenty. He got out after eight years for good behavior." "How's your relationship with him now?" He shugs, "We're cool. We had a little spat when he first got out. I had to be the man of the house for a while for my moms and sisters. I resented him for it." I take a hold of his free hand, "We patched things up recently." "So him and your mom still married?" He nods, "Yeah. Moms held him down. That lady.. She deserves the world." He finishes his dish as he glows at the mention of his mother.

"She had to get two jobs before I turned sixteen and worked with my Uncle. She held down our household for three years, alone, before I was able to step in and help her. After that, she went back to school. She finished the year before my pops got out, now she's a nurse. Doing what she loves to do." "That's great. That's what life is about, doing what you love." "Definitely." He throws away our empty plates and we keep walking down the avenue, "So what do you love to do Yasin?" "I love music." I stop in my tracks.

"Let me guess, you rap?" he sucks his teeth, "Nah, girl. I play instruments. Three; Acoustic guitar, piano, and snare drum." "Ah, okay! When did you discover your talent?" "I was... ten, I think?" "You make songs?" He pulls a slick move behind me, grabbing me by my waist. I roll my eyes as we continue to walk, "I haven't made a song in five years." "Why not?" I feel him shrug behind me, "I've been busy." I turn around to grab his hands, "You're never too busy to do what you love." He smiles at me, I sense the same glow about him that he had when he spoke of his mom. "Especially when it makes you this happy...just talking about it." Yasin closes the gap between us, "Maybe, you're right. Look at you. Doing what you love. You're inspiring Syeda. Beautiful, too." He strokes my left cheek with his palm. I freeze, much like I did a couple weeks back in my apartment with Erik.

Speaking of Erik, I wasn't sure what I wanted to do about what happened since my dad's birthday. I guess Erik knows what he wants, and that's Gina. So why am I freezing? What's stopping me? All of a sudden my inner thoughts are silenced when Yasin seals our distance, gently kissing me. My knees buckle and he hoists me up by my butt, cuffing the bottom of my cheeks. That makes me even weaker, he breaks off from me, "Damn girl. You good?" My eyes flutter as I respond, "Yeah. Yeah. I'm good." I pull him by his shirt to kiss him again.

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blue-written · 3 years

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Critical analysis | Screen Studies

‘Sunny’: Tales of Girlhood and Sisterhood (2018)

Synopsis: Go-Go Sisters tells the humorous and emotionally-packed story about a group of six high school friends - the Wild Horses (Ngựa Hoang) - who are reunited after 25 years when their group leader, diagnosed with Stage Four lung cancer, approaches death. As the group meets again to fulfill her dying wish, their stories run parallel between 1970s South Vietnam and the war-free present days. Audiences get to witness the young, boisterous, hope-filled Wild Horse girls in juxtaposition with their now grown-up selves who have settled into rather mundane lives. The movie is a tribute to adolescence, friendship and identity, unravelling through the perceptions of high school girls filled with youthful aspirations, going through the most turbulent and glorious years of their lives.

Go-Go Sisters (Tháng Năm Rực Rỡ), a localised adaptation of the 2011 South-Korean hit comedy-drama Sunny, has become one of the most successful Vietnamese productions of all time since its release in March 2018. Despite closely adhering to the original South-Korean storyline and character blueprints, GSS stands out in a market saturated with remakes suffering from the ‘xác Việt hồn Hàn’ (translation: Viet vessel, Korean essence) symptom. GSS’ success as a transnational remake is largely due to the filmmakers’ astute recognition of the ‘cultural differences regarding notions of gender roles, family structures, historical settings and social dimensions’ between South Korea and Vietnam (Park 2003). This essay deconstructs the alterations in formal features and cultural conventions across the two films to explore how context-specific ideological codes can be adapted to resonate transnationally and cross-culturally, a central element to a film remake’s overall performance.

Reconstructing Mise-en-scene

“The GGS cinematic world of post-unification South Vietnam nonetheless exudes an enchanting, nostalgic beauty, that of French-style architecture, worn school buildings and mossy hospital walls.”

According to Graeme Turner (2003, p.85), a movie’s mise-en-scene plays a key role in ‘authenticating the physical setting, time period and social climate of the cinematic world being constructed’. One obvious culturally-charged modification to the Vietnamese adaptation of Sunny is the 25-year time gap between the Wild Horses’ first encounter in 1975 and their reunion in 2000, arranged to match Vietnam’s timeline of pivotal events. Specifically, the Wild Horse girls were separated after the Liberation of Saigon in 1975, and their meeting in 25 subsequent years coincides with President Bill Clinton’s diplomatic visit to Vietnam in 2000. This alteration acknowledges Vietnam’s history immersed in war and establishes Western colonization as part of the nation’s identity. GGS’ mise-en-scene thus depicts a 1975 Đà Lạt immersed in the French rock music, English literary installments, US indie movies and colorful retro outfits enjoyed by many Vietnamese youths of the time. The movie’s production design is packed full of familiar artifacts and customs that portray an average Viet household’s everyday life, whether through the use of outdated loudspeakers as the primary mode of announcement or Hiểu Phương's family meal consisted of traditional Viet dishes. Notably, Hiểu Phương's “get well" gift to her mother was switched from the original Chanel handbag to a humble pocket cassette player. In fact, the whole movie employs a toning down of lavishness compared to its South-Korean predecessor to convey the inferior socio-economic reality of a developing country still recovering from a long history of war and invasion. The GGS cinematic world of post-unification South Vietnam nonetheless exudes an enchanting, nostalgic beauty, that of French-style architecture, worn school buildings and mossy hospital walls. This physical setting is almost symbolic of the Vietnamese collectivistic way of living: the overlapping apartment blocks in which Hiểu Phương's extended family resides, the communal yards ever-occupied by playing children, the park areas in which elderly ladies gather for morning exercises. GGS' mise-en-scene thus vividly depicts not only Vietnam’s historical and cultural distinctions but also ‘the nature of the social world in which its people operate’ as a collective unit (Turner 2003, p.85).

Enriching Known Archetypes

“The construction of the Wild Horse girls as individuals with distinctive identities wielding strong female agency, not merely Sunny’s Vietnamese counterparts, reaffirms the need for cinematic representations of non-stereotypical women [...]”

