#anna jacobson

[sinceileftyoublog]

James Elkington & Nathan Salsburg Interview: Poise, Levity, and Easygoingness

Photo Credit: James Elkington and Nathan Salsburg

BY JORDAN MAINZER

All Gist (Paradise of Bachelors), the third album of guitar duets from exploratory, thoughtful players James Elkington and Nathan Salsburg, sounds like what it is: two longtime friends and collaborators playing together, equal parts casual and focused. Since their 2015 album Ambsace, each has been busy, separately and together. Elkington's released three solo albums, played as part of Eleventh Dream Day, Brokeback, and Jeff Tweedy's live band, and recorded with Steve Gunn, Nap Eyes, and many more. Salsburg's dropped a bevy of albums and has played on records by Bonnie "Prince" Billy, Shirley Collins, and others. Meanwhile, the two have come together on four records by Salsburg's partner Joan Shelley, and Elkington produced Salsburg's Psalms, his 2021 album of arrangements of Hebrew psalms. Their duo records, however, are born of the most natural collaboration, each bringing to the table melodies they think--perhaps know--the other will respond to, combining them, and being open to feedback or changing gears entirely.

All Gist, specifically, carries the distinct quality of the Chicago winter during which it was recorded: You can picture Elkington and Salsburg sitting around the kitchen table, each culling from their vast repertoires and tendencies, creating something to warm their bodies and hearts and perk their heads and ears, unaware of any blusters outside. The songs are reflective of their shared artistic interests and inspirations, and they're rounded out by the presence of musical contemporaries with whom each has fostered relationships over the years. Opener "Death Wishes to Kill", which takes its title from T.F. Powys' Unclay, sports lilting guitar melodies that offer an affable sway, along with Wanees Zarour's violin solo. The minimal "Explanation Point" bounces along a groove that sounds bigger than it is, almost gestalt, as Jean Cook's strings and Anna Jacobson's brass shimmer. Moments of percussion come from other instruments like hand drums ("Long in the Tooth Again"), along with Wednesday Knudsen's woodwinds ("Nicest Distinction"), or as part of the sheer tactility of guitar scrapes and textures. The self-reflexive "Numb Limbs" gets its title from the physical aftereffects of playing a song that took forever to come together; you feel the spritely guitar picking and breakneck tempo in your own fingers.

Of course, All Gist has a few interpolations, namely a gentle, quiet, start-stopping version of Howard Skempton's "Well, Well, Cornelius" and a taut, concise combination of two traditional Breton dance tunes in "Rule Bretagne". Easily, the most unexpected song on the album is a version of Neneh Cherry's classic late 80s jam "Buffalo Stance". Oscillating and slowed down to an expanse, one guitarist plays Cherry's lyrical line, the other the song's instrumental melody, making something both recognizable and nostalgic as well as emblematic of the duo's adventurous nature. That combination, indeed, is the gist of Elkington and Salsburg.

Earlier this month, both guitarists answered some questions over email about All Gist, their creative process, covering songs, and their sometimes-overlapping, oft-diverging taste in art. Read their responses below, edited for clarity.

Photo Credit: Joan Shelley

Since I Left You: Why was it time again to make an album together? James Elkington: We’d been talking about it since we made the last one, but the truth is that we’ve both just been too busy. I started making solo records again after the last one, plus I got to produce one for Nathan, and we both help out with Joan Shelley’s records, so it never felt like we weren’t working together anyway. We were just working on projects in a different way. I think that Nathan and I both think there’s something about the duo’s music that is different from the other things we do, so we were keen to get back to it at some point. Fortunately for us, we got an invitation to play at a guitar festival in Chicago, and we used that as an excuse to start working on new material. I should also mention that our wives kept bugging us to do it again.

SILY: How was your collaboration on All Gist unique as compared to your other records together, and how was it similar? JE: We hadn’t played together like this for something like 7 years, so I was interested to see if we could even do it. But our writing together was as quick and easy as it ever was, and in that sense, it was really similar to how we worked before. Nathan has always worked with longer forms than me, but this time, I wanted to follow his lead a bit more in terms of writing longer pieces with less changes and more textures. We weren’t concerned this time with being able to play all of this stuff live, so we left more space for orchestration and overdubs. Nathan Salsburg: We’ve each lived through a world of experiences in the past ten years, musical and otherwise. Now that we’re each squarely into our middle age, I think the poise, levity, and easygoingness that should be attendant on this period of life show up in the music at [the] pitch they didn’t in the past.

SILY: Was there a lot of improvisation in the process of combining the different instrumental motifs you each brought to the recording session? JE: Because we don’t have a great deal of time to work together, we find things go much quicker if we come up with rough musical sketches by ourselves and then present them to the other. Nothing is ever written in stone, and the level of trust is very high. Anything Nathan suggests for one of my ideas is going to improve it. Both of us are more concerned with coming up with something that sounds cohesive and keeping the ball rolling than having any personal agenda for how this thing should be, and we always leave enough space for us to be surprised by what we end up with. I rarely have any idea what Nathan is playing, but I like how it sounds when it’s finished. We did experiment with recording something completely improvised and liked the results, but it sounded like a different record, so we didn’t use it. Maybe that’ll be the next one.

