#it just looks like its trying too hard to appeal to a non-musical fan audience?

[motherfricker]

damn the new mean girls movie kinda sucks

[welcome-to-green-hills]

Sonic the Hedgehog Movie 2: POTENTIAL TEST SCREENING

 A couple weeks ago, a Reddit User under the name “Madethis4Sonicmovie2” created a post discussing their test screening experiences on the second Sonic the Hedgehog film. Throughout the discussion post, the Reddit user explains that they are not a Sonic fan. Most of what the user writes was how they’ve interpreted the scene and their understanding of the lore through some games that they’ve played. That, and they also try to compare some of the scenes to DBZ, a franchise that they’re much more familiar with. The user also make it a point to state that they view themselves as a “harsh critic,” though do apologize for it. They’re also not used to critiquing children’s media, which they also state a few times in their post. If they’re not clear on what they saw in their test screening, they ask for the reference meaning to the Sonic Community. The Reddit user also says that they did see the first film and greatly enjoyed the second one better.

Even though they believed for the film to be a generic kid’s film, they believe that this film will appeal to fans and non-fans more than the first one did. 

There wasn’t much of a summary to go other than reading about the emotions and some of the trivia that they’ve seen. Most of the film was still in its post-production stage. Some scenes were not complete while others needed tweaking on lighting and shading on the CGI characters. The overall impression that they’ve received from the film was that it was very enjoyable with much more world building. Because it’s done a good job with explaining certain scenarios to the audience, the Reddit user believes that it wouldn’t be hard for outsiders of the fandom to understand. The only thing that some audience members would struggle with in the film were the inside jokes that long-term fans would understand.

With this in mind, this is what the Reddit post detailed. Keep in mind that these are spoilers.

Key Notes:

The moral of the movie is “if you believe in yourself, then anything is possible!” On a side note, the Reddit user believes that this theme applied more to Tails rather than Sonic, stating that Tails has a moment where he gains enough courage to help Sonic fight.

Though the Reddit user does debate that Sonic has more confidence in himself than he did in the first film. He’s still the “Sonic” seen in the first film, him being a kid, but he’s learning to understand the role of being a superhero.

There is placeholder music and licensed music in the film as well. No mention so far of Crush 40 appearing in the film.

The Reddit user explains that Jim Carrey nailed the role! They also explain that Dr. Robotnik is a complete maniac.

(This is an open definition to viewers. It could range from comical to something darker).

Dr. Robotnik invents a teleportation device.

Dr. Robotnik also dresses in black clothing like he did in the first film.

The Reddit user supports this remark by detailing a scene where Dr. Robotnik loses his cool a bit when returning to Earth and complains about how he was outsmarted by a “rejected Dr. Seuss character.”

Dr. Robotnik does create Badniks and references them as “Badniks.”

The Reddit user gave the example of the motorbug looking like a motorcycle with a ladybug exterior. Buzzbombers look more like wasps.

There is a “robot version of Eggman.” 

Metal Sonic does not make an appearance. The Reddit user does believe that G.U.N. may have hinted that they’re building Metal Sonic.

It’s also important to note that there were no mentions of Silver and AmyRose in their screening.

There are heavy nods to Sonic Lore, specifically with the echidna tribes. Most of the lore is explained in either flashbacks and/or with echidna lore.

Most of the time is spent on Earth, but we do see other planets. Sonic and Tails do travel all around the world.

The Reddit user also says that we see more of Sonic’s world when Dr. Robotnik tries to teleport back to Earth.

There are heavy nods to both inside and outside references of the Sonic Franchise. Due to their experiences with the franchise, they inform other Reddit users that they couldn’t share and explains all of the references.

However, they were very happy with Sonic fans when hearing their feedback and learning what some references are.

At this time, the voice actor/actress for Tails is still undetermined. The Reddit user said “it was like Tom Holland, but with a higher-pitched voice.”

Sonic makes a remark saying, “You’re too slow!”

Sonic makes a remark saying, “I’m not a rat! I’m a hedgehog!”

Knuckles makes a remark saying, “Knock, knock scrambled egg.”

(The Reddit user explains that this scene in the movie was also very enjoyable).

Sonic and Tails bond over how they know Longclaw in the film. The Reddit user explains that this is their favorite scene in the movie.

Knuckles has an American-like accent, not a British one.

Sonic encounters Tails on a run, but “freaks out” when he sees another alien creature like him. Sonic also freaks out when he sees that Tails can almost match his speed while running.

There is a funny scene of Sonic enjoying his alone time at home, even showing a montage of all the things that he shouldn’t do when Tom and Maddie are at home.