South-Korean romantic comedies and melodramas have long foregrounded the construction of ‘well-developed Asian characters who form deep and complex relations with their families and friends’ (Park 2003, p.96). More importantly, an array of ‘femme anti-heroines’ has emerged from this ‘historically-feminized genre’ to challenge the traditional portrayal of Asian women as ‘marginal narrative devices existing to cement central male homosocial relationships’ (Park 2003, p. 97). Indeed, while Sunny (2011) delivers an ensemble of strong, complex and entirely-female protagonists, its Vietnamese adaptation has further elevated these roles through culturally-informed characterisation adjustments. Filmmakers omitted the existence of Sunny’s 7th member Geum Ok entirely from GGS; her character who dreams of becoming a writer only to end up as a stay-at-home nanny for an overbearing sister was deemed redundant since her personal tragedy was a prevalent reality for many Vietnamese women in the 2000s. It wasn’t uncommon or tragic for early 2000s Vietnamese women to suppress their personal aspirations to fulfill child-rearing and housekeeping social expectations. Instead, Geum-Ok’s passion for writing was transferred to Hiểu Phương’s character while her childcare responsibilities were assumed by Lan Chi (Jang-Mi in the Korean version), who now has a 5-year-old daughter. In addition, Lan Chi becomes a pawnbroker instead of a life-insurance sales agent since her original profession remains relatively unknown to the Viet populace. Though both struggling, Lan Chi assumes a bossy persona that manifests most evidently towards her ‘customers’ slash underlings, whereas Jang-Mi appears more subdued and beaten by her circumstances. Lan Chi’s determined attitude and endearingly aggressive front represent the classic gruff, yet caring Viet personality trait. In the same considerate manner that Jang-Mi was adapted, the foul-mouthed Jin-hee who married a rich but unfaithful husband was transformed into Thuỳ Linh, a ‘cougar’ socialite conned by young, attractive gold-diggers; her character elicited much laughter and adoration by appealing to the Viet audience’s particular brand of humor. The construction of the Wild Horse girls as individuals with distinctive identities wielding strong female agency, not merely Sunny’s Vietnamese counterparts, reaffirms the need for cinematic representations of non-stereotypical women whose characters gain ‘nuanced meanings through specific sociocultural contexts’ (Xu 2008, p.196).

Local Music As Narrative Device

The tragic lyrics concealed behind the upbeat melody of Kim mirrors Mỹ Dung's fate, the tough, protective group leader plagued by cancer whose demise serves as the catalyst that reunites the Wild Horses in the present time.

Instead of recycling foreign tracks like Touch by Touch, Girls Just Want to Have Fun or Sunny, composer Đức Trí has cleverly evoked the Rock-infused musical experience of 1970s era Vietnam through a lively soundtrack consisting entirely of rearranged classic Viet hits. Demonstrating the contextual role of music as a ‘source of atmosphere and point of cultural reference in the construction of the cinematic universe’ (Turner 2003, p. 93), songs like Kim, Vết Thù Trên L��ng Ngựa Hoang, Ngày Xưa Hoàng Thị, Tôi Muốn or Niệm Khúc Cuối provide the perfect thematic soundscape for a movie centered around the rediscovery of youth in 1970s Vietnam. Among these, Vết Thù Trên Lưng Ngựa Hoang (translation: The Wild Horse’s Indignation) contains a special narrative significance as the inspiration behind the Wild Horses name - an explosive Rock classic symbolic of the girls’ exuberant characters and adventures. The song is played throughout the climactic fighting sequence between the Wild Horses and their rival gang, interlaced with a Republican protest gone wrong due to police intervention, becoming a musical backdrop against which the fiery resolution typically found among young, spirited individuals is captured and highlighted. Another important musical piece that ties the whole movie together is Kim, written by Y Vũ about a beautiful nightclub dancer suffering from a life-threatening heart disease. The tragic lyrics concealed behind the upbeat melody mirrors Mỹ Dung's fate (Chun-Hwa in the Korean version), the tough, protective group leader plagued by cancer; her demise is also the catalyst that reunites the Wild Horses in the present time. It is only fitting that Kim is the song Wild Horses practised performing together in their youth, and once again at the end of the movie to fulfil their friend's dying wish, becoming a narrative device that bands these girls together across 25 years of friendship. The use of music throughout GGS thus showcases its capacity to not only ‘invoke whole areas of cultural experience’ but also ‘serve key narrative functions’ (Turner 2003, p.94).

Conclusion

Go-Go Sisters owes its success as a transnational remake to the various modifications across cultural conventions and formal features to ‘appeal to local and regional histories, cultures, tastes and trends’ (Park 2003). Namely, the movie’s mise-en-scene brings to life the worn yet timeless beauty of South Vietnam by incorporating the country’s history and customs into its set design, simultaneously presenting central aspects of the Viet people’s collective identity on-screen. Through appropriate characterisation adjustments, GGS has added new, socio-cultural specific layers of meaning to the ensemble of endearing, complex female characters who easily receive the adoration of Viet audiences. With the musical and narrative capacity of an entirely Viet soundtrack, the themes of rebellious youth in the midst of the Vietnam War, the subsequent separation of loved ones and the eventual reunion between friends are explored in all their complexity, thus adding an emotional depth to the film that appeals to both young and old generations of Vietnamese people.

References Yonhap News 2018, Vietnamese remake of 'Sunny' rules box office for first week, Yonhap News Agency, viewed 9th August 2018, <http://english.yonhapnews.co.kr/news/2018/03/13/0200000000AEN20180313003000315.html>

CJ E&M 2016, Global Success Story of Korean Films, viewed August 15th 2018, <http://english.cj.net/cj_now/view.asp?bs_seq=13628&schBsTp=2>.

Park, J. C. H. 2010, ‘Remaking the Korean RomCom: A Case Study of Yeopgijeogin geunyeo and My Sassy Girl’, in Black, D., Epstein, S. & Tokita, A. (eds), Complicated Currents: Media Flows and Soft Power in East Asia, Monash University E-Press, Melbourne, pp. 92-103.

Turner, G. 2003, ‘Film Languages’, Film as a Social Practice, 4th edn, Routlegde, London and New York, pp. 65-95.

Vietnam Advisors 2018, Film Premiere: Go-Go Sisters, viewed 9th August 2018, <http://www.vietnamadvisors.com/film-premiere-go-go-sisters/>.

Xu, G. G. 2008, 'Remaking East Asia, outsourcing Hollywood', in L. Hunt & L. Wing-Fai (eds), East Asian cinemas: Exploring transnational connections on film, I.B. Tauris, London, pp. 191-202.

#movie review #movie analysis #cultural analysis #screen studies #film theory #posts text #sunny (2011)#go-go sisters

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kratomoflifesanctuary · 4 years

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Did you know that kratom trees produce beautiful tropical flowers? Kratom, a tree from the Rubiaceae family creates yellow globular alien-looking flowers. These peculiar trees reproduce great in humid places of South East Asia such as Thailand, Malaysia, and Indonesia. When kratom seed pods ripen to full maturity, the flowers explode and lots of seeds get dispersed in the air. Mitragyna speciosa is a precious explosion of passion, a tribute to life’s natural creations, and an eruption of fertility, fruitfulness, parthenogenesis, fecundity, richness, vivacity, and abundance.

Kratom is a fertile evergreen tree that has male and female reproductive organs within the same flower.

Kratom is a multipurpose ornamental tree.

From a spiritual and psychological perspective, kratom trees teach us about the importance of unity and togetherness. They also teach us to be autonomous creative beings. From Jungian Psychology, these trees are a great symbol for the union of the conscious and the unconscious mind.

While Mitragyna speciosa is a hermaphrodite, others refer to kratom as bisexual trees. So, what exactly does it mean to be a hermaphrodite/bisexual/perfect tree? It simply means that the flowers on hermaphroditic trees can pollinate themselves. From Gestalt Psychology, kratom is a powerful and holistic, self-sufficient tree; a perfect symbol of coexistence, symmetry, and singularity.

These visionary trees with golden globular floral alien-looking heads are teachers of adaptability, serenity, resilience, and androgyny.

