#boogie documentary

[gurrenhime]

My ★★★ review of The Dark, Sad Life of Boogie2988 (2023) on Letterboxd:

[cantquitu]

I could be wrong but her Vanity Fair (?) issue said that it was this 70 or 80s Roller World. It’s called Flippers Roller Boogie Place.

Unless she’s changed it and is not focused on a 70s venue.

Oh I think of Flippers as more '80s, but that would be cool!

[eyeofthelama]

The Cost of Loyalty. 💿

Shot & Edited by Me | IG: EyeOfTheLama

💽: https://music.apple.com/us/album/the-cost-of-loyalty/1627141383

[third-arch]

My Corazon HC’s!! pt.4❤️‍🔥❤️‍🔥

Inspired by my boyfriend, my dad, and my own imagination/knowledge of Corazon and Law

I think if Law’s parents and Corazon lived, his dad and Corazon would be having a barbecue and drinking beer. They’d be besties.

Lami would love Corazon.

Surprisingly, he’s listened to every single Led Zeppelin album growing up! His favorite album is Physical Graffiti. His top picks from the album are Houses of the Holy and Boogie with Stu.

His favorite Led Zeppelin song is The Ocean.

His favorite genre of YouTube video is the “Every time I get hit in Minecraft my computer is coded to generate 30 ender dragons” one. Not the theoretical videos like “Was Sans really just a skeleton?” Or “The dark secret behind Cardcaptor Sakura”, but like the ones where people mod the games or play games at an unplayable setting.

(And no. None of these are real videos LOL)

After a long day, sometimes Law will join him to watch like a historical documentary that might be a tad bit too graphic for Law. Corazon, passing out on the other couch, will just exclaim.

“Don’tlookatthis, Law”

And immediately it’s some mildly grotesque image.

Law still looks and doesn’t even flinch. He doesn’t really care.

“As you can see, the bullet wound went straight through the man’s abdomen-“

“Don’t look, Law (falling asleep)”

(Shows image)

“…”

He likes Charlie Brown and Snoopy stuff.

When Law is sad or going through a traumatic memory, he’ll let Law cuddle up in his coat for comfort.

Corazon makes spaghetti for Law every Sunday night and takes him out for ice cream afterwards.

He loves Bill Evans. His favorite song is Autumn Leaves. Law learned it on the piano for his birthday.

“But Lemon, how could he learn it in private?”

Well,

“Cora-San. I need some privacy to practice. Can you use Silent?”

“Oh! Sure!”

Silent!

This was sort of in a Law HC I wrote, but Corazon once took Law to the zoo to look at all the animals. Law really liked the penguins, otters, and the tiger. Corazon liked the elephant, otters, and the petting zoo.

Corazon has a surprisingly very aesthetic ACNH island. He makes little noises sometimes when working on his island. It probably looks something like this.

[despazito]

The first five minutes of this boogie documentary made me almost feel bad for him but then he opened his mouth about women

[waitmyturtles]

Turtles Catches Up With Old GMMTV: I Told Sunset About You (ITSAY) Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, in a long post, I work my way through Nadao Bangkok’s cinematic motherlode: ITSAY. Thanks to everyone for your patience with this post: I did major due diligence with it, with the absolutely TREMENDOUS help of @telomeke, @lurkingshan​, @wen-kexing-apologist​, and @bengiyo​ to ensure I had facts and analysis correct. Thank you, from the bottom of my heart, to these dear friends for holding me down and offering your sharp eyes.]

To dive into a topic as complicated, as beautiful, as reflective, as impactful as a macro-analysis of I Told Sunset About You is to take on...a lot. As I’ve discussed with @lurkingshan, from a filmmaking perspective, as so many of us who have watched ITSAY know -- it occupies the top spot of Thai BLs by way of pure cinematic quality. (If you follow my late-night liveblogs, you’ll know that this was the first show -- not even Bad Buddy did this to me -- where I needed to stop multitasking, to just sit and watch the episodes. No drama has done that for me in the years since I became a multitasking mom.)

As with 2gether and Still 2gether last week, this watch of ITSAY is a definite milestone on the OGMMTVC list, and I really thank @shortpplfedup, @bengiyo, @wen-kexing-apologist, @lurkingshan, @telomeke, and others in advance for what we’ve talked about in direct conversation regarding ITSAY, its many influential tentacles, and the influences that the show itself may have come from.

I’d like to touch upon a couple of frames to structure this piece, but the caveat here is that by no way will I consider myself an ITSAY expert, because there’s a tremendous fandom that knows much more about the Nadao Bangkok studio, about PP Krit and Billkin Putthipong, about the director and screenwriter, Boss Naruebet, and much more. I will have a substantial postscript to capture loose notes and learnings that didn’t make it into the main analysis. 

Inspired in part by direct conversations with @telomeke and @lurkingshan, I’d like to dive into the following: 

1) From a question that @lurkingshan posed to me: what shows from the start of the OGMMTVC watchlist -- and, more broadly, what art out there -- do I think spoke to ITSAY and its development, 2) The important story of Chinese migration to locations like Phuket, Penang (in Malaysia), and other locations on the Malay Peninsula, and how Chinese and Thai-Malay-Chinese-Peranakan cultures flavored ITSAY’s storytelling, 3) A discussion of internal and external homophobia on Teh’s experience, and how his conversation with Hoon encapsulated our understanding of homophobia, filial piety, and socioeconomic pressures in Teh’s particular life, timeline, and culture,

and more, I’m sure. Let’s boogie.

I warned some folks prior to this review that my thoughts on what may have spoken to ITSAY may turn some people off, so I offer this as a flare to y’all in advance. Acknowledging that episodes three and four of ITSAY were as emotional as anything I had ever seen in Asian BLs, Teh was just such a PERFECTLY written character. (The ITSAY supporting documentary episodes state that the show was in part inspired by Billkin’s and PP’s personal lives, and I know there’s fanon that the show was meant to deeply depict their personal stories with each other. I don’t have primary source material to point to regarding this, so I’ll leave it alone, with the understanding that there are interpretations of the show that read between the lines to bring that lens in. I acknowledge the existence of the theories, but will not dive into that here.)

So, in regards to Teh, as I chatted with @lurkingshan as I was watching the series, I just kept thinking to myself... hello, Fuse. 

CHAOS BOYS! (Fire Boys? No, no, chaos boys, ha.) 

This is where I think my analytical read might get a little controversial with folks, because to compare Make It Right to ITSAY -- from a LOOKS perspective, CERTAINLY from a storyline and narrative structure perspective -- no, it’s not there, not by a long shot.

But when I wonder about what ENERGIES and inspirations opened the door for Boss Narubet to WRITE the way that he wrote, and to DIRECT the way that he directed, Teh’s ENTIRE EMOTIONAL PROCESS AND BREAKDOWNS, his back-and-forth, his hesitations -- I saw chaos, and when I think of chaos, I think of Fuse.