SILY: How or at what point in making each song do you determine whether it needs more musical accompaniment, from other instruments and/or players? JE: That’s a good question, and I’m not sure I have an answer, but the plan seems to be to write a piece that can stand by itself for the two guitars, record that to our satisfaction (which is nearly always the first take we can manage that has all the right parts), then start throwing other instruments at it to see what sticks. Most of that approach is me in my studio adding things and then taking them off again. There are certain pieces where, as were writing them, we can hear that a solo instrument would sound great in a certain part. Wannees Zarour’s solo in "Death Wishes To Kill" was like that. There are songs, like "All Gist Could Be Yours", where for a repeating chord sequence to have the effect we’re going for, its going to need a lot of support from other instruments, and we talked about that as we were writing it.

Cover art by Chris Fallon

SILY: Do you have a backlog of other people's songs you think might be fun or fulfilling to cover or reimagine as a guitar duet? What makes a song fit for a cover from your two artistic voices? JE: Well, I’m a little concerned that there’s a potential novelty aspect to our doing a lot of covers, but maybe it's okay. We certainly didn’t go out of our way to think of any for this record. Nathan suggested "Buffalo Stance" early on just because he loved the song and all the parts. I was resistant at first, just because I thought there wasn’t enough there for us to work with harmonically, but there’s so much good stuff going on with the synths and the bassline in that tune that it became more a process of picking and choosing what aspects of the song we wanted to shine a light on, at what time. Our Smiths cover from the last record is like that, too. It switches from the guitar line to the vocal depending on where we’re at or what seems to be most important, so I suppose we have a system for doing this. I think the only criteria we have for picking a song is whether one of us really really likes it and the other one can get their head around it.

SILY: "Death Wishes To Kill" takes its title from a T.F. Powys novel you both read. Do the two of you tend to recommend books, films, albums, etc. to each other a lot? Do you ever find you're about to recommend the same thing to one another? JE: I was going to write that we don’t have a huge amount of overlap, but I’m remembering going to his house when we hadn’t known each other long and being confronted with what appeared to be a wall of my own books. Its not as if we like exactly the same things, but there are some writers and records that we both like that NO-ONE else I can think of likes, so when Nathan suggests a book, I usually get to it pretty quickly. I think Nathan was reading the Powys novel, Unclay, and sent me a screen shot of one of the passages in the book with the caption "this is for you" underneath. He also sent me a link to an Australian liquor store commercial from the early 90’s because he knew it would make me laugh for a day and a half, and it did. NS: I remember we made common cause over Max Beerbohm not long after we met—Zuleika Dobson, maybe—but yeah, we each have some preoccupations that the other couldn’t give much of a shit about. Like, I can’t say mid-century British horror movies do a whole lot for me. I’m remembering when Jim spent the better part of an hour trying to explain the appeal of U.S. Maple, and I can’t say he succeeded. And Jim couldn’t care less about rural American string-bands of the late 1920s. But when we have an overlap—Unclay, say, or the totally under-appreciated Yorkshire singer-songwriter Jake Thackray, or Alan Partridge—and yes, these overlapping things do tend to all be English—it’s always stuff we’re super, super jazzed about.

SILY: Can you tell me about the cover art for All Gist? NS: The artist’s name is Chris Fallon, an old friend of mine from when I lived in New York City 20+ years ago. He’s a phenomenal painter, and I love his figures, his palette, and the scenes/settings that he dreams up. I asked him to create a portrait of us, and this is what he did. He’s never met Jim and hasn’t seen me in quite a few years, but I feel like he nailed something of Jim’s and my dynamic, equal parts earnest, bizarre, silly.

[outerblog]

Acute, confronting writing by Anna Jacobson.

[girlwhodoeskratom]

Moschino Spring/Summer, 1994 Ready-to-Wear

[amekinoko]

actual good drawing + two extremely silly drawings

[historyhermann]

Ashly Burch’s Contribution to LGBTQ+ Representation

Four of Ashly Burch's roles, all of which are canon LGBTQ characters

Recently, Ashly Burch, a well-recognized voice actress, singer, and writer, came out as pan and queer. Taking into account this development, I decided to examine some of her past roles and offer my thoughts on her contributions.

Reprinted from The Geekiary, my History Hermann WordPress blog on Feb. 11, 2023, and Wayback Machine. This was the forty-eighth article I wrote for The Geekiary. This post was originally published on July 30, 2022.

On July 1st, Ashly Burch came out as pan and queer, saying she is "old fashioned pansexuals". She added that this is not a shock because half the characters she plays are "members of the rainbow fam" and added more in a longer thread.

Burch has added herself to the list of other LGBTQ+ voice actors who have voiced LGBTQ+ characters in media. There's Anna Akana, a bisexual actress of Japanese and Filipino descent. She recently voiced Sasha Waybright in Amphibia and Daisy in Magical Girl Friendship Squad. Both characters are bisexual.

A non-binary actor, Iris Menas, has voiced non-binary characters in various Disney series. Ian-Jones Quartey, a bisexual creator, has voiced various characters, including Radicles "Rad" in his series, OK K.O.! Let's Be Heroes. Abbi Jacobson, a bisexual actress, voiced a bisexual princess named Bean in Disenchantment. She also voiced a lesbian woman named Katie Mitchell in The Mitchells Vs. the Machines.

In many ways, Burch is definitely a queer icon. Apart from her video game voice roles, live-action roles, commercial roles, and dubbing roles, there are five roles that stand out to me. This article focuses on those roles and their significance in LGBTQ+ representation.