Kratom trees scream the Frida Kahlo’s motto: VIVA LA VIDA.

***Remember, flowers and seed pods of kratom trees are the same.***

Imagine playing music underneath kratom trees. The sun… up in a clear sky. Traveling clouds. Fresh air. A river of pure water flowing. Birds singing. And giant green trees all around…

From a Jungian perspective, kratom is a positive psychological archetype of shared, visionary cosmic beingness. Mitragyna speciosa teaches us to be comfortable in our own skin. Mitragyna speciosa teaches us to not be ashamed of the nature of our spirit.

Kratom trees are a symbol of self-procreation, which interestingly enough (somehow) connects with Lemurian roots. Ancient Lemurian mythology makes reference to peaceful, androgenous supernal beings that once existed on this earth.

And let’s not forget that the word “kratom” comes from the Sanskrit word “kadam.” Sanskrit is an ancient liturgical language of Hinduism. Kratom, derived from the word “kadam,” means “sacred plant.”

Kratom is the tree of truth, strength, loyalty, valor, honor, and leadership.

The work is in you.

The respect is in you.

Earn your crown of leaves.

Discover the green magic.

Kratom is a Sacred plant with a beautiful headdress, a symbol of influence, strength, bravery, and embellishment of the body, mind, and spirit.

Green Life. Green Hope. Perfect Balance.

Kratom is the union of universal opposites in all its particles.

Kratom is harmony in all dimensions for it is a tree of life.

Mitragyna speciosa trees have provided comfort for thousands of years to the natives of South East Asia. Come under the shade and let’s talk about hyperdimensional ways to save kratom in America and the rest of the world.

From a Native American Perspective, Mitragyna speciosa is a two-spirit ancestor tree. No doubt kratom has profound roots into the human cosmic psyche. Kratom is a tree of rich cultural, historical, spiritual, and mythological wisdom.

“Never try to heal the body without first having healed the soul. Observe your Nature,”

says the Master Creatrix of the universe.

We are all pilgrims just passing through the earth. Everyone chooses to take care of their biological suit in their own way. For it is the earth a cosmic transit center. Everything is movement. The universe rotates. Why and what are the teachings, the lessons for? It’s just a matter of asking the universe.

Enjoy and follow the Adventures of Miss Kratom!

She is using the time on earth to prepare herself for the next life. She forgives. She embraces humanity. She accepts her humanity. She lets go of her body. She blows off her humanity… out, out of her body. She goes up the ladder of glitter, embraced by the wise vine of the souls so that her body can transform into precious, vibrational light.

The war of information… the clashing of paradigms is ubiquitous. She is awake. A world drowning in words. A world drowning in paradoxical ignorance. She is no savage for her heart follows the cyclic rhythms of the universe. A plastic world created and disconnected from its mother, from its wisdom, from its freedom, from its mysticism. After years and years of colonial conditioning and social engineering… Confusion. And ignorance… She NOW more than ever believes in the powerful healing properties of the sun and the moon and the earth and the rain and the wind and the ancient spirit of the sky. They cannot take that away from her. The harmonious connection has been established.

She is now ultra-supra-connected to the spirit world and the tree of life.

Get your armor on and fight the earthly demons with kratom.

#SpiritualTranscendence

#ProductiveKratom

#GigiIllustrations (GG)

https://kratomoflife.com/kratom-psychology-the-tree-of-divine-sacred-union-harmony-interconnectedness/

#onlinekratom #southerncaliforniakratom #coachellakratom #palm springs kratom #riverside kratom #losangeleskratom #phoenixkratom #nevadakratom #montanakratom #bigbearkratom #oregonkratom #arizonakratom #texaskratom #newmexicokratom #Guadalajarakratom #TijuanaKratom #Mexicokratom #CanadaKratom

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joel-furniss-blog · 7 years

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True Crime and Serial Killer Art

Speaking on social taboos, the subject of death and surrounding issues regarding it remain one of the most prominent today. In multiple different societies there have been traditions to avoid omens relating to death or the deceased. The indigenous Shuswap people of Canada treat widows and widowers as unlucky to hunters and seclude them from the tribe. Among the Agutainos of the Philippines, widows may not leave their huts for seven days after a death, and it is said whoever looks upon her perishes suddenly. Although we have eased on the idea through the centuries and built a much more sound understanding of it, it still remains a subject that we don’t talk about on a regular basis, despite its presence and inevitability within our own lives. More than half of Britons are unaware of their partner’s end-of-life wishes and I’m assuming some don’t even know their own.

The reason is we don’t want to die. It’s simply in our nature to survive for as long as possible. But there remains an interesting case about dying that both intrigues and disgusts us. Murder.

In 2015, Making a Murderer was uploaded to Netflix, an episodic documentary detailing the story of Steven Avery, a man convicted for the murder of Teresa Halbach and the case surrounding it with the overarching question on whether Avery’s conviction and imprisonment was wrongful. The series received around 19.3 million viewers in the US alone, all watching the evidence unfold on whether Avery was wrongfully convicted or not, a real person in real life. The series was basically reality television at its logical peak, directly dealing with life and death. It’s interesting, we understand these subjects as demanding respect and reverence, but can’t help but gawk. Despite being a taboo, death fascinates us to no end, especially the subjects of these crimes or murder cases which breed intrigue into the reasoning on why we would kill our fellow humans.

This fascination is manifested within the True Crime genre, a non-fiction literary and film category in which actual criminal activities and details are analysed and recorded for entertainment. The genre appears in many forms, literary work such as the Vincent Bugliosi’s Helter Skelter detailing the Manson murders, television such as the previously mentioned Making a Murderer, films like the dramatized Zodiac by David Fincher retelling the Zodiac Killer’s crimes, or podcasts like the popular Serial which narrated the real life murder of Hae Min Lee. In other words the genre has spread itself over all media and has become virtually inescapable to most media-watching people and we can’t help but continue to watch due to a shared sense of morbid curiosity or perhaps an infatuation with these characters.

Nowadays the documentary works account more sensationalist crimes and focus more on the profile of the committer rather than the crimes and victims themselves. The serial killers or mass shooters are displayed as psychologically layered and charismatic characters rather than morally reprehensible killers. People like Ted Bundy, Jeffry Dahmer, and John Wayne Gacy are seen as pop culture figures subject to their own biopics and documentaries exploring their every move as if they were celebrities. Some murders even went on to inspire popular movie franchises such as Ed Gein, whose grisly habit or creating trophies from his victim’s skin and slight oedipal relationship with his deceased mother inspired famous movie villains Leatherface, Buffalo Bill, and Norman Bates. We’re infatuated with these people and their crimes, the idea of them taking the life of someone else and defacing their corpses is so alien to us as regular minded individuals that we can’t help but stop, stare, and shake our heads. But some people take it further than simply looking at a distance.