I think of Fuse, and how Fuse was held back, particularly in Make It Right 2, regarding Fuse’s CULTURAL AND SOCIAL ASSUMPTION that he couldn’t break up with his girlfriend, all while being in a nascent give-and-take, back-and-forth relationship with Tee. And how that ASSUMPTION held BACK the full expression of commitment, honesty, and trust that Fuse and Tee ended up having at the end of MIR2. Fuse was being rather unsophisticated while he was struggling with this, and he was bringing Tee along, frustratingly, for that ride.  

Something that you said to me also really resonated, @bengiyo, in conversation with @lurkingshan, about comparing TeeFuse and TehOh, in that Fuse and Teh weren’t necessarily SPARKLING or GIFTED presences. As you two both pointed out to me: Teh had to work much, much harder than Oh-aew for the talents that Teh achieved, and somehow, chaotically, he managed to lose his grip on those talents and achievements as he gave up his hard-earned opportunities for the sake of the overall-better-off Oh-aew. MESSY, BRO.

Besides MIR/MIR2, there’s somewhere else where I saw chaos. @bengiyo, you pointed out to me that you felt that you saw more of Thai queer cinema in ITSAY than in BL. I don’t think ITSAY *doesn’t* speak to BL and vice versa (I don’t think there’s anyone who thinks that, considering what Nadao Bangkok achieved with this show), but when I think of chaos -- and of the structures of storytelling that allowed us to get such an in-depth experience of Teh -- I also think of 2019′s Dew the Movie, and to a different extent, the before-its-time show in 2019′s He’s Coming To Me. 

ITSAY, Dew, and HCTM have:

a) multiple chaotic leads (including actual ghosts and dudes who see ghosts),  b) overarching cultural backgrounds rooted in extremely specific Asian cultures and/or practices and/or time periods, and c) interplays of emotional revelations vis à vis those specific cultural backgrounds.

 - Fuse introduced to us, way back in 2016 and 2017, an internal holding back of an emotional engagement with Tee that was rooted in internal homophobia by way of his negotiation with what Fuse’s girlfriend expected of him, and what HE expected of HIMSELF regarding HAVING a girlfriend, while falling in love with a young man. 

- Dew featured two young men in chaos, in 1990s rural Thailand, one of whom (Dew) who had previously lived in a different city where, likely, his sexual orientation would not have been met with such dystopic scrutiny as it did in the movie. The movie made clear that Dew wanted a solid relationship with Phop, but with both Dew’s and Phop’s families and cultural expectations holding them back, they both met untimely and unfortunate ends that hammered, in extremes, the perils, in cinema, of being gay and out in an incredibly restrictive and old-fashioned Asian society.

- HCTM featured a young man (Thun) who could see ghosts, along with the ghost that he ends up falling in love with (Med). The revelation of Thun’s being able to see Med is deeply connected to Thun’s Thai-Chinese Buddhist practices, and how his family has engaged with spirituality over the course of his life. While the structure of the show has often been described as having a happy ending, I argue the opposite -- that the ending is left open-ended, as it so often is in some of P’Aof Noppharnach’s shows, with the assumed understanding on behalf of an Asian audience that Med will one day be reborn and will leave Thun’s side (unless he’s reborn into another person that knows Thun) (hello, Until We Meet Again). 

So what do all of these shows/movies -- ITSAY, Make It Right/MIR2, Dew, and HCTM -- have in common?

ITSAY, Dew, and HCTM have the common background of an old-fashioned culture serving as a MAJOR anchor to their stories. Their stories are leveraged by the micro-level, individual-level interplay between their main characters and old-fashioned worlds, complete with old-fashioned notions, assumptions, and expectations. ITSAY, Dew, and HCTM negotiate boundaries with these cultural guardrails, and we see -- Teh at the end of episode 4, Thun on the rooftop in episode 5, Dew talking to his mother -- what those expectations and boundaries have done internally to our dear young men. 

Make It Right’s Fuse, way back in 2016, internalized this slightly differently, without us seeing as deeply the WORLD in which he grew up. The directors and screenwriters New Siwaj and Cheewin Thanamin gave us a guy in school with a girlfriend. FUSE’S world, that we see, is a school world, so apropos for that time of Thai BLs, complete with very heterosexual expectations for a young man WITH a girlfriend. And Fuse struggles with his push-and-pull throughout the two seasons.

What I love about the OGMMTVC project is that by having watched these projects before ITSAY, I can somewhat predict what the journey of chaos, by way of internal revelation, will be for these characters. 

However.

What ITSAY DESTROYED for me, as compared to these dramas and movies, was the high level of acting that Billkin leveraged to get Teh to the emotional levels that he reached. Teh, episode 4, and Thun, episode 5 = handshakes. 

This is where ITSAY’s structure just brings ITSAY to the top of the cinematic list and runs away from everything else. I posted in my liveblogging that the ending of episode 3 blew me away with a subversion of the four-act structure of screenwriting. @bengiyo corrected me to say that it was, instead, a rare example of Thai BLs achieving a successful five-act structure. 

Just -- fuck. 

You combine this UTTERLY FUCKING BRILLIANT STORYTELLING STRUCTURE, NARRATIVE STRUCTURING PAR FUCKING EXCELLENCE, ALONG WITH BILLKIN’S PORTRAYAL OF TEH IN HEAT AND CHAOS, and I’m eating, fam. Five-star Michelin tasting menu-level. 

But before I start that meal, there’s even more that ITSAY did to really hammer in what I’m referencing by way of the anchors of old-fashioned culture to this story, which, clearly, Boss and Nadao Bangkok value, in the show’s indirect commentary on Chinese culture and migration in Thailand, and what it meant for Teh and Oh-aew to grow up in Phuket and prepare to leave for Bangkok. (If you haven’t watched ITSAY, I highly recommend that you plan on watching the supplementary documentary material, because those docs give a ton of insight into the Thai-Malay-Chinese background of the show. As a SE Asian homey, those revelations gave me the wonderful warm and familiar vibes.)

Dear @telomeke (I don’t know what I’d do without you, friend!) helped me to understand, back in my HCTM days, that I inherently know more about Chinese migration, immigration, and culture into Southeast Asia than I previously gave myself credit for as a part-Malaysian, because many of the migratory patterns and cultural assimilations are similar between Thailand and Malaysia. I appreciated that confirmation, and had my inspector’s hat on during my watch and rewatch of ITSAY. 