Ash in Hey Ash Whatcha Playin'

Ashly with her beauties in Season 1 - Finale Part 1 of Hey Ash Whatcha Playin'

In May 2008, the series Hey Ash Whatcha Playin' first premiered on Destructoid. It would garner tens of millions of views. The series used surreal humor and sibling rivalry with her brother Anthony. Each episode focused on video games, and their themes, trends, and societal impacts. In 2011, the series began airing on YouTube. Papa Burch, Burch's actual father, and Ashley "Leigh" Davis, who becomes Anthony's girlfriend, also appear. Guest stars include Burch's mother and many others.

Many episodes had queer themes. One implies that Burch had sex with sex workers. In another, she says things can be "really gay" when everything becomes male genitalia. The icing on the cake was when she struggled with the homophobia exhibited by Orson Scott Card, whose ideas inspired the game, Shadow Complex.

In the show's second season, Anthony had gay sex through a message board. Ashly asked her dad for help with "lady problems" (i.e. liking a lot of women). Some episodes had Ashly joking about how brains are "gay" and defending her brother as a person who doesn't bash gay people. Others included dildos, Papa Burch coming up with imagined gay scenarios, or defense of female characters.

One episode stands out from the lot, the one where Ashly says she likes pretty girls and runs away when she sees a girl she likes. Later episodes have Ash loving a female villain-of-sorts or portray her losing her cool when people use the word "lesbians".

Enid in OK K.O.! Let's Be Heroes

Enid (left) and Red Action (right) in an episode of OK K.O.!

Burch is known for her role as Enid Mettle in this action-adventure-comedy animated series by Ian Jones-Quartey, Rebecca Sugar's husband. In the series, Enid is a bisexual woman previously in a relationship with Radicles "Rad". She is later Red Action's girlfriend.

Enid has a key role in OK K.O.! as a witch and a ninja all in one. She also fights villains and works at Gar's Bodega. Burch has voiced Enid in almost all her appearances apart from the original pilot. She has been the subject of much fan art and over 700 fan fics.

Somewhat like Enid is Lainey in Loud House, who Burch also voiced. Lainey is dating another character, a woman named Alice. Unlike OK K.O.!, Lainey only appears in two episodes. In the former series, she becomes very romantic with Red Action, a lesbian character voiced by actress, comedian, and model Kali Hawk.

Ash in Final Space

Evra (left) and Ash (right) in an episode of Final Space

Burch is less known for her role as Ash Graven, who has the same first name as her. In the series, Ash is a humanoid alien who strikes up a romance with Evra (Jasmin Savoy Brown), a genderless being, in the Season 3 episode "Forgiveness". They sit together in a romantic moment, watching lights that resemble the aurora borealis.

Before this, she says she hates a man named Jordan Hammerstein with all her guts. This hints that she is a lesbian rather than  "ambiguously bi," as I noted in my review of the series. In that review, I noted a podcast where show creator Olan Rogers confirmed Ash as an LGBTQ character. At the time, Rogers said he would expand the relationship between Evra and Ash if he had another season.

Ash is only one of the many LGBTQ characters in the series, although the others are recurring characters rather than protagonists. Unlike Enid, she becomes an antagonist, and villain, akin to Cassandra "Cass" (Eden Espinosa) in Tangled. She is a character as complex as Cass while both are exploited by someone else who plays on her trauma triggers.

Rutile Twins in Steven Universe

Rutile Twins (right) brings Lars and Steven to the Prime Kindergarten where Off Colors are hiding out in their debut episode.

In a little-known role, Burch voiced a non-binary Gem fusion named Rutile Twins in Steven Universe. She later said she was "extremely honored" to be on the show. Unlike the other characters she voiced, these characters are non-binary women, as are all Gems as Rebecca Sugar confirmed in a 2018 article. So that makes this character unique beyond any others mentioned in her resume.

In an interesting trivia, since Burch voices both components of the character, they have the same voice, but with different tones. The same is the case for the Amethysts, all voiced by Michaela Dietz, or all the Rubies voiced by Charlyne Yi. Real-life rutiles are said to help with the stabilization of emotions and relationships. They reportedly evoke romantic feelings and aid with handling past trauma.

The Rutile Twins are outcasts who are part of a group of Gems ostracized by society, the Off Colors. These Twins later join Lars Barriga, and the other Off Colors, traveling through space, and living on Earth. In Steven Universe Future, the Off Colors graduate from Steven's school for Gems, known as Little Homeschool.

Molly in The Ghost and Molly McGee

Andrea (left) and Molly (right) in the "Andrea Song Takeover"

Burch voices a lead character named Molly McGee. Unlike her other roles, Molly is half-Thai and half-Irish, like Burch in real life. The series incorporates Thai culture into storylines and helps educate viewers about Thai culture.

In The Ghost and Molly McGee, Molly befriends a ghost named Scratch after moving to the Midwestern town of Brighton with her father, mother, and brother. Also appearing in the series is Molly's grandmother. She meets many friends there. This includes a Latine and Jewish girl named Libby Stein-Torres (Lara Jill Miller). She also has a geeky friend Sheela (Aparna Nancherla) and a sweet pink-haired friend, Kat (Eden Riegel).

Although Molly is not a canon queer character, some fans have shipped her with her frenemy, Andrea Davenport (Jules Medcraft), with their ship being Mollandrea. Others have shipped her with Libby Stein-Torres, with their ship called Mollibby. This ship has been denied by Bob Roth, a show creator, who said that LGBTQ representation unfolds naturally in the series.