Hybristophilia (also known as Bonnie and Clyde Syndrome) is which one feels arousal and facilitation for someone who has committed a serious crime such as armed robbery, rape, and murder. The paraphilia can be experienced in either passive or aggressive ways, with passive hybristophiliacs often writing romantic or sexual fan mail to notorious criminals, sometimes even developing a romantic relationship with them resulting in marriages behind bars. Most hybristophiliacs have delusions about their idols, rationalising their crimes, believing they would never harm them, thinking they can change their lovers for the better, or actively putting themselves into positions in which they can be seduced or manipulated. Aggressive hybristophiliacs are different as they are willing to help their lovers with their criminal agenda via luring victims, hiding evidence, or even helping commit the crimes. They are attracted to their partners due to their psychotic actions and are unable to understand that they are often being manipulated or abused as well. Psychologist know little about this paraphilia but hypothesise that the hybristophiliacs are submissive victims, narcissistic enablers, or vicarious thrill-seekers. Some believe it’s the natural pinnacle of the ‘caveman’ mentality, where traditionally masculine and aggressive figures are seen as more attractive than others.

In this age it’s much easier to see examples of this paraphilia. On blogging site Tumblr there is a fandom of often teenage girls who obsess over Eric Harris and Dylan Klebold, the perpetrators of the Columbine high school massacre, and create video and photographic montages and tributes to the deranged teenagers they saw as outcasts and underdogs, even affectionately referring to themselves as ‘Columbiners’. Other internet communities such as ‘Incels’, a group of sexually frustrated men, herald Elliot Rodgers, a misogynistic mass shooter responsible for the 2014 Isla Vista killings as a saint figure due to him sharing some of their views. This is the case for many murderers online. You can type in the name of a famous serial killer into Tumblr and find blogs and posts dedicated to him, even sexual fanfictions between them and a non-descript self-insert character designed to represent the reader. Some of this worship is either ironic, for humours effect, or simply just to be edgy, (which is why I found interest within this) but many of them do see a small piece of themselves within these people, a cut of self-loathing outcast and edgy passion they can identify with. Because often the idols they herald are youthful and full of hate, and this overly emotional position can lead them to creative outlets.

For example, the previously mentioned Columbine shooters often expressed themselves through their uncommon fashion choices, enjoyment of alternate music, radical political opinions, and a series of videos for a school project entitled Hitmen for Hire in which the two swore and yelled violent statements at the camera in between acting out shootings on students in the school’s hallways. The video is embarrassing to watch and is reminiscent of many people’s cringeworthy teenage years when they thought rebelling against the norm was the coolest and a completely new idea, when in reality it always comes off as lame and a massive blunder in the future. The same goes for Isla Vista killer who wrote a 107,000-word manifesto entitled My Twisted World: The Story of Elliot Rodger, in which Rodger’s discusses key events in his life that led him to his delusional and psychopathic state. I haven’t read the entire document as I don’t have the ten hours it takes to read, but from the experts and snippets I have seen the document reads horribly and in explaining himself and trying to spur sympathy or profess his superiority, Rodgers comes across as a whiny, unaccepted 14-year-old too big for his britches rather than a twenty-two-year-old adult.

The reason I draw attention to these people is that I’m interested in the theme of creativity within murders and mass shooters. Many serial killers either produce drawings and paintings before or after they are incarcerated, drawings and paintings that are documented online. They range in quality and merit, with some being near photorealistic recreations, highly stylised sketches, and colourful and detailed paintings while others are the most basic of sketchbook doodles. But there always remains something interesting to each one, whether it be the execution (of the art, not the killers) or the subject matter. For example, John Wayne Gacy’s works were deeply rooted within pop culture with him painting figures such as Charles Manson, Pennywise the Clown from Stephen King’s It, the titular Seven Dwarfs from Snow White and the Seven Dwarfs, and punk singer GG Allin. He even showed a small knowledge of the artworld with a grotesque painted recreation of Salvador Dali’s In Voluptas Mors. Another murderer who had a passion for the pencil was Danny Rolling who’s highly detailed and meticulously sketched pencil drawings show elements of surrealism, gothic and heavy metal imagery, and some running themes of popular figures such as Hitler. The drawings are disturbing yet technically impressive and stylistically interesting (some are even for sale online) and perhaps if he wasn’t a psychopath he could have found success.

There’s a particular work by a particular murderer I would like to look at. Richard Ramirez AKA the Night Stalker was an American serial killer, rapist, and burglar who operated in the Southern California area between June 1984 and August 1985 before being convicted of thirteen counts of murder, five counts of attempted murder, eleven counts of sexual assault, and fourteen accounts of burglary. Ramirez’s art was poor, mainly done on notebook paper with biro pen or coloured crayon and featured themes similar to the previously discussed killers, pop culture icons and gothic/heavy metal imagery to create unthreatening and frankly lame pieces. But one stands out from the rest by evoking an unsettling feeling within the viewer, an untitled drawing depicting Ramirez’s favourite actress Abigail Breslin. The drawing appears to be almost entirely made with black biro sans the lips which are a shade of deep crimson and scrawled with an unidentifiable material (possibly felt tip), all drawn on a piece of thin, folded, off-white paper. While the technical style of the portrait is poor and hasty, I find an infatuating quality surrounding it, one element is drawn from the style itself. It is a simple line study and form register, featuring no shading what so ever and sparse detail, for example, the ears are left blank, the natural flow of the hair is only alluded to with some scattered lines, the nose is only represented by a single line, and the eyes are totally undetailed except for a pair of pinprick pupils. Another factor is how some of the lines in the image falter before they can connect, examples found in the left shoulder line falling just short of the neck, ponytail trailing off into noting and right corner of the dress missing a connection. The most prominent feature of the drawing is the lips, almost grotesquely oversized and curled upwards in a sickeningly dead smile at the viewer, the deep red almost seeming like a bloody gash in the otherwise plain white image. The blood red slit for the mouth, the dead and unblinking eyes and the not-all-there composition make the image deeply unsettling even without the context of Ramirez’s heinous crimes and the knowledge that the subject was less the sixteen-years-old when Ramirez drew her. Paired with that knowledge it is a horrifying piece that can make the skin crawl.

While some might think that writing about and shinning a light on these deranged killers to advance my own visual art may be amoral or at least cause for concern, the idea is one I wanted to explore at the start of this project. I want to learn how one can be different, break taboos, transgress standards yet still be accepted, this is a good way to explore that. In dealing with this unspeakable yet fascinating taboo of murder and sexual assault I’m gaining key information and a creative stake in my project that will hopefully help advance it in a visual and conceptual way. Also, creating work based on serial killers is very edgy.

I would also like to stress that I do not support any act of murder, rape, or other crime done by anyone mentioned in this document.

#contextualresearch #studioculture2

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gear-project · 5 years

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Are you a metalhead?

You’d think people would know that by now.

I’ve been explaining it for years it seems like.

https://gear-project.tumblr.com/tagged/GG+Music+Tribute/chrono/

https://gear-project.tumblr.com/tagged/GG+EX+Tribute/chrono/

https://gear-project.tumblr.com/tagged/BlazBlue+Music+Tribute/chrono

https://gear-project.tumblr.com/tagged/GG+Music/chrono

https://gear-project.tumblr.com/tagged/GG+Lyrics/chrono

https://gear-project.tumblr.com/tagged/Lapis+Lazuli/chrono

#TUNAGE #TUNAGE!