I’ve spoken with @lurkingshan and @neuroticbookworm about the impact of migration and diasporic existence, in that, I think, oftentimes, immigrants to another country often hold a more conservative view of the cultures they bring with them -- in order to hold onto the tenets of those cultures, and to keep those tenets from getting influenced or maybe even watered down by the new environment in which immigrants are living. (My example to Shan and NBW was that I find that South Asian immigrants are often MORE conservative than my relatives in my homelands -- so as to keep a tight grip on assimilation, or, say, moral/ethical weakening by way of Western culture.)

I think the background of Phuket and EVERYTHING it lent to the show...

- Teh’s mom selling Hokkien mee at a stall storefront and the boys eating it in Teh’s old-fashioned house, - The old-fashioned o-aew dessert shop, selling a Hokkien Chinese dessert, which is often preceded by a shot of the “Phuket Old Town” sign, - Teh’s mom’s traditional Chinese-Peranakan outfits, particularly when she’s celebrating Teh and Hoon’s successes, - The tight streets and alleys,

...all of it, visually and culturally, reminded us that the boys live in a world that was DEEPLY INFLUENCED by the way back when. I posit that Teh’s mom is the encapsulation of this kind of old-fashioned culture, from the architectural style of her Hokkien mee stall, to the clothes she wears, to the heavy decorations and rugs and furniture of her old-fashioned house -- to her old-fashioned notions of filial piety that both her sons will be successful and will help to take care of her as she ages. I posit that this old-fashioned mindset also likely led Teh to believe that Teh’s mom would not accept him for liking men, which I will delve into more in a bit.

I mentioned cultural assimilation earlier: I brought up Penang, Malaysia, earlier, because I’ve spent time in Penang -- and Penang was referenced by Boss in the ITSAY documentaries as being similar to Phuket by way of cultural structure. @telomeke educated me on the tin-trade-influenced links from Phuket to the Malaysian towns of Penang and Kuala Lumpur, all towns that experienced heavy immigration from China and feature the strong presence of Chinese-Malay-Peranakan cultures in their social fabrics. The Peranakan population developed when the first Chinese immigrants to these regions began marrying the local ethnic Thai and Malay residents, creating a brand-new culture, complete with unique foods, clothing, architecture, and much more. 

Having not been to Phuket yet, I believe Boss. As well, I want to note -- very important to me as a part-Malaysian -- that Boss referenced Teh’s nickname as the Malay word for tea. @telomeke​ noted for me this distinction as one that’s notable for how ITSAY differentiates the culture within the show -- again, a culture that’s influenced by Chinese and Malay migratory history -- against the backdrop of Bangkok, where tea is not “teh,” but rather is called “cha,” the Thai word for tea. [The most famous “teh” drink of Malaysia is teh tarik, a sweet, creamy, and strong tea drink that you see everywhere in Malaysia. While o-aew is a distinctly Chinese-style dessert, teh tarik comes from Indian immigrants to Malaysia (and is usually drunk with roti canai, another Indian import to Malaysia)]. 

In other words: we are talking a TREMENDOUS, a TREMENDOUS amount of references to cultural mixing, development, and assimilation here, all INTENTIONALLY placed by Boss Narubet and his screenwriting team -- and all of this serving as a reflection against what Teh and Oh-aew will experience as being “different” in their futures in Bangkok, where this Thai-Chinese-Malay cultural differential will make them different when they get to college. (Not having seen I Promised You The Moon yet, I wonder if IPYTM sets up Teh and Oh-aew as potential country mice, à la Ji Hyun and Joon Pyo in The Eighth Sense.)

One more pertinent note of cultural intermixing by way of the historical Thai-Chinese-Malay linkages. @bengiyo was surprised that I didn’t initially exclaim at the presence of hijab- and songkok-clad Muslim women and men eating at Teh’s mom’s Hokkien mee stall; Teh and Oh-aew’s friend, Phillip, is also shown with his Muslim parents. It’s funny, @bengiyo, as I said to you: because I was watching ITSAY with such a trained eye towards spotting the Thai-Chinese-Malay cultural mixing, seeing Muslims on screen did NOT ring a bell of differentials because -- I expect to see them there, in those kinds of spaces, anyway. (In fact, seeing Muslims on Thai television is rare, which I will get into more in the postscript.)

So we have: MANY CULTURES MIXING OVER MANY GENERATIONS. Migratory patterns intertwining. Indications of physical and emotional movement. And even though, and even DESPITE, these cultures mixing, we ALSO HAVE an OVERARCHING message of old-fashioned customs and ways of living that dominate the lives of the children in the show -- ESPECIALLY Teh. Teh and Oh-aew -- literally, their NAMES reference places ELSEWHERE than Phuket and Thailand. Phuket’s old-fashioned roots. Teh’s mom SELLS a dish that comes from somewhere else (the Hokkien Chinese population mostly hails from Fujian, China, as its origin).  

What happens with migration and immigration? Cultures collide and combine -- social mores and expectations change -- one’s standards of HOW TO LIVE ONE’S LIFE changes. 

Teh and Oh-aew, during the entire series, are facing a moment in time where THEIR lives, THEIR cultures, THEIR micro-interactions WITH THEIR cultures, ARE GOING TO CHANGE, definitively, by way of their burgeoning same-sex relationship. Teh and Oh-aew are already different in Thailand by way of their cultural backgrounds, as I’ve established -- and now, with a potential public revelation of their relationship, will they be even more different. And their families -- especially Teh’s mom, but Oh-aew’s family as well -- are going to collide with the very PRESENT present vis à vis their boys and their love. 

As this happens with migration and immigration, CHANGE WILL HAPPEN vis à vis Teh and Oh-aew’s queer revelations as well. 

Boss focused on the aspects of Phuket that were anchors to the culture that Teh and Oh-aew were raised in -- an immigrant culture, a migrant culture from China, that has had a long hold over many, many towns and societies in Thailand. We didn’t see the modern 7-11s that we know are there in Phuket, serving the tourists of these towns. 

And, just like the physical dystopia of Dew, and even vis à vis the spiritual practices built into He’s Coming To Me, the slice of Old Town Phuket that we SAW as that anchor was a HEAVY PRESENCE in Teh’s life -- it was PERFECTLY matched with the old-fashioned, conservative ANGER and DISAPPOINTMENT that we saw in Teh’s mom in episode 4, when Teh shares that he dropped out of university for Oh-aew. That anchor, to me, was meant to SMASH into, FEED into Teh’s overwhelming emotionality at his queer revelation, and at the revelation that serving his mother via filial piety would be automatically made more difficult, thus maximizing the impact of his internalized homophobia and his fear of recognizing his love and attraction for Oh-aew.

COUPLE THAT with the previous hints -- and then the SMASHING WRECKING BALL -- of the visual depths of Oh-aew’s own realizations earlier in episode 4, his own internally different place, the way he reveals himself to the world vis à vis the fast Instagram post of him wearing the red bra. And how Teh reacts to it. And how it sets off such an unreal chain of emotional unraveling for Teh, the SECOND of that episode, even before he goes to Bangkok to drop out. 