Closing thoughts

There are many other characters Burch has voiced or played since her career began in 2007. She voiced Josette Grey in Blackford Manor and Tiny Ghost in Chainsaw Richard. She offered her voice as Lila Twinklepipes in Pig Goat Banana Cricket, Meadow Springs in Trolls: The Beat Goes On!, and Miss Pauling in Expiration Date, along with others in Over the Garden Wall and We Bare Bears.

She is further known for voicing Bun Bun and Breezy in Adventure Time, Ridley in Glitch Techs, and Cass Wizard in Bee and PuppyCat. Recently, she played Rachel in Mythic Quest who is in a relationship with a Black woman named Dana (Imani Hakim).

Many of these roles aren't canon LGBTQ+ characters. However, since Burch came out as pan and queer, this could lead to new interpretations of these characters. Burch was also a writer for "Shadows at the Gates", the fourth episode of The Legend of Vox Machina, a mature animated series filled with LGBTQ+ characters and based on the Critical Role podcast.

In the end, Ashly Burch will likely continue to voice queer characters, working with other such actors to continue improving queer representation in media.

© 2022-2023 Burkely Hermann. All rights reserved.

[milliondollarbaby87]

Fly Me to the Moon (2024) Review

Kelly Jones is a marketing expert is recruited by the White House to fix the broken image of NASA ahead of the Apollo 11 moon landing, which causes chaos for launch director Cole Davis. ⭐️⭐️⭐️⭐️ Continue reading Fly Me to the Moon (2024) Review

[argumate]

Milton Friedman famously said, “Inflation is everywhere and always a monetary phenomenon,” but few seem to know that the actual sentence in A Monetary History of the United States (coauthored with Anna Jacobson Schwartz and published in 1963) is longer. “Inflation,” Friedman and Schwartz wrote, “is everywhere and always a monetary phenomenon, resulting from and accompanied by a rise in the quantity of money relative to output.”

It is unfortunate that so few know the second part because it is crucial to the sentence’s overall meaning. Specifically, it explains and limits the condition under which the first part of the sentence is typically understood. It is not that monetary expansion is inflationary but rather that it is inflationary to the extent that it causes demand to rise relative to output.

Pettis

[movies-to-add-to-your-tbw]

Title: Fly Me to the Moon

Rating: PG-13

Director: Greg Berlanti

Cast: Scarlett Johansson, Channing Tatum, Woody Harrelson, Jim Rash, Ray Romano, Nick Dillenburg, Anna Garcia, Noah Robbins, Colin Woodell, Christian Zuber, Donald Watkins, Peter Jacobson, Kyle S. Brown, Jessie Mueller, Colin Jost

Release year: 2024

Genres: romance, drama, comedy

Blurb: Sparks fly in all directions as marketing maven Kelly Jones, brought in to fix NASA's public image, wreaks havoc on Apollo 11 launch director Cole Davis' already difficult task of putting a man on the moon. When the White House deems the mission too important to fail, Kelly is directed to stage a fake moon landing as backup, and the countdown truly begins.

[kwebtv]

The Lost Room - SyFy Channel - December `11 - 13, 2006

Supernatural / Mystery (3 episodes)

Running Time: 262 minutes Total

Stars:

Peter Krause as Detective Joe Miller

Elle Fanning as Anna Miller

Chris Bauer as Detective Lou Destefano

April Grace as Detective Lee Bridgewater

Dennis Christopher as Dr. Martin Ruber 

Julianna Margulies as Jennifer Bloom

Kevin Pollak as Karl Kreutzfeld

Peter Jacobson as Wally Jabrowski 

Ewen Bremner as Harold Stritzke

Roger Bart as Howard "The Weasel" Montague

Chris McCarty as Milton Vrang

Margaret Cho as Suzie Kang 

Jason Antoon as The Sood

Jason Douglas as Anthony

Hugo Perez as Pumeet 

Tim Guinee as The Occupant, formerly Eddie McCleister

Jorge Pallo as Ignacio "Iggy" Loca  

Ann Cusack as Helen Ruber

Harriet Sansom Harris as Margaret Milne

Benjamin Petrie as Isaac Kreutzfeld

Chris Monberg as Little Jim

Nicholas Guilak as Arjun Mehta

[daisyishedwig]

So my plan was originally to do these recaps every month, but that didn't happen. So instead, here's a reading recap for the first 6 months of 2024 in which I read 99 books, a concept that is still insane to me considering my goal for the year was 50. Pictured are my highlights, the god-tier books that left me screaming or the ones that I left feeling like a new person.