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musemash · 4 years

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CineFacets proudly presents KWAIDAN (Ghost Stories), a much-acclaimed 1964 film by Japanese master MASAKI KOBAYASHI. This cinematic gem utilizes splendid cinematography and exquisite art direction to tell four supernatural tales: The Black Hair; Woman Of The Snow; Hoichi The Earless; and In A Cup Of Tea.

We were delighted to stumble across an excellent copy of the film on the Internet Archive, featuring English subtitles. So we are happy to share it – along with some outstanding film clips, music videos, tributes, and reviews. If you don’t like spoilers you can skip to the full movie, at the bottom of the page. Be prepared to be both entertained and spooked!

Black Hair https://www.youtube.com/watch?v=Gg-QtyDy5pU Snow Woman https://vimeo.com/153867209 Hoichi https://vimeo.com/153830426 Trailer Commentary https://www.youtube.com/watch?v=etZY_Y6mWw8 Film History https://www.youtube.com/watch?v=IJzURlrIJZ4 Kobayashi Tribute https://vimeo.com/411780220 Reviews https://www.youtube.com/watch?v=bzgHk8JZ1Fw https://www.youtube.com/watch?v=etZY_Y6mWw8 https://www.bfi.org.uk/features/watch-cult-classic-7-kwaidan https://www.alternateending.com/2018/03/kwaidan-1964.html https://lwlies.com/articles/kwaidan-masaki-kobayashi-japanese-ghost-tales/ https://theweereview.com/review/kwaidan/ https://gokhaleaditya.blogspot.com/2015/11/kwaidan-1964.html Kwaidan: Full Movie https://archive.org/details/ultragoji_yahoo_K01/K+01.mp4 https://archive.org/details/ultragoji_yahoo_K01/K+02.mp4

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ianfaulkner1-blog · 5 years

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ICW is the Indian fashion industry’s most prestigious platform. It’s the ideal destination for anyone looking for exclusive, luxurious fashion. Not only do designers present their freshest and most desirable ensembles here, the latest trends in Hair and Makeup are also unveiled at ICW,” says Sonic Sarwate, Senior Global Make Up Artist, MAC. Ten leading India dazzled in the finest sphere of style, craftsman ship and opulence at India couture week 2019.

Day 1- Amit Aggarwal

Introduced his Couture 2019 collection ‘LUMEN’,iInspired by the exchange of light through an overlay of framework, fluidity and form. Kiara Advani was the showstopper and muse for ‘LUMEN 2019’ at Amit Aggarwal’s opening show for India Couture Week.

Footwear by: | Stylist by:Day 2-Suneet Varma

Suneet’s Couture ’19 collection is titled Amara. “India has a century-old love affair with couture, or made to measure for pleasure. There is no denying the luxurious indulgence of precious finery, the magical beauty of one-off embellished wedding attire and the sparkle of personalized jewels that are made to match with it,” says the couturier.

Day 3-Mosaic is an art form made by assembling small pieces of glass, ceramic or other materials and is often used as a decorative technique in architecture. Byzantine empire when it was gloriously used on walls and ceilings in basilicas and churches. Pankaj & Nidhi’s couture collection is a tribute to this period of magnificent ornamentation and the duo have interpreted this with the same artisanal dexterity on textiles.

Jewellery by:Day 3- Rahul Mishra

A romantic articulation of the wildflowers and undergrowth from a nature dwelling, based on excresent memory that is fueled by imagination. Rahul Mishra’s collection was based on his childhood memories.

Day 4- Sulakshana Monga

The Sulakshana Monga Bride is confident and experimental with her sense of style as she keeps in mind her homeland’s rich history and culture. We saw a lot of play in the patterns, we have used frills, rafia and feather. The beautiful Malaika Arora walked the ramp for Sulakhshana Monga.

Day 4- Shyanal and Bhumika

Celebrated and renowned coturiers Shyamal and Bhumika’s Indian Couture Week Collection for the season is inspired by the iconic period of renaissance which marks the rebirth of art, architecture, music, couture and theatre from the medieval ages to modernity. Bollywood star Kriti Sanon chose to walk for Shyamal and Bhumika.

Jewellery by:Day 5- Reynu Tandon

Depicting a contemporary fashion saga, the usage of easy on the eye hues and the miraculous details will take over your heart. The Savanah Saga collection presented by Reynu Tandon was mesmerisng. Stunnig Rakul Preet embraced the ramp for Reynu Tandon.

Jewellery by: Day 5- Falguni Shane Peacock

‘Bonjour Amer’ which was presented at the India Couture Week. It was inspired by the magnanimous Fort Amer, situated in the Pink City of Jaipur.The young and effervescent Sara Ali Khan looked exquisite as she walked the ramp in an antique white, crystal cascaded lehenga at the India Couture Week.

Styled by: Rk jewellers

Day 6– Gaurav Gupta

With obsessive attention to detail, for his new couture collection ‘Undercurrent’, Gaurav draws inspiration from the fierce waves of the dynamic ocean that flow in a rhythmic concentricity. The collection is full of electricity and boundless in its form. A Moment Marked In Time’ Debuting Gaurav Gupta Occasions Jewellery Diipa Khosla and Diana Penty made an electric statemen in GG ‘Undercurrent’ couture marking our 15th year milestone.

Day 7- Tarun Tahiliani

A symphony of intricate craftsmanship and redefined traditions. Juxtaposing iconic European construction with classic Indian styles and embroideries, his new couture collection carried rich heritage into a modern way of life. Jewellery by:Chckout more links like these: A Parisian Symphony By Shyamal and Bhumika At Amazon India Fashion Week! | 10 Dream Brands and Their Flagship Stores in Delhi | | This Winter Look Haseen, With Abhinav Mishra’s New Fall Winter 2017 Collection – HASEEN

#>Dyuti #d03166;#>#>Mohi #d03166;><em> Naryan #d03166;>#d03166;><strong>House #d03166;>Archana #d03166;><strong>Rk #d03166;">

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gbhbl · 5 years

Text

The Duke of Spook, Wednesday 13 has returned from beyond the grave to reveal the Necrophaze! This latest album will be available on 27th September via Nuclear Blast Records. Today, the band reveals the album artwork, track listing and a creeptastic new song, ‘Decompose’ available to stream right now!

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youtube

Commenting on the new song, Wednesday says:

The track ‘Decompose’ is one of the first songs that was written for the new album and one of the songs I was most excited about. Our drummer Kyle came up with the music and once the band all got together, it took on a new life. With the addition of the eerie keyboard/piano pieces added in by Roy Mayorga (STONE SOUR, HELLYEAH), this is another classic Wednesday 13 graveyard sing along.

Heavily influenced by the real life night terror occurrences of Wednesday himself, historical serial killers, and a slew of 80’s horror films, the ideas behind Necrophaze are bizarrely familiar, frightening and a hell of a lot of fun. Being a collector of both media and toys, Wednesday 13 was inspired by a craving for variety to create dual album artwork for this release. The covers showcase either end of the horror spectrum with a ‘Creepshow’ comic book vibe for the LP artwork, and the eeriness of something akin to John Carpenter’s ‘The Fog’ adorning the CD.