WHOA.

THIS, TO ME WAS FUCKING STUNNING

and very important to me to see as a South/Southeast Asian. WHEW.

And, good lord. How Hoon comes in at the end for Teh. Hoon, the eldest son, the one who has very quietly borne the financial responsibility that his mom, Teh’s mom, too, has placed on Hoon’s shoulders, naturally, through generations of family custom. (Super duper thanks to @lurkingshan for talking me through this in detail with me.)

And Hoon gives his family, his little bro, Teh, comfort. How Hoon says, listen. Mom’s gonna be mad if and when you tell her about Oh-aew and your feelings for me. But guess what? She’s gonna come around. You’re a crybaby, Teh, but I’m here for you.

Hoon knows that Teh’s mom will come around -- because Hoon is also a part of the next generation of change, much like his Thai-Malay-Chinese-Peranakan community before him -- as he brings his Japanese girlfriend home to his mother and brother. (THANK YOU, @wen-kexing-apologist, for pointing this out!)

Teh’s mom, too, will move. She will move from her old-fashioned mindset, to migrate to a new mindset, where she will accept her son. Teh needed to hear that, to know that that movement would be possible.

Just like the movement of the many swirling cultures around Teh and Oh-aew, the hustle of Bangkok before them, nipping at their lives like the ocean to the beach. 

What ITSAY captured for me was a cinematic moment of movement on so many levels. It was a pulsating reflection of change. It was meant and designed to insidiously shock viewers out of complacency. Like a beanstalk climbing from the ground, the movement begot movement to these two young men beginning to address and empty themselves of the homophobia that kept them back, Teh especially. 

GAH, THEIR MOVING PHYSICALITY, IT NEVER STOPPED -- the end of episode 2 on the boat, the end of episode 3 in Teh’s room, GAWD -- Teh’s ABSOLUTE HORMONAL DRUNKENNESS, Oh-aew’s STARE AFTER STARE AFTER STARE, Oh-aew’s SILENT DEVASTATION AT THE END OF EPISODE 3, the way Teh would nod and FLOP his head uncontrollably in desire, the nuzzles, the sniffs, the uncontrolled reaches -- GAH. It gives me the shivers. 

It was a lot.

ITSAY was just -- y’all know it. It was fantastic. While HCTM was before its time, I feel that ITSAY was RIGHT ON TIME. It brought so many elements of this GORGEOUS, HISTORIC, culturally Southeast Asian experience into the intersection of the queer lens, as well as the *migratory* lens of the Southeast Asian region specifically. It showed us, from a micro-perspective, the very tremendous macro-level implications and pressures of filial piety, of internalized homophobia, of the huge socioeconomic expectations that families have on Asian students to succeed in education, and so much more. IT WAS *DEFINITIVELY INTERSECTIONAL*, MORE SO THAN ANY BL BEFORE ITS TIME.

Yet again, for me, just like Bad Buddy, just like Until We Meet Again, I have another show in my arsenal that makes me proud to be an Asian watching these shows -- and in ITSAY, I feel particularly proud that a slice of my own personal culture, as an Malaysian, made it in there, intentionally. I will FOREVER, and ever, be grateful to ITSAY for that.

-------

I’d like to offer this postscript as a means of making some quick points that @telomeke, @bengiyo, @lurkingshan, and @wen-kexing-apologist shared with me as I was writing this review -- and I thank them all deeply for reading drafts of this post before publication. 

1) I was previously unaware of the history and current state of Islamic culture in Thailand until ITSAY and Be My Favorite included women wearing hijabs in their shows. This is an important slice of culture for me to know about, as I’m part-Malaysian, where Islam is the dominant religion. @telomeke shared with me that the majority Muslim population in Thailand is in southern Thailand (although, of course, Muslims live across Thailand), and that there have historically been separatist efforts in those southern provinces that have often led to violence. 

There are many reasons why discrimination of Muslims exist in Thailand, as it does around the world, including references to the separatist efforts in the southern provinces. As well, ethnic Thais can trace their heritage back to various towns and communities within China, thus possibly making northern Thailand, with its proximity to China, potentially more lauded in Thai culture, and contributing even more to a perception that southern Thailand, with its Muslim population, as potentially “less desirable.” (And I want to take a second to note @telomeke​‘s excellent point to me that “Chinese” as a catch-all word is often incomplete, as Han Chinese make up a sizable portion of Thailand’s population, but as we see in ITSAY, the Hokkien Chinese population also flourishes in certain parts of the country, and there are populations of Teochew and Hakka Chinese as well, as there are in Malaysia.)

All of this combined -- the geographic proximities to China, the places where various populations have settled, from the places that various populations of Thais track their heritages, plus global and/or popular misconceptions and stereotypes of “other” communities -- can contribute to discrimination of Muslims in Thailand. Of course, that is not a universal statement, as we do see Muslims beginning to show up in Thai drama art, which is heartening. To me, it strikes me as more realistic for the region to see Muslims on screen, but I don’t know Thailand well enough to say that for sure (that’s my Malaysian-side talking). I really want to thank @telomeke for taking me on SUCH a deep dive with insight into this part of Thai culture that I think is very necessary and fascinating. (Politics in Thailand is quite complicated at the moment, but at this very second, Thailand’s current Parliament speaker, from the Move Forward party, is Thai Muslim, with a Malay Muslim name -- Wan Muhamed Noor Matha. Very cool, but this is going to change soon, as Move Forward will make way for another political party to take control of the government.)

2) If you know me well enough, I cannot leave food well enough alone in our wonderful dramas (exhibit A: Moonlight Chicken and khao man gai, exhibit B: coffee/kopi in The Promise, lol), and I want to make sure that we were all aware back in 2020, and/or make you aware now, that Hokkien mee is a VERY regional dish, with styles unique to each town in which it is famous. @telomeke, I know you feel differently, but Hokkien mee from Kuala Lumpur (KL), Malaysia is my.... it’s my heaven, my soul, my heart, HA!

Here’s some linkies to get you educated. And also! Oh-aew prefers his Hokkien mee with rice vermicelli noodles, instead of the usual, thicker egg noodles. You know what I like to do if I see that a stall has the two styles of noodles available: I like to get them mixed together. Hokkien mee, Hokkien prawn mee noodle soup, curry laksa -- I like the best of both worlds of noodles in my bowl. YUM.

Phuket Hokkien mee KL Hokkien mee Penang Hokkien mee (this one is the prawn noodle soup, not the fried noodles -- omfg so good) Singapore Hokkien mee (note the lighter color -- and the m’fing mix of thick and thin noodles, hell yeah!)

(If you made it this far in the ITSAY review, I have an easter egg for you. Guess what the Malay name is for rice vermicelli noodles? Bee hoon or mee hoon. 