And here is the full list of everything I've read so far this year. (Bolded are the books pictured and italicised are books reread)

January My Dear Henry by Kalynn Bayron 4/5 The Seven Husband of Evelyn Hugo by Taylor Jenkins Reid 5/5 Padawan by Kiersten White 5/5 Dark Heir by C.S. Pacat 5/5 You’re Not Supposed to Die Tonight by Kalynn Bayron 3/5 The Only Good Indians by Stephen Graham Jones 5/5 Teach the Torches to Burn by Caleb Roehrig 5/5 The Star Host Trilogy by F.T. Lukens 5/5 Most Ardently by Gabe Cole Novoa 4/5 Harley Quinn: Die Laughing by Jimmy Palmiotti, Amanda Conner 3/5 Coffee Boy by Austin Chant 5/5 Star Wars: Vader: Dark Visions by Dennis Hopeless 3/5 Caroline’s Heart by Austin Chant 5/5 Stranger Things: Flight of Icarus by Caitlin Schneiderhan 2/5

February Self-Made Boys by Anna-Marie McLemore 5/5 Pretty Boy by Jett Masterson 1/5 The Prince’s Dearest Guards by Beau Van Dalen 3/5 The Invisible Life of Addie LaRue by V.E. Schwab 5/5 A House Unsettled by Trynne Delaney 3/5 Bunt! Striking Out on Financial Aid by Ngozi Ukazu 5/5 The Chalice of the Gods by Rick Riordan 4/5

March  By Any Other Name by Erin Cotter 5/5 From Here to Eternity: Travelling the World to Find the Good Death by Caitlin Doughty 4/5 Family Business by Jonathan Sims 5/5 Hook's Tale: Being the Account of an Unjustly Villainized Pirate Written by Himself by John Leonard Pielmeier 4/5 Mapping the Interior by Stephen Graham Jones 4/5 Ouran High School Host Club by Bisco Hatori 5/5 Peter Darling by Austin Chant 5/5 Night of the Mannequins by Stephen Graham Jones 3/5 Darling by K. Ancrum 5/5

April The Candy Shop War by Brandon Mull 2/5 A Worthy Opponent by Katee Robert 5/5 Circe by Madeline Miller 4/5 The Never King by Nikki St. Crowe 4/5 Ben and Beatriz by Katalina Gamarra 5/5 Hide: The Graphic Novel by Kiersten White 3/5 The Darcy Myth: Jane Austen, Literary Heartthrobs, and the Monsters They Taught Us to Love by Rachel Feder 4/5 The Dark One by Nikki St. Crowe 4/5 Their Vicious Darling by Nikki St. Crowe 4/5 Ledfeather by Stephen Graham Jones 5/5 The Fae Princes by Nikki St. Crowe 4/5

May  Black Butler by Yana Toboso 4/5 The 2000s Made Me Gay: Essays on Pop Culture by Grace Perry 4/5 Pan by Christopher Ruz 3/5 Devourer of Men by Nikki St. Crowe 3/5 The Promised Neverland by Kaiu Shirai and Posuka Demizu 4/5 A Sea of Unfortunate Sould by Jay R. Wolf 3/5 Someone You Can Build A Nest In by John Wiswell 4/5

June The Lightning Thief by Rick Riordan 5/5 Red Rising by Pierce Brown 4/5 Neon Gods by Katee Robert 5/5 The Girl From the Well by Rin Chupeco 5/5 The Sea of Monsters by Rick Riordan 4/5 What Moves the Dead by T. Kingfisher 4/5 The Titan’s Curse by Rick Riordan 5/5 Hooked by Emily Mcintire 4/5 Anger is a Gift by Mark Oshiro 5/5 A Spindle Splintered by Alix E. Harrow 5/5 A Thief in the Night by KJ Charles 5/5 How To Bite Your Neighbor and Win A Wager by D.N. Bryn 5/5 His First Bite by D.N. Bryn 5/5 The Lost Boy by Joshua Grant 3/5 Tink and Wendy by Kelly Ann Jacobson 3/5 The Wicker King by K. Ancrum 5/5 Epically Earnest by Molly Horan 4/5 Otherworldly by F.T. Lukens 5/5 White Smoke by Tiffany D. Jackson 5/5 Dark Heir by C.S. Pacat 5/5 A Mirror Mended by Alix E. Harrow 5/5 Peter Pan in Scarlet by Geraldine McCaughrean 5/5 Night of the Living Queers: A Queer Horror Anthology 4/5

[monsterintheballroom]

Meryl Streep's Daughter Louisa Jacobson Gummer Comes Out as Gay

[sinceileftyoublog]

Anna Mieke Interview: Getting Lost

Photo by Lluís Tudela

BY JORDAN MAINZER

Sure, Anna Mieke’s Theatre (Nettwerk) is a folk album, but it’s less about stories than it is about submersion. Last fall, the Irish singer-songwriter followed up her stark debut Idle Mind with a bristly, shapeshifting, open record that no one person will interpret the same way. “Nothing’s ever meant to stay the same,” Mieke sings on the humming “Mannequin”, an almost inherent paradox a la “The only certain thing is uncertainty.” Such an ethos is reflected in Theatre’s songs, from the fingerpicked guitars of opener “Twin” and the pitter-patter polyrhythms of “Coralline” to the warmth of “Salt” and glisten of “Red Sun”. That is, while each song maintains a consistent quality, they take different paths to establish themselves.

Mieke, who went to school in New Zealand as a child and explored glaciers, jungles, and an active voclano, has created a soundtrack to reflect a similar sense of jumbled wonder, whether you’ve been to the same places she has or not. Co-arranged with multi-instrumentalist Ryan Hargadon and percussionist Matthew Jacobson, Theatre is perhaps uniquely “alternative folk,” steeped in musical tradition but dabbling in everything from jazz to prog. True to its title, the album is energetically sequenced like a play: The long instrumental coda of “Coralline” segues into the languid “Salt”, where Mieke sings of “wide eyes” atop Hargadon’s tenor saxophone, a framework through which to view these musical landscapes. Most breathtaking is “Seraphim”, where Mieke’s vocals beg to be led by guitar, fluttery saxophone, and forceful drums. “Take me far away from the crowds, oh, the maddening crowds,” she sings, sounding caught up in a sort of folkloric mania as her voice, too, transforms into an instrument. Mieke, the writer, the instrumentalists, the audience: We’re all a part of the inviting experience of Theatre.