Necrophaze was recorded by Michael Spreitzer, producer, recording engineer (and long time guitarist of DEVILDRIVER) and is the first Wednesday 13 record to feature guest spots, which include performances by Alice Cooper, Roy Mayorga of STONE SOUR (who provides an authentic, 80s inspired synth soundtrack-score to the album), Alexi Laiho of CHILDREN OF BODOM, and Cristina Scabbia of LACUNA COIL. Also making an appearance on the album is Jeff Clayton, member of legendary punk bands, ANTiSEEN & GG Allin’s MURDER JUNKIES.

To say we are excited about this release would be an understatement, Wednesday adds. We have re-built and Frakensteined an all new Wednesday 13. This is the next chapter, the next experience, the next phase into our world…Enter the Necrophaze. This is the most elaborate, horror themed album I’ve ever released under the name Wednesday 13. Channeling the atmosphere of early 80s horror films, tv shows, cartoons and movie soundtracks the Necrophaze was complete. To add a little more Blood to the party, we had the complete honor of having the Godfather of shock rock, the legendary Alice Cooper. Alice is a guest doing the introduction to the album and the title track Necrophaze. We wanted to give the listener the ultimate listening experience as if our band was the soundtrack to a horror film. The artwork for the CD and vinyl is a visual guide to the songs, and the live show will be the living breathing horror movie version. There will be a Wednesday 13 action figure, music Videos, movie soundtrack trailers, commercials and more all on the way with the release of Necrophaze. The artwork and packaging is a tribute to the classic art and packaging from my favorite time of the 1980s. So welcome to Party…but bring your own blood.”

#gallery-0-4 { margin: auto; } #gallery-0-4 .gallery-item { float: left; margin-top: 10px; text-align: center; width: 50%; } #gallery-0-4 img { border: 2px solid #cfcfcf; } #gallery-0-4 .gallery-caption { margin-left: 0; } /* see gallery_shortcode() in wp-includes/media.php */

Necrophaze Track Listing:

1. Necrophaze 2. Bring Your Own Blood 3. ZODIAC 4. Monster 5. Decompose 6. Be Warned 7. The Hearse 8. Tie Me A Noose 9. Life Will Kill Us All 10. Bury The Hatchet 11. Necrophaze Main Theme (End Credits) 12. Animal (Fuck Like A Beast)

Pre-order Necrophaze here and look out for the limited edition (500) green & black splatter vinyl option exclusively available to UK customers.

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Links

Website | Facebook | Twitter | Instagram | YouTube

Music News: Wednesday 13 Returns With New Track ‘Decompose’ & New Album Announced! The Duke of Spook, Wednesday 13 has returned from beyond the grave to reveal the Necrophaze! This latest album will be available on 27th September via Nuclear Blast Records.

#Decompose #Music News #News #Wednesday 13

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cottondope · 7 years

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DOLL REVIEW : BALTIMORE HARD CORE

DOLL誌にBALTIMORE HARD CORE REPORTと共に掲載したBALTIMORE HARD CORE REVIEW。

GUT INSTINCT 1989-1992 discography CD / a389records, VCRECS, PARTS UNKNOWN RECORDS BALTIMOREの街と人に愛されているGUT INSTINCT。3レーベル共同によりリリースされたDISCOGRAPHY。”disturbing the peace” 7inch, “rage and fury” DEMOに92年のDEMOと90年のセッション、未発表曲にエンハンスドの映像を収録。クロスオーバーやDEATH METALの影響と時代を感じさせながらも、やはりNYHCとは違う独自のBALTIMORE CITY HARD COREが詰まっている。当時のフライヤやメンバー写真が妄想をかきたててくれます。

GUT INSTINCT disturbing the peace EP 7inch / a389records / a389-005 　BALTIMORE CITY HARD COREの始まりを告げたclassic。オリジナルはCORNER STONE RECORDS、再発はa389 records。一枚の7inchが語り継がれて行く。アフリカ系アメリカ人二人を含むDIRTY RATSがAnti-racismをかかげ、荒々しい、ここでしか生まれ得ないHARD COREをPLAYしている。再発はリマスタリングされてるけど、音は荒く、怒りにあふれたような音質の前でただ興奮するのみ。

NEXT STEP UP heavy LP / SHADOW RECORDS, END GAME / SR#1, EG#3 　SLUDGE / STONERと通じる所すらある異様なHEAVYさ。「ストンプ！！」やら「へヴィー」。「ウッ」と掛け声が飛び出し、ストンプパート、モッシュパートの応酬。ただただ凄い。Too muchをはるかに超えたやりすぎ感から生み出されるBRUTALITY。郊外の建物は低いけど、空の低い街の話。探すの大変だけど、聴いて欲しい極悪HARD CORE classic。見つからなければ、EAST COAST ASSAULTの”LA STORY”を聴いてみてください。

NEXT STEP UP fall from grace LP / GAIN GROUND / GG-002 BALTIMOREだけでなく世界中に大きな影響を与えた2ndアルバム。極悪という言葉、サウンドに引きずられてる人がどれだけいるだろう？BIOHAZARD+SHEER TERRORと例えられる事もある彼等の音は一言であらわすなら極悪メタリックストンプコア。”heavy”の頃にくらべると若干べったり感は減ったが、荒涼とした街が生み出すBRUTALITYは相変わらず充満している。 TOGETHER WE FALL s/t CD / BETHANY RECORDS / BR-04 NEXT STEP UPのJR以外のメンバーが始めたバンドのEP。洗練された都会が浮かぶ、スタイリッシュなまさに極悪メタリックハードコアの最高峰！！と言わんばかりに突き抜けている。ラッピンヴォーカルもさまになってます。もちろん荒々しさを失ってるわけがない。後に出たミニアルバムもいいんだけど、是非こっちを聴いて欲しい。JKTの何とも言えないGRAFFITIも味があります。

WAKE UP COLD rise from the ash CD / GAIN GROUND / GAIN-021 JR先生がNEXT後に始めたバンドの1stミニアルバム。PUNK色とDEATH METAL的なメロディアスなパートの導入といった試みを同時にぶち込んでしまう所が濃いです。BRUTALITYとアメリカっぽいメロディがちょっと入ったJRのヴォーカルも濃い。郊外ハードリカーのりってこういうの？まとまりが無い所にやる気を感じてしまう。バーでライヴ観たいす。

STOUT sleep bitch CD / RUCKTION / RUCK-029 BALTIMORE HARD COREの遺伝子を受け継ぐex-NSU, ex－SLUMLORDSのメンバーによる超極悪BEAT DOWN HARD COREバンドの2ndフルアルバム。BRUTAL以外の表現を受け付けない重量級の荒々しい音、物騒な雰囲気とMOSH PART、いかつく、テンションあまって、もはや意味不明なヴォーカル。凶悪で壮絶な光景しか頭に浮かばない。21世紀のHARD CORE PUNKの一つの形がここにある。

SLUMLORDS involuntary skinhead 7inch / a389records / a389-004 SLUMLORDSの魅力はやっぱりPUNK / Oiの要素の強いストレートなHARD COREに皮肉な歌詞が乗るって言う所に尽きると思う。タイトル曲は好きでSKINHEADじゃなくて、はげちゃってSKINHEADなんだよっていうどうにもならない事を歌っていて最高です。文章中にあるPVはこの曲。ちなみにそのPVはNRSVのScottさんが制作。やっぱり7inchが似合うバンドですね。