Hoon and Teh, two Malay names: thin noodles and tea. What Teh’s mom serves at her stall, and what Teh and Oh-aew represent, symbolically, by names and their noodle preferences, as a pairing. AND! @telomeke​ gave me one more easter egg! Teh O is a popular way to order tea in Malaysia and Singapore. It’s black tea with sugar, no milk. Another pairing reference. ITSAY never stopped with all the layered references!)

[WHEW! What a ride. Thanks to all y’all who held me down during my losing-it liveblogging of ITSAY. More to come when I get to Last Twilight in Phuket and I Promised You The Moon.

Next week, I’ll release my review of YYY into the wild -- listen, honestly. Yes, chaos, confusion, all of it. But I am not writing this show totally off. There was definitely stuff in it to chew on. And: POPPY RATCHAPONG. And Pee Peerawich. The acting was actually stacked on this show. There’s stuff! More soon.

And I also finished Manner of Death, so that review will drop in two weeks. I LOVE MAXTUL. UNABASHEDLY. Yes, I know I’m years late, yes, I know Tul is retired, sobs. Let me live my 2021 dreams! These guys are so good together, and MoD was fuckin’ great.

I have so much good stuff on the way: I’m fully in my ATOTS rewatch, and I’ve added 55:15 Never Too Late, very specifically its BL storyline. I may not give 55:15 a full review because I’ll fast-watch the rest of it, but: Khao, come to me, boo-boo! I have an INSANE August ahead of me as I’ll be moving in a month (GAH), but hopefully this schedule won’t fall back too much.

Status of the listy! Hit me up if you have feedback!

1) Love Sick and Love Sick 2 (2014 and 2015) (review here) 2) Make It Right (2016) (review here) 3) SOTUS (2016-2017) (review here) 4) Make It Right 2 (2017) (review here) 5) Together With Me (2017) (review here) 6) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 7) Love By Chance (2018) (review here) 8) Kiss Me Again: PeteKao cuts (2018) (no review) 9) He’s Coming To Me (2019) (review here) 10) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 11) TharnType (2019-2020) (review here) 12) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 13) Theory of Love (2019) (review here) 14) 3 Will Be Free (2019) (not a BL or an official part of the OGMMTVC watchlist, but an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 15) Dew the Movie (2019) (review here) 16) Until We Meet Again (2019-2020) (review here) 17) 2gether (2020) and Still 2gether (2020) (review here) 18) I Told Sunset About You (2020)  19) YYY (2020, out of chronological order) (review coming) 20) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review coming) 21) A Tale of Thousand Stars (2021) (review here) 22) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (watching) 23) Lovely Writer (2021) 24) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 25) I Promised You the Moon (2021) 26) Not Me (2021-2022) 27) Bad Buddy (2021-2022) (thesis here) 28) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) 29) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 30) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 31) KinnPorsche (2022) (tag here) 32) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 33) The Eclipse (2022) (tag here) 34) GAP (2022-2023) (Thailand’s first GL) 35) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 36) Moonlight Chicken (2023) (tag here) 37) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults)]

[barbatusart]

just FYI it’s not the 7 spawn, there are 7 figures boogying arbitrarily lol. from left to right it’s cazador, vellioth, donnela, gathwycke, faibleur, dyckson, & blaiseuse - and so on and so forth. visual is a reference to the 2012 indonesian-language documentary “the act of killing”

[bitter69uk]

Born on this day: decadent and charismatic German-Italian actress, model, scene-maker, style icon, “Lady Rolling Stone” and ultimate rock chick Anita Pallenberg (6 April 1942 – 13 June 2017). Pallenberg was an alluring occasional presence in art-y bohemian nightlife in early 1990s London. I recall her DJ’ing at the Horse Hospital once, and coming face to face with her when I opened the bathroom door (“I always need to pee!” she cackled). But before that, buried in the listings of Time Out magazine (in the pre-internet days when it was a dense essential bible that we all relied on), I read about a screening of Pallenberg’s old home movies in East London. It announced she would be present, possibly hosting or emceeing. The venue was a palatial industrial loft in Shoreditch (possibly someone’s apartment), just before gentrification went full tilt boogie there. I sat alone in the back and overheard people conferring that a vintage Cadillac had been dispatched to collect Anita. She arrived late and alone - and sat next to me! Pallenberg – looking just like she did in that 1995 Calvin Klein ad by Steven Meisel with that other ravaged countercultural survivor Joe Dallesandro – radiated elegantly ruined glamour. I never got to meet Nico, but this was a very respectable equivalent. We made small talk. As Pallenberg’s friend Marianne Faithfull describes in her autobiography, “She spoke in a baffling dada hipsterese. An outlandish Italo-German-Cockney slang that mangled her syntax into surreal fragments.” Pallenberg glugged red wine and chain-smoked throughout (there’s a theory she was one of the inspirations for Patsy Stone in Absolutely Fabulous). She also kept up a running commentary on what was happening onscreen (mostly images of herself – clad in Ossie Clark and vintage finery – and Keith Richards in the late sixties cavorting on their jet-set travels). At one point, things turned intimate – a seemingly post-coital Anita and Keef canoodling in bed together. The camera zoomed in on her naked breast. “That’s my neeeple,” she declared in her gravelly Marlene Dietrich voice. I can’t wait to see the upcoming documentary Catching Fire: The Story of Anita Pallenberg. Portrait of Pallenberg by Michael Cooper, 1967.

[weirdgirl92]

After much nostalgic binge watching, I’ve decided to do my own personal rankings of every classic Powerpuff Girls episode per season (because it sounded fun, and I was bored anyway).

Season 1:

Uh-Oh Dynamo

Mr. Mojo’s Rising

Tough Love

Telephonies

Mommy Fearest

Boogie Frights

The Rowdyruff Boys

Buttercrush

Mime For a Change

Bubblevicious

Just Another Manic Mojo

Cat Man Do

Ice Sore

Octi Evil

Monkey See, Doggy Do

The Bare Facts

Abracadaver

Insect Inside

Major Competition

Impeach Fuzz

Geshundfight

Paste Makes Waste

Fuzzy Logic

Powerpuff Bluff

Season 2:

Something’s a Ms.

The Powerpuff Girls’ Best Rainy Day Adventure Ever

Slumbering With the Enemy

Twisted Sister

Stuck Up, Up, and Away

Beat Your Greens

Speed Demon

Just Desserts

Birthday Bash

Supper Villain

Los Dos Mojos

Mo Job

Collect Her

Too Pooped to Puff

Dream Scheme

Daylight Savings

A Very Special Blossom

Slave the Day

Pet Feud

Imaginary Fiend

Mojo Jonesin’

You Snooze, You Lose

Schoolhouse Rocked

Cover Up

Down n’ Dirty

Cootie Gras

Season 3:

Child Fearing

Criss Cross Crisis

Power Prof.