Mieke plays Friday at the Old Town School of Folk Music, with Hargadon and Jacobson in tow. She’ll play tunes from Theatre and a couple older songs (none that she wrote on the bouzouki, unfortunately.) When I spoke to her in preview of the show last month, my hypothesis that no two people can hear Theatre the same way was strengthened, as I heard something different than even Mieke herself. Read our conversation below, edited for length and clarity.

Since I Left You: How would you say Theatre is different from your debut album, Idle Mind?

Anna Mieke: I was a lot more confident [this time around]. It was really different because I actually had a band going into the studio who I had played with for a really long time, whereas on my first record, it was just myself and one or two other people recording quite a lot of things, scraping together a few musicians as we went along. Also, I had barely recorded before. It was such a learning experience, and it was more a case of, “Oh, sure, I have a few songs I’ll shove together and hope they work.” This time, as I was writing these songs, I was feeling that they were very much connected, and I recorded them in that frame of mind.

SILY: The songs definitely seem to meander a bit, in a good way. There’s a looseness to them. It seems like they know where they’re going, but they’re not really afraid to take some stops along the way. Was there anything you think led to the looser nature of the songs?

AM: I find it quite funny and really interesting hearing how people describe my songs back to me. I don’t know how it’s any looser than another song; I can’t hear them that way. I think that’s just how I write my songs. In fact, I think a lot of these songs had more structure to them and less looseness than older songs. I don’t really understand that myself.

In a way, when I’m writing a song, I’m quite hyper. I find it hard to sit still. I wonder if [that reflects] in my songwriting. There are some loose and meandering songs I listen to, but I wouldn’t put my songs in the same bracket. But it’s interesting to hear your perspective.

SILY: I hear what you’re saying. There’s definitely a lot of complexity, like in “For A Time”, how the vocals, woodwinds, strings, and drums are almost syncopated. And lot of the songs revolve around circular guitar lines. I guess I was thinking of a song like “Coralline” and its outro, and the line “Nothing’s ever meant to stay the same” on “Mannequin”. It’s that spirit of change.

AM: A lot of it was recorded in an improvised way, so the arrangements were coming together with the band. They had never played it before, and I sent them a rough demo on the day of recording. A lot of the songs as presented on the album are those takes. All of it was recorded live. It was mostly Matthew Jacobson and Ryan Hargadon who I played the songs with in studio. The improvised nature of some of the songs perhaps lends itself to some of that looseness. When I first started writing, there were a few words and themes I felt myself coming back to, and one of them was all the songs having moments to improvise. With every song, the [players on the album] felt free when performing live to do something different with it, especially as compared to other albums they played on that aren’t necessarily rigid, but the players play their part, and that’s it.

Another thing I found myself coming back to was repetition. These circular, repeating guitar lines that I can get lost in.

SILY: Generally, how do you find adapting songs to a live performance?

AM: It’s interesting: I definitely do something a bit different. As much as I’d love to, we can’t bring along a flute player and other horns and guitars. Because we recorded all the songs live, that element still carries through. With the three of us, it’s definitely still a really full sound. I’ve got the guys singing on a few songs as well, which is really nice. It’s a totally different thing, having the songs recorded and playing them live. They’re different beasts. It’s nice being able to play around with them live, extend parts or take out parts and repeat things just because. We feel like there are definitely moments we can improvise a bit. It keeps it interesting for us.

SILY: Do you find the process of performing and adapting songs live just as artistically rewarding as writing and recording them in the first place?

AM: I really love performing. I find [performing] and singing songs rewarding. There are also lots of times where it maybe doesn’t feel like that. It depends on the show, I suppose. When I’ve gone through a period of quite a lot of touring, I really crave hibernating and writing for a while. But when I’m in that phase, I crave the socialization of playing the shows. “The grass is always greener.” But I feel very lucky to tour and bring songs I personally have written and let them bring me to all those new places.

SILY: Is there a song on Theatre you’re most looking forward to playing live?

AM: We toured a little bit in Europe and the UK in November and December, so we’ve played these songs a little bit. One song I really love playing live is “Coralline”, with the long extended bit at the end. I get lost in it. “Seraphim” is always a good one, too. It’s a little bit more complex guitar-wise, on the edge for me. The thrill of maybe making a mistake. [laughs]

SILY: On “Seraphim”, it sounds like you’re using your voice as an instrument the most on the record, the way you deliver your words in conjunction with the instruments.

AM: I know what you mean. It’s the oldest song I recorded, and I was singing it for a lot longer before recording it. I wonder if that’s [why]. I do love playing and singing that song, but I remember coming into this album and wanting to sing less. I feel like on my first album I was over-singing. Not only am I not into that sound anymore, but it’s important for the sustainability of my voice to be able to sing in a way that doesn’t wreck it. 

[americangirlstar]

can you explain why everyone is saying kavi has adhd? i haven’t found anything about it.