SLUMLORDS on the stremph CD / LOCKN OUT / LOR-021 ネズミをアイコンとして使ってるあたりからもBALTIMOREを感じてる。現STOUT, PULLING TEETH, ex-BREAKDOWNのメンバーによるPUNK / SKINSの要素を色濃く持つOLD SCHOOL HARD CORE BANDの2nd。まあ、そうは言ってもVocalはNY、Guitarはカナダ出身ですが。スピード感がある曲、シンガロング、キャッチーなんだけど、この人達は本当にどうしようもないことしか歌ってないんで。もう、最高！！堅苦しさもなければ、存在的なPOPさも無いDIRTY RATS MUSIC。

PULLING TEETH vicious skin CD / WDsounds / WDSD-009 INTEGRITY + LEFT FOR DEADと潔くメンバーが言い切ってしまう所が気持ちいいBALTIMOREで現在最も活動的なバンドの一つ、PULLING TEETHの1stミニアルバム。いきなりストーナー/ スラッジを思わせる曲（しかも短くてカッコ良い）で始まるので、やられるが、そこからはダークメタリックハードコアで一気に叩きのめされます。それでいて聴く程に凄さが伝わって来る作品。日本盤にはBLACK FLAGのカバーも入ってます。

BRINTG IT ON only the strong survive 7inch / a389records / a389-001 A389の記念すべき1stリリース!!KILLING TIMEやSHEER TERRORなんかを思わせる荒々しいMETALLIC OLD SCHOOL HARD COREで、その辺りの時代のNYHCが好きな人にはたまらない。と同時に、今も、BALTIMOREに素晴しいHARD COREシーンがある事を感じさせてくれる。エネルギーに溢れていて、テンション上がりまくります。GUT INSTINCTのDNAは確実に受け継がれてるんですね。

RUINER what could possibly go right CD / 1917 / ??? 　BALTIMOREのバンドの中では異色に感じるBANEやMODERN LIFE IS WARに匹敵するかのようなスピーディーでメロディアス、エモーショナルないわゆるいけてる現代OLD SCHOOL路線。それだけだったらどうでもいいんだけど、RUINERは荒さと勢いが完全に曲から飛び出ちゃってヒリヒリした感じが伝わって来る。7inchはFIRESTARTERとGRAVE MISTAKE RECORDS。CDは1917から。

THE DEAD END BOYS boys in the city 7inch / MALFUNCTION RECORDS / NO.11 NO JUSTICEや86MENTALITYのメンバーがいるらしいSKINHEADSバンドの7inch。86MENTALITYってことはワシントンDCに近い位置にいるバンドなのかな？酒でがらがらになった声で毎日のブルーカラーライフを歌う、COCK SPARRERをBRUTALにしたかのようなTHE BRUISERSとかに通じるSKINS / Oi��曲、コーラス。BARが頭に浮かぶ。もう騒ぐしか無いでしょう。

COVENANCE ravaging the pristeen 7inch / EMETIC RECORDS / EME-018 　2005年リリースのex-DYING FETUSのヴォーカルVinceとNSUのギターBruceが在籍するバンドの1st 7inch。雰囲気のあるギター・極低音デスヴォイス・ツーバスの嵐とブラストビートでお腹いっぱいのBRUTAL DEATH METAL。もちろんMOSH PARTも超SLAMMN’！MARYLANDのDEATH METALとHARD COREをつなぐBRUTALホットライン。

SUPREME COMMANDER 120years in business 7inch / a389records / a389-014 　ワシントンDC出身のバンドだけど、PULLING TEETHのインタビュー中でBALTIMOREのバンドの話で名前が挙がってるのでここで紹介。黒人Vo.で初期のH2Oを思わせるようなメロディックさとSICK OF IT ALL, BREAKDOWN急のブレイクダウンパートとのバランスが良くて、それでいて荒削りな何かと興奮してしまうバンドの7inch。ドラムブレイクのしょぼさとか素敵過ぎます。

V.A belly of the beast CD / CORNER STONE RECORDS / CSR007 存分にBALTIMORE HARD COREを感じる事の出来る歴史に名を残すであろうCLASSIC直行便なオムニバス。NEXT STEP UP, TOGETHER WE FALL, GUT INSTINCT, HARSH TRUTH, SLUMLORDS, BACKHAND, ERASE THE PAST, CURSE OF YEARS, WAKE UP COLD, DEAD END BOYS, STOUT, BRING IT ONが各2曲づつ収録。JRによるライナーの文章が感動的すぎます。

CURSE OF YEARS ??? CD-R / ??? / ??? HARSH TRUTHのメンバー等によるCURSE OF YEARSのDEMO、”belly of the beast” comp、RAYBEEZ tribute comp、98年のライヴ音源とリハーサル音源を収録した全17曲入りのDISCOGRAPHY的CD。��タリックで速いパートとストンプ、強烈なモッシュパートの応酬にBRUTALなヴォーカルがのる。これぞ、まさにBALTIMORE STYLE HARD CORE！

THE UNYOUNG HEROES s/t CD-R / ??? / ??? JRとMOBTOWN HOOLIGANSのメンバーが今やっているSTEET PUNK, Oi, DEATH METALと様々な要素をぶち込んだHARD CORE BANDの4曲入りのDEMO（になるのかな？）。一曲目はSTREET PUNK全開で勢い良く始まりテンションあがります。メタリックなリフをPUNK ROCKにぶち込んだ曲や、メタリックOLD SCHOOLと色んな曲を楽しんでPLAYしてる感じが伝わって来る。勢いに満ちたUNYOUNGな仕上がり。

#REVIEW #BALTIMORE HARD CORE

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hottytoddynews · 8 years

Link

The 89th Academy Awards will telecast live from L.A.’s Dolby Theatre Sunday, hosted by late night’s Jimmy Kimmel and presented by the Academy of Motion Picture Arts and Sciences, recognizes excellence in cinematic achievements in the film industry as assessed by the Academy’s voting membership. But … and there always is one … there’s the rub.

The Oscars air on ABC, beginning at 7:30 p.m. CT and run to or past three-and-a-half hours. Prior to the Awards, there’ll be lots of glitz and glamour with the red carpet arrivals.

Compared to last year and its lack of diversity, this year it’s the difference of day v. night – with an overload of all sorts of diversity. To avoid another brouhaha, the Academy initiated numerous changes in the make-up of the committees and membership [increasing the youth or younger factor].

2016 was also a big year for indies – several of which made it into the Top Nine.

The Academy welcomes the nominees in 24 categories and presenters with these words: No matter who you are or where you live, movies bring us together. Through indelible, fearless performances you extraordinary actors help make it happen. And the world listens. [Bring to the screen your tired, your poor, your huddled masses and let it infuse them with buttered popcorn, Sno-caps, and ice-cold Coke.]

There’s a new prez and not all of Hollywoodland is pleased with DJT, so expect loud protests and anti-testimonials. Several stars have announced they won’t attend; however, by attending, they could make an impact and be heard worldwide.