Equal Fights

Meet the Beat Alls

Ploys R’ Us

Hot Air Buffoon

Three Girls and a Monster

Super Zeroes

Jewel of the Aisle

The Mane Event

Bought and Scold

The Headsucker’s Moxy

Helter Shelter

Power Lunch

Cop Out

Catastrophe

Candy is Dandy

Town and Out

Gettin’ Twiggy With It

Monkey See, Doggy Two

Fallen Arches

Moral Decay

Season 4:

Power-Noia

Knock It Off

Him Diddle Riddle

Not So Awesome Blossom

Forced Kin

Superfriends

Get Back Jojo

Stray Bullet

Members Only

Keen on Keane

Nano of the North

Film Flam

All Chalked Up

Season 5:

Substitute Creature

Silent Treatment

Monstra-City

Save Mojo

Twas the Fight Before Christmas

See Me, Feel Me, Gnomey

Documentary

Burglar Alarmed

Bang For Your Buck

Curses

Boy Toys

Girls Gone Mild

City of Clipsville

Lying Around the House

Bubble Boy

The Boys Are Back in Town

Seed No Evil

Divide and Conquer

Shut the Pup Up

Sweet ‘n’ Sour

Pee Pee Gs

Toast of the Town

Shotgun Wedding

Season 6:

Aspirations

Custody Battle

Makes Zen to Me

The Powerpuff Girls Rule!!!

Mizzen in Action

Oops, I Did It Again

Crazy Mixed Up Puffs

City of Nutsville

I See a Funny Cartoon in Your Future

Simian Says

Coupe D’etat

Mo’ Linguish

Neighbor Hood

Live and Let Dynamo

Roughing It Up

Prime Mates

Nuthin’ Special

Little Miss Interprets

What’s the Big Idea?

Octi-Gone

Night Mayor

A Made Up Story

West in Pieces

That’s Not My Baby

Reeking Havoc

Say Uncle

The City of Frownsville

Sun Scream

Top 10:

Power-Noia

Knock It Off

Uh Oh Dynamo

Something’s a Ms.

Best Rainy Day Adventure Ever

Mr. Mojo’s Rising

Tough Love

Telephonies

Child Fearing

Slumbering With the Enemy

Bottom 10:

Shotgun Wedding

Toast of the Town

Sun Scream

Pee Pee Gs

The City of Frownsville

Moral Decay

Say Uncle

Cootie Gras

Sweet ‘n’ Sour

Reeking Havoc

[leprosycock]

do you have any good movie recs :3

mysterious skin, beau is afraid, may, hellraiser (the og, not the remake), ichi the killer, pink floyd’s the wall, the last waltz, taxi driver, a clockwork orange, the greasy strangler, womb, american psycho, aqua teen hunger force colon movie film for theaters, the care bears movie, long island expressway, there will be blood, children of god (it’s a documentary but it’s incredible), the master, boogie nights, fantastic mr fox, isle of dogs, unico in the island of magic, heathers, you were never really here, the shining, silence of the lambs, swiss army man, her, donnie darko, joker, marriage story

[waugh-bao]

i saw your previous ask about keith's solo work and now i'm curious about your opinions on charlie's solo work! also, do you have any recommendations for charlie, i've only listened to from one charlie

If you discount session work (because Ronnie did a ton both before and after he joined the Stones), Charlie actually has the most extensive solo/non-Stones catalogue. It’s very diverse and I think the vast majority of it is very high quality.

So in terms of his session work, far and away his best contribution (that we know of - this isn’t even listed on his Wiki) was as the drummer for The London Howlin’ Wolf Sessions. He, Bill, Stu, Steve Winwood, and Eric Clapton acted as the backing band for Howlin’ Wolf on a Chess Records-Rolling Stones Records collaboration covering some of his most famous songs in 1971. For my money it’s one of Wolf’s best albums and showcases beautifully what a talented blues drummer Charlie was. He could have gone toe to toe with the old Chess guys like Fred Below if he wanted to.

It was only for one song, not an entire album, but he, Keith, and Ronnie were the backing band for Marianne Faithfull’s cover of “Ghost Dance” by Patti Smith in 1993:

Charlie was in a few non-Stones bands. Probably the most famous, although it’s really not terribly well known, is Rocket 88. The founding line-upwas Stu, Charlie, Alexis Korner, and Dick Morrissey and membership fluctuated during different projects and concerts during its active period (1978-1981). You can find a couple videos of their performances on YouTube, but their one released album, from a live concert in 1981, is really fantastic. Jack Bruce does bass and vocals on it and he and Charlie make an absolutely amazing rhythm section. 20x times better than anything he ever did with Wyman.

He was also associated with another boogie woogie band, The ABC&D of Boogie Woogie, which he didn’t co-found, but which he got into through Dave Green (his childhood best friend and the bass player for most of his solo work). That band also unfortunately only has one album, but there’s a lot more available on YouTube to enjoy because they were around in the early 2010s. This is my favorite song they covered:

It’s never been entirely explained how it came about, except that it was initially facilitated through one of his friends, the trumpeter Gerald Presencer, but Charlie did an album with the Danish Radio Big Band in 2010 that was released in 2017. The 7 tracks include 2 original compositions and 5 re-arranged Stones songs. Whoever did the arrangements and composition did a wonderful job and it’s great highlight of Charlie’s flexibility and originality as a drummer.

In the late 1980s, he and Keith did a cover of Charles Mingus’ “Don’t Let Them Drop That Bomb on Me”, it’s worth it just for the little documentary clips of the two of them, never mind the song itself, which is also well done:

That’s not everything Charlie ever did which wasn’t explicitly his own project, but it’s the highlights.

As far as his own bands/albums go, unfortunately his first album, Live At Fulham Town Hall (1986) isn’t available to stream, but you can find the tracks on YouTube and a neat little documentary/live performance clip:

(This would also be a good time to mention that there’s a beautiful, very high quality segment of Charlie playing a Duke Ellington composition on BBC4 in 2019 along with Dave and some American jazz musicians, as well as a cute little interview with the two of them after):

Everything that follows that album, with one exception, is a variation on The Charlie Watts Quintet, the group which appears on 1990’s From One Charlie to Another:

The biggest difference between his jazz albums, other than the number of players (it tended to range between a quartet, a quintet, and a tenet), is whether or not they have a vocalist. The last one, Watts at Scott’s (2004) is the one which does not and it’s a mixture of original compositions (generally written by his pianist Brian Lemon) and covers of jazz standards, including Ellington’s “A Train”:

1991’s A Tribute to Charlie Parker with Strings is a really neat, original project. It has Bernard Fowler narrating the story of Parker’s life through Charlie’s book about him from the ‘60s and covers songs which were on Parker’s own With Strings album as well as original compositions like “Terra de Pajaro.” There is one song “Lover Man”, which has vocals provided by Bernard, the rest is purely instrumental. Pete King was the saxophonist for all of Charlie’s jazz projects and he absolutely kills it on this album.