In the americangirldollnews recap of Kavi's journal, she explains that Kavi talks about her thought process which is exactly how people with ADHD think. That alone wouldn't be "evidence," just basis for a headcanon, BUT there were TWO ADHD specialists on Kavi's advisory board: they were both listed as ADHD specialists as the reason they were on the board specifically. They are both only listed as ADHD advocates and not a specialist on any other part of Kavi's story.

EX: Anna Degroot is listed, who is an advocate for mental health and its impact on performance, not ADHD specifically– however, Allison Tyler and Rae Jacobson are only listed in the book as ADHD advisors, specifically. This means to me that without a shadow of a doubt she was intentionally given ADHD.

Whether it'll be explicitly named in It's Showtime, Kavi or not remains to be seen, but considering the advisory board and how she is written, her ADHD safely canon, or at the VERY least implied.

I asked Sydney and she sent me the pics from the journal that are relevant:

[popentertainment-moviereviews]

FLY ME TO THE MOON (2024)

Starring Scarlett Johansson, Channing Tatum, Jim Rash, Anna Garcia, Donald Elise Watkins, Noah Robbins, Colin Woodell, Christian Zuber, Nick Dillenburg, Ray Romano, Woody Harrelson, Bill Barrett, Stephanie Kurtzuba, Joe Chrest, Colin Jost, Greg Kriek, Art Newkirk, Peter Jacobson, Ashley Kings, Jonathan Orea Lopez, Christian Clemenson and Eva Pilar.

Screenplay by Rose Gilroy.

Directed by Greg Berlanti.

Distributed by Columbia Pictures. 132 minutes. Rated PG-13.

“Fly me to the moon / Let me play among the stars / And let me see what spring is like / On Jupiter and Mars / In other words, hold my hand / In other words, baby, kiss me.”

It would be nice if the romantic comedy Fly Me To the Moon were as simple, frisky and romantic as the song from which it took its title. Honestly, sometimes it does reach those heights, but it has too much going on plot-wise and not enough romance and comedy to keep its story airborne.

That’s a shame, because this is one of very few rom coms which will be widely released this summer. I was hoping that this film would ignite, but that only happens periodically.

Fly Me To the Moon captures a particular place and time in American history – Cape Kennedy, Florida on the eve of the 1969 Apollo 11 launch and man’s first walk on the moon. It has an interesting cast of characters – scientists, astronauts, marketing specialists, shady government agents, far right-wing politicians and egomaniacal Hollywood directors. It’s old-fashioned, and yet it has things to say about modern society as well.  

So why does Fly Me To the Moon only sometimes reach lift-off?

Simply put, because they were trying to do too much. Added into the dish like an unnecessary spice is a whole section based on the old conspiracy theory that the moon landing was a fake made on a soundstage – quite possibly by Stanley Kubrick. (I will give Fly Me To the Moon props for a clever Kubrick gag in the middle of the action.)

This not-so-little subplot does not appear in the story until about an hour into the film, and honestly, it’s an unwelcome addition. Not only has the fakes space mission storyline been done way too often on film already – from the mostly forgotten but surprisingly good 1970s thriller Capricorn One to more recent films like Moonwalkers, Dark Side of the Moon and others. Hell, it was even a quick sight gag in Minions, which may be proof positive that this story is overdone.

To be quite honest, I think Fly Me To the Moon would have worked better had they simply jettisoned that storyline and had done a straight romance around the NASA launch of Apollo 11. The faking story makes more than one of the main characters look bad on a regular basis. Sure, it does give more ammunition to Woody Harrelson playing the shadowy Nixon operative behind the scheme – and Woody is very funny here – but he was very funny well before this plot thread was introduced. They could have found more for him to do in the original narrative.

Because what Fly Me To the Moon is really about – or at least it was until the storyline took that hard right turn – was the timid romance between two very different types of people who meet working on the leadup to the launch.

The woman is Kelly Jones (Scarlett Johansson), a smart, flirty and somewhat cynical public relations professional who has a sketchy past and some questionable methods. She has been hired by the government to start a buzz on the space program, which is still reeling from the tragic explosion of Apollo 1 a couple of years earlier. She has the hair of an astronaut’s wife, blood red lips and the va-va-voom pants suits and capris of a pin-up girl – all of which she uses to disarm the sexist guys she always has to deal with in business.

The guy is Cole Davis (Channing Tatum), the rather humorless former-aspiring-astronaut and scientist in charge of the mission. You can tell how button-down Cole is because throughout the length of the film he wears the exact same style of shirt – just in different colors. (He also has an odd-modern looking short-but layered haircut which is far from the crew cut which someone in his position would have worn.) You can also tell that he is repressed because the first time he meets Kelly – in a local diner – he acknowledges she is the most attractive woman he has ever seen. Still, he cock-blocks himself, telling her that he can’t get involved with anyone because of bad timing and the importance of his job.

I guess we should look at the elephant in the room here. While Johansson and Tatum are both undoubtedly gorgeous, they have very little chemistry together. This is mostly on Tatum’s side – and it may not even be the actor’s fault, it may just be the role as written. Still, it is a little hard to root for a happy-ever-after for these two.

However, taking a look at the space program at the height of its importance is endlessly fascinating. Had they maintained the view at the actual space landing rather than showing the less interesting attempts to recreate it, Fly Me To the Moon may have been something special. Instead it is a fairly good movie which had the potential to be very good.

Jay S. Jacobs

Copyright ©2024 PopEntertainment.com. All rights reserved. Posted: July 12, 2024.