The Oscars, live and on tape, are seen by an estimated 35 million worldwide. At press time, President Trump and Pope Francis haven’t been added to the presenter’s list or weighed in on the nominations – some of which must displease both.

The fate of Best Picture is in the hands of the Hollywood caucus. Leading the pack in nominations are “La La Land“ (Lionsgate) received a record-tying 14 (1950’s “All About Eve” – and 1997’s “Titanic“ also achieved this distinction). “Arrival” and “Moonlight” (A24/Plan B) came in second with eight.

Actress in a leading role will be the category where the winner could be anybody’s guess. There’s been so much hype about Emma Stone in “La La Land,” but Isabelle Huppert turned in a memorable performance in “Elle“ (Sony Pictures Classics), and the incredible Natalie Portman turned herself inside out to create a harrowing impersonation of “Jackie”(Fox Searchlight), our former first lady. Three-time Oscar winner Meryl Streep continued to break records with her 20th nomination (Best Actress, Supporting Actress) for “Florence Foster Jenkins.”

Over in the men’s category, Casey Affleck outshined older brother, rising to star status at the top of the pack with his extraordinary performance in Kenneth Lonergan’s “Manchester by the Sea“ (Amazon Studios).

Often it’s puzzling how nominators nominate. For instance, when she is billed as a co-star in bold lettering and carries at least, if not more, of the screen adaptation of August Wilson’s Tony and Drama Desk-winning Fences, starring the leads of the 2010 Broadway revival, Tony-nominated Denzel Washington and Viola Divas, how does two-time nominee (“Doubt,” “The Help“) Davis get regulated to the Supporting Actress category? And wasn’t Jeff Bridges an equal star with Ben Foster and Chris Pine in “Hell and High Water“?

Presenters will include: five-time Oscar nominee Amy Adams, Oscar winner Javier Bardem, Oscar winner Warren Beatty, Golden Globe winner Gael Garcia Bernal, Oscar winner Halle Berry, Oscar and Golden Globes winner Faye Dunaway, Oscar winner Leonardo DiCaprio, GG nominee Scarlett Johansson, Dwayne Johnson, Oscar nominee Felicity Jones, Oscar and Drama Desk winner Shirley MacLaine (seven nominations), David Oyelowo, Oscar and Tony winner Mark Rylance, two-time Oscar nominee Emma Stone, Oscar winner Charlize Theron, and Oscar and SAG winner and Golden Globe nominee Alicia Vikander.

Artists will be “Waitress“ composer [and soon-to-be-star of the musical] Sara Bareilles, performing the In Memoriam tribute. Auli’l Cravalho and Lin-Manuel Miranda will sing the nominated “How Far I’ll Go” from Animated nominee Moana, Rock’s John Legend, who was featured in nominated La La Land will perform “City of Stars” and “Audition (The Fools Who Dream),” Sting sings “The Empty Chair” from “Jim: The James Foley Story” (HBO); and Justin Timberlake will perform “Can’t Stop the Feeling” from “Trolls” (Dreamworks Animation).

Honorary Awards were bestowed to Jackie Chan, the Hong Kong martial artist; Oscar-winning British editor (“Lawrence of Arabia,” many more) who has four nominations; veteran casting director Lynn Stalmaster; and Frederick Wiseman, Emmy-winning documentarian and international theater director.

Oscar certainly hasn’t always been perfect, so you might anticipate an upset. “Citizen Kane,” now considered one of the greatest movies of all time, didn’t catch on with audiences of its day, but it got a Best Picture nod – only to be outgunned by the Welsh mining drama “How Green Was My Valley“ Best Picture. Star Orson Welles co-wrote the screenplay with the great Herman J. Mankiewicz, but through some maneuver Welles got sold credit and, on winning, didn’t even have the largesse to mention, much less credit Mankiewicz [which may have marked the beginning of his slow downfall].

Could there be a tie as in 1969, when two Best Actress winners were announced: Katharine Hepburn/”The Lion in Winter“ and Barbra Streisand/ “Funny Girl.” With Hepburn absent, Streisand had the stage all to herself for her famous quip, “Hello, Gorgeous!”

Could there have been a more celebrated film and director in 1973 than Francis Ford Coppola and “The Godfather,” which captured Best Picture. However, it was Broadway’s Bob Fosse who grabbed the director gold for the screen adaptation of Best Picture nominee “Cabaret.”

The Academy Award, nicknamed “Oscar,” was first presented in 1929. Tickets were $5, 15 statuettes were awarded in a dinner ceremony that ran 15 minutes. The annual Awards were broadcast on radio in 1930; and first televised in 1953. Bob Hope became the host dejour. The Oscars are now seen live in more than 200 countries and can be streamed online.

Open those darn envelopes, please. Got your ballot? Vote. Let the winner be your winner! Nomination highlights:

Best picture Arrival, Fences, Hackshaw Ridge, Hell or High Water, Hidden Figures, La La Land, Lion, Manchester by the Sea,and Moonlight

Actor in a leading role Casey Affleck, Manchester by the Sea; Andrew Garfield, Hacksaw Ridge; Ryan Gosling, La La Land; Viggo Mortensen, Captain Fantastic; Denzel Washington, Fences

Actress in a leading role Isabelle Huppert, Elle; Ruth Negga, Loving; Natalie Portman, Jackie; Emma Stone, La La Land; Meryl Streep, Florence Foster Jenkins

Actor in a supporting role Mahershala Ali, Moonlight; Jeff Bridges, Hell or High Water; Lucas Hedges, Manchester by the Sea; Dev Patel, Lion; Michael Shannon, Nocturnal Animals Actress in a supporting role Viola Davis, Fences; Naomi Harris, Moonlight; Nicole Kidman, Lion; Octavia Spencer, Hidden Figures; Michelle Williams,Manchester by the Sea Directing Damien Chazelle, La La Land; Mel Gibson, Hacksaw Ridge; Barry Jenkins, Moonlight; Kenneth Lonergan, Manchester by the Sea; Denis Villeneuve, Arrival

Documentary (feature) 13th, Fire at Sea, I Am Not Your Negro, Life Animated, O.J.: Made in America

Foreign language film Land of Mine, Denmark; A Man Called Ove, Sweden; The Salesman, Iran; Tanna, Australia; Toni Erdman, Germany Animated feature film Kubo and the Two Strings; Moana; My Life as a Cougarette; The Red Turtle; Zootopia

For the full list of nominations, visit www.oscars.com. For heightened drama watch those scary moments when winners exit the stage all pumped with adrenalin and are ambushed by Kelly Ripa sticking a mike in their face.

At www.oscars.org, check out the full list of nominees and play against your friends in the Official Oscars Challenge; and participate in Oscars Backstage 2017, a second screen experience where you choose from four channels pulling from more than 20 cameras on the red carpet and backstage at the Dolby.

Ellis Nassour is an Ole Miss alum and noted arts journalist and author who recently donated an ever-growing exhibition of performing arts history to the University of Mississippi. He is the author of the best-selling Patsy Cline biography, Honky Tonk Angel, as well as the hit musical revue, Always, Patsy Cline. He can be reached at [email protected].

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