The two albums which really showcase his collaboration with Bernard and his skills as an accompanist to a vocalist, Warm & Tender (1993) and Long Ago & Far Away (1996), are lovely collections of jazz standards and standouts from the Great American Songbook. I love them both, I think which one you want to listen to just depends on your mood. The second album is definitely more melancholy:

It also has Charlie’s only solo music video, for “I’ve Got a Crush on You”, which is gorgeous and good humored:

The weirdest album in Charlie’s oeuvre, to put it bluntly, is the Charlie Watts/Jim Keltner Project (1999). It’s very avant garde, probably the most purely creative but also least accessible thing he ever did. The album was made at the same time the Stones were recording Bridges to Babylon, so Mick and Keith pop up on two different tracks (separately), but the bulk is Charlie, Jim Keltner, and a few other percussionists who contributed bits and pieces. It’s a world music-jazz-techno-beats melange of original pieces, some of which were inspired by the work of certain jazz drummers and some of which are more entirely abstract. To be honest it’s not really something you can describe, you sort of just have to listen and see if it’s your thing.

[shockwave-princess]

South Park Concert Spoilers and Long Post About My Experience

It was an absolute fucking dream come true - I am so happy with my experience and I can't wait to do it again tomorrow

We got great seats about 6 rows from the front - Boogie and Betty were directly in front of us in the first row

We were there for a while when they were setting up. Betty and a friend (possibly Matt's daughter?) were walking around and waving to the audience. It was very cute.

They showed a Casa Bonita update video - very funny and it got me even more excited for the documentary. I'll upload the video ASAP. It makes me want a Matt and Trey reality show

Ween opened with a couple songs, then Primus came out. Instead of doing separate sets, they sort of took turns/played together throughout the night with south park songs interspersed.

Trey was wearing pretty much what I expected, but Matt's blue tracksuit caught me off guard lmao

We were so CLOSE to them - and we were in their line of sight pretty often. My energy level was at a 10 anytime Matt or Trey did anything, and in my heart and imagination, they looked at me a few times.

From my perspective, a large portion of the audience was much more familiar with Primus/Ween/mainstream SP songs (which is to be expected). At one point they played "Man Up" from BOM and I swear to god, after they finished Matt turned to Trey and said "they don't know that one" and laughed.

TREY PLAYED WHEN I WAS ON TOP OF YOU I was so fucking happy. Again, not something I think a lot of people knew unfortunately

When they weren't playing - and Primus or Ween were on, Matt and Trey sat in chairs on stage. They kept looking out into the audience and smiling - it was very cute.

Each of them totally killed it - Matt on ukelele, guitar, bass, and drums - he was so good and I love seeing him smile. TREY ON PIANO WAS A FUCKING DREAM - I can't remember which song it was, but he did some fancy shit it was crazy. Les Claypool is a god, Bruce Howell killed it, and Dean Ween was awesome - and I'm also certain I made eye contact with Les and Dean a ton, but again, that's probably my imagination lol it was a big crowd

Several mics on stage were set to different pitches so they could do the boys' voices as they needed. For one song, Matt was singing as Butters but also playing guitar - he explained that they tried a lot of things, but if their voices are pitched up while they are playing an instrument, it will be in the wrong key. So for that song, he played guitar while doing Butters' voice, but the pitch was his normal voice.

There were hat changes that I enjoyed very much. Matt in a cowboy hat 10/10

They did the ballad of lemmiwinks - everyone on stage was in these funny costumes, and throughout the song the different characters were supposed to come out. I think the people in the costumes kept missing their cue and Trey was trying to wave people on and off lol. He recognized it wasn't going as planned and said "the animals are fucking it up you guys!" It was very camp.

They had these awesome backup singers - a very talented group of girls and they killed it.

They did the DVDA version of Brain Boitano - I was jumping up and down the whole time

The America Fuck Yeah encore was awesome - they kept faking us out that the show was over and then coming back

I might add more as I process everything - but they guys seemed so happy and I am so proud of them. Matt and Trey did such a good job

[philhoffman]

Tonight's Monday Philm is actually a miniseries: Liberty! The American Revolution, first broadcast in 1997. Or, I Watched Six Hours Of This PBS Documentary All At Once So You Don't Have To!

It really wasn't that bad—I'm actually a historian specializing in 19th-20th century U.S. by training 🤓 so while the Revolution is a little earlier than my area of study, I've always had a soft spot for it. Just watching this made me a little nostalgic. I've seen parts of this series before (probably in middle school tbh) and of course I've watched PSH's few bits, but this was my first time watching the whole thing.

Overall pretty good! A little dated, as quarter-century old documentaries are expected to be, and the focus was a little narrower than I might've hoped for from a six-hour series, but it was well-made. SO many actors are in this. Like, I knew several to expect (like Stephen Lang, another favorite actor of mine, voicing Washington), but then Austin Pendleton and Jane Adams and Isiah Whitlock Jr. and Philip Bosco showed up!

I'm curious about how Phil got involved with this project. Released in late 1997, about a month after Boogie Nights, so filmed before his public "breakthrough" in that film. I wonder if this was another role he did, partly like Twister (and around the same time), to afford to move back to NYC lol? Not that it would just be about money—seeing Austin Pendleton pop up made me think he might've gotten Phil involved. And the project is neat, it's history, something Phil probably would've been interested in on his own. We may never know!

PSH is portraying Joseph Plumb Martin, an actual American soldier who kept a diary throughout his wartime service. While doing some research for this post I learned Martin was 16 (!!!) when he joined the militia, so Phil in that first still is supposed to be a teenager lmao. Makes much more sense when you realize Martin was in his mid-20s by the end of the war (the last still) and much closer to Phil's actual age. And like, it's a PBS documentary—they're not blowing the budget on costumes for characters with maybe 2 minutes of screen time—but they still do a pretty good job showing how he became a man over the course of the war.

Martin also kinda has the most character development over the course of the series? He's the primary (maybe only?) American soldier depicted and so carries the burden of portraying the entire demographic's wartime experiences. A little cheesy at times but Phil's sincerity is impressive—his willingness to throw himself into any role without self-consciousness—and I can't lie some of those line readings gave me chills ! Nearly all of the actors do a great job bringing the real diary entries and letters etc. to life—so brash, so funny, so honest and afraid and hopeful.

This series brings up many innate and complicated feelings about my country! Too numerous to dive into here, since this is already a remarkable long review compared to how long Phil is actually in it.