[thereadingchallengechallenge]

🦘 Booklr Reads Australian - Authors on My Shelves 🐨

so, I’ve been trying to think of a way to recommend a lot of Australian authors really quickly for Booklr Reads Australian. what I came up with was just to give y’all a giant list of all the authors I have at home! 

most of them are YA and/or fantasy authors, and I’ve marked my favourites with an asterisk (*) but if you have any questions, feel free to shoot me an ask 😊

1. Sarah Ayoub 2. Eugen Bacon 3. Shirley Barber * 4. AJ Betts 5. Danielle Binks * 6. Cally Black 7. Steph Bowe * 8. Alice Boyle 9. JC Burke 10. Meg Caddy * 11. Frances Chapman 12. Wai Chim * 13. Claire Christian 14. Lyndall Clipstone 15. Claire G Coleman 16. Katherine Collette 17. Harry Cook 18. Cath Crowley 19. Robyn Dennison 20. Cale Dietrich 21. Lauren Draper 22. CG Drews * 23. Michael Earp 24. Kate Emery 25. Sarah Epstein 26. Alison Evans * 27. Fleur Ferris 28. Carly Findlay 29. Helena Fox 30. Lisa Fuller 31. Emily Gale 32. Meg Gatland-Veness 33. Sophie Gonzales 34. Erin Gough * 35. Leanne Hall * 36. Pip Harry 37. Sonya Hartnett 38. Adam Hills 39. Simmone Howell 40. Megan Jacobson 41. Amie Kaufman 42. Melissa Keil 43. Nina Kenwood 44. Sharon Kernot 45. Kay Kerr * 46. Will Kostakis 47. Jay Kristoff 48. Ambelin Kwaymullina 49. Benjamin Law 50. Rebecca Lim 51. Gary Lonesborough * 52. Kathleen Loughnan 53. Miranda Luby 54. Tobias Madden 55. Melina Marchetta 56. Ellie Marney * 57. Freya Marske 58. Jodi McAlister * 59. Margot McGovern * 60. Nikki McWatters 61. Anna Morgan 62. Jaclyn Moriarty 63. Liane Moriarty 64. Garth Nix 65. Lynette Noni 66. Carly Nugent 67. Poppy Nwosu 68. Kate O’Donnell 69. Shivaun Plozza 70. Michael Pryor 71. Alice Pung 72. Emily Rodda * 73. Autumn Royal 74. Omar Sakr 75. Holden Sheppard 76. AG Slatter 77. Jo Spurrier 78. Krystal Sutherland * 79. Jared Thomas 80. Hayli Thompson 81. Gabrielle Tozer 82. Christos Tsiolkas 83. Alicia Tuckerman 84. Ellen van Neerven 85. Marlee Jane Ward 86. Vikki Wakefield 87. Lisa Walker 88. Jessica Watson * 89. Allayne L Webster 90. Anna Whateley * 91. Samantha Wheeler 92. Jen Wilde * 93. Rhiannon Wilde 94. Lili WIlkinson 95. Gabrielle Williams 96. Rhiannon Williams 97. Fiona Wood 98. Leanne Yong 99. Suzy Zail 100. Nevo Zisin 101. Markus Zusak

[andtheywereroomies]

I saw you like Daisy Jones & the Six and sapphic stories and I've just gotta ask you: have you heard of Burn the House Down by Kenna Jenkins? It's an a fictional memoir/oral history (Ala Daisy Jones) abt the 1st woman president and her secret sapphic relationship/bearded marriage with her mlm best friend/narrative foil. It also has a subplot about arson at the White House, ft. An entirely queer main cast and really fleshed out characters, and a really satisfying ending!

I hadn't heard of Burn the House Down, so thank you for the rec!! :) It definitely sounds like something up my alley. Is Amazon the best place to get this or is there another place I'm missing? I didn't see it on Bookshop.

What else is everyone reading that we should add to the list? Don't be shy :)

My recent sapphic reads:

Last Night at the Telegraph Club by Malinda Lo. Historical fiction set in 1950s San Francisco, mostly from the POV of a Chinese American girl discovering her sexuality. In short, if you loved the bar scenes from A League of Their Own series, you might like the vibes of this one. It also gets a little spicy. 🌶

One Last Stop by Casey McQuiston. Ok truth be told I only just started this one, but my lil bi heart loved Red, White, and Royal Blue so I had to check out the author's other books. So far, so good!

Exhalted by Anna Dorn. Astrology meets Fleabag, this is one hot mess of a read (in a fun way).

The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid. Okay okay no one needs me to list this, everyone knows already, but READ IT AGAIN OKAY?? :) Who are we fan casting??

Girls Can Kiss Now by Jill Gutowitz - validate your teenage experience and read this. The short essays make it a breeze and it's extremely relatable.

Greedy: Notes from a Bisexual Who Wants Too Much by Jen Winston. Okay tbh the title was really off-putting to me because I was feeling self-conscious about being bi and in a long term monogamous relationship (so many cheating stereotypes), but ultimately I picked up the book and then couldn't put it down. It captures so much of how I felt coming of age in the closet and why I constantly feel invalidated. Love you forever Jen Winston <3

I Might Regret This by Abbi Jacobson. She talks a bit about discovering her sexuality and it's beautiful <3

(me, an anxious): is this something people are interested in? Should we make this a regular thing? And they were Roomies Recs?