But Phil loved a good July 4th bash so tomorrow, if applicable, make some of his cookie dough s'mores and go see fireworks or maybe just watch him be miserable and freezing at Valley Forge in this series! 🇺🇸

[eustassslut]

Hi, I was so excited when I read Noe, Haikei and Oscar hcs😍 you wrote them so good!! Could you please do more headcanons about other crewmembers? Some about the new ones that we discovered recently maybe🙈

it would be my pleasure, i chose 4 named background members who i really like the designs of. if anyone wants me to write any for other Kid Pirates, you can find a list of the named Kid Pirates here!

Hip:

Really good at cutting hair but charges outrageous fees to cut the crew's hair

You get hair cuts for half price and kisses though

Loves photography and always carries a camcorder

Takes the most artistic photos of you and her

One of Kid's most trusted crew members

She can read the crew's emotions incredibly well, including Killer

The queen of self confidence who will encourage you to be yourself

Joined the Kid Pirates in the early days, around the same time as Heat

Into being choked and choking you

Really likes hip-hop music

Likes watching crime documentaries

Would marry you on the spot if you took her to a hip-hop concert

Owns a large crystal collection

Has probably used her swords in the bedroom at least once, no clue how but she has

Regularly trains with Killer and has a similar fighting style to him

Collects rose quartz in different shapes and sizes to give you for special occasions

Helps Killer cook for the crew and specialises in breakfast food

Also makes really good smoothies

If you have boobs, she'll be obsessed with them and loves giving you hickeys on them

She calls her hands your second bra

Leans towards a Y2K or grunge fashion aesthetic

Defiantly would be a kpop stan but specifically 2NE1, Big Bang and Block B

Boogie:

Very emotional and regularly cries over small things

Anything you do for him and special occasions with you will make him tear up

His favourite type of music is electro funk/post disco music

Loves going clubbing

Switch with a sub lean

He secretly wants to be pegged

Massive feminist and regularly beats up catcallers on the street

He's super protective of the female members of the crew when they dock at new islands

Always hugging you or holding your hand

Pussydrunk 24/7

Will hold your drink for you and attack anyone who tries to spike you

Enjoys watercolour painting

His wanted poster photo is the most cursed thing ever

Super whiny and very loud during sex

Defiantly chants about how much he loves you whilst you top him

Also chants it when he tops, his mind just goes blank and it's all he can think about

Makes the nicest hot chocolate and refuses to let anyone know how he makes it

Really good at chess

Has the perfect proposal for you mapped out in his head

Cannot cook or bake, he burns everything

Can play electric guitar

Likes horror manga and novels

Mosh

Really likes going to concerts and gigs with you

Lets you sit on his shoulders or picks you up so you can see better

One of the oldest members of the crew

Gives you piggyback rides

Is learning to sew from Quincy

Likes restraining you using handcuffs

You can't used handcuffs on him though because he breaks them super easily

Runner up for most hair gel used, after Haikei and Oscar

Once voted as one of the worst dressed crew members by more than half the crew

Massive size kink, really likes how he's so much taller than you

Likes crime documentaries and watches them with Hip

Swears so often that Dive made a swear jar to stop it (it's not working)

Has over 500 hours logged on the Sims

Enjoys embroidery

Makes good milkshakes, his favourite flavour is vanilla

Once made you both in the Sims and had them get married, as well as have children to see what they'd look like

Super cocky and confident in the bedroom but he's very dedicated to making you feel good

Defiantly the type to mock you when you beg him though

Enjoys writing (poems, short stories and crime stories)

Super supportive of anything you do or are thinking about doing

Quincy:

Has a large makeup and nail polish collection that the crew all regularly use

She'll do your makeup and nails for you everyday if you want

Big fan of white wine

Loves going thrifting and has the ability to make even the most ugly pieces look amazing

The crew's equivalent of a personal stylist, she keeps them from dressing more ridiculous than they normally do

Always saves the nicest items she finds to give to you

Likes being on top and telling you what to do

The crew see her as a mother figure

Looks out for Dive a lot, their relationship would be like Robin and Chopper's

Her favourite Disney movies are all the Alice In Wonderland ones

Her favourite character is the Red Queen

Very into orgasm control and overstimulation, both for herself and you

Thinks you look very attractive when you orgasm

Used to be a model before she joined the crew and sometimes gets people asking her for autographs

Addicted to making out with you and leaving her lipstick on your face

Has an American accent, but specifically from New York or LA

Mommy kink

Can speak French and Italian

Her favourite food is jam tarts, preferably with raspberry jam

Has a thing for thigh high socks and body harnesses

Regularly spits in your mouth

Her second favourite food is croissants

She can make really nice jam

Wants a poodle

[mywifeleftme]

18: Various Artists // Athens, GA.—Inside/Out

Various Artists Athens, GA.—Inside/Out 1987, IRS Athens, Georgia is currently the 218th most populous city in the United States, but between the B-52s’ 1979 breakthrough and the mid-2000s it was one of the world’s key incubators of college/alternative/indie rock. Athens, GA.—Inside/Out, the soundtrack to a quirky local documentary, is a great snapshot of the scene as it existed circa 1986. In some ways, the track list is evocative of the ecosystem in any thriving music town: the revered pioneer that never quite blew up (Pylon); the true phenomenon (R.E.M.); the anointed next big thing (Dreams So Real); the durable live favs (Love Tractor); the non-entities (Time Toy); the last to know they're going nowhere (Bar-B-Q Killers).

In its details, however, Athens' sounds were as woolly and unique as you’d expect of a scene breach-birthed from the temple of the B-52s. These recordings, mostly live takes recorded for the doc in local rock clubs, a frat house porch, and even the chapel of a nineteenth century girls’ school (R.E.M., of course), reveal strains of new wave and post-punk that’ve evolved in relative isolation from the coastal meccas. Of the lesser-known Athens acts, Squalls make the best impression, offering two infectious, endearingly goofy bops that may lodge themselves in your ears for days.

One can quibble about the presence of Carrboro, North Carolina’s Flat Duo Jets, who apparently moved to Athens for all of three months (possibly in order to get themselves into the movie) before peeling out of town—but their ferocious “Jet Tone Boogie” might be the standout of the whole LP. The absence of the B-52s is notable (as they do appear in the documentary), but it’s hard to ding the comp too much for it as it leaves more room for artists who would otherwise be (even more) lost to history.

No single LP compilation focused on a year in the life of a rich scene could hope to be comprehensive, considering how many of Athens’ finest acts had such short life spans (e.g. Oh-OK, Pylon, The Method Actors). But for what it is, Inside/Out is a valuable addition to the collection of anyone who is an appreciative sicko for this era of alternative music.

18/365

[grimrester]

watching the boogie documentary against my better judgement and im just sitting here jaw agape as he says "i gotta sell these cards bc i don't want people knowing im broke" as people film him and overlay a full breakdown of his finances on screen