(Think of the montage scene from Home Alone (1990′s).

The Reddit user explains that Knuckles was exiled from the clan for freeing Longclaw as a prank with friends.

There is an artist in the movie that tries to draw Sonic. To Sonic’s discovery, he sees that the artist drew his 2019 design and plays “Gangster’s Paradise” on the radio.

The Reddit user states that they believe that this is the crew’s nod to the original design.

The Reddit user says that there were scenes in the movie that they felt like were more of a placeholder in the film. The reference to Gremlin Sonic being one of these scenes.

Tom and Maddie do go to Rachel and Randall’s wedding.

There are several action scenes, but the Reddit user explains that the most enjoyable ones are when Sonic and Tails fight Knuckles a couple of times.

And with the action scenes, there are many Quicksilver references that Sonic does as well.

On top of that, the Reddit user explains that each character has their own unique abilities. (For example, Sonic is associated with having powers cater to the element of lightning).

Longclaw is alive in the film, but she’s aged and weak.

Longclaw sends Tails to Earth to retrieve Sonic due to her wanting him to safe.

Sonic stays at home on planet Earth, but is supplied with many rings to travel back and forth to visit Knuckles Tails, and Longclaw.

Sonic being a living chaos emerald could be true, but the Reddit user explains that an emerald was sealed inside of Sonic after being born.

Chaos emeralds are not referenced as “Chaos Emeralds” in the film, they were referenced as just “emeralds.”

However, the Reddit user does recap that there might be a name and they didn’t catch it.

Super Sonic is not referenced as “Super Sonic” in the film, but as something else.

Super Sonic can fly in the film and doesn’t need all seven Chaos Emeralds to go “super.”

Sonic references Tails as “Miles” a few times that they meet, but later gives him the nickname “Tails.”

There is a post-credit scene. The Reddit user believes that it’s a heavy nod to Shadow the Hedgehog due to the there being multiple clones modeled like Sonic that G.U.N. has made.

Due to this post-credit scene, the Reddit user holds hopes that there will be a third movie soon.

As of now, the Reddit post is still available for you to read. The Reddit user is mindful of the NDA and purposely phrased some of their spoilers to be vague, but knows that their thread may be removed soon. I know that these may sound fake, however, there have been individuals in the past who have viewed the first film and proved to be right. Like many of you, I hope that this is a real but I will remain cautious. If these facts resurface as being false, let’s not attack the individual. The only that should matter is that we’re excited for the second film. Be mindful that they’re a human being as well. Treat others the way that you would like to be treated.

What are all of your thoughts so far of the film? Share your thoughts and opinions! And if you’ve spotted something that I’ve missed, please share with me! I’m very excited to know!

((SOURCE)).

[so-sweet-nana]

Interview: NANA Talks About Cohabitation-Romance & Kang Min Hyuk

Im Jin A (임진아), or better known as NANA (나나) is not only easy on the eyes, but also a super talented actress. Since her involvement in “Into The Ring” and “Confession” last year, fans have been eager to see her again, this time in “Oh! Master” (오! 주인님), or “Oh My Ladylord”.

The former After School member sees herself playing actress Oh Joo In, who apparently “can’t” love. Her romantic life is practically non-existent and only seeks to provide for her family. In an attempt to buy back her old home, Oh Joo In stumbles upon Han Bi Soo and that’s when things get interesting. Check out the interview where she delves into this romance drama and more.

1. This is your first time working with these costars. What was your impression of one another and how has it changed since you finished filming together?

When I first saw Min Ki, I knew right away that he is a charismatic guy from the sharp look in his eyes and the energy that he gives off. At least that’s what I thought first. But now, he’s more than just a co-actor. He’s always considerate around me, and he makes sure we go over the script before the actual shoot. I feel comfortable being around him, and I learnt a lot from him.

2. What kind of drama do you usually like to watch?

It’s hard to pinpoint a specific genre of shows that I prefer. In fact, I try to expose myself to various genres so that I can indirectly experience the stories of other people. While doing so, I would put myself in their shoes to experiment with different acting styles, which is also how I further improve my acting skills.

3. How did you prepare for your role? Were there any skills or characteristics in that you had to pick up?

When acting out a role, it is crucial for an actress to tap on the feelings she got from the initial script reading. So that the acting doesn’t come out as too exaggerated. This way, the viewers can understand the writer’s intentions.

I did my best to deliver Joo In’s heart-throbbing feelings to the viewers. Also, I’ve made efforts to portray both sides of Joo In – her glamorous life as a popular romance-comedy actress versus her ordinary everyday life.

4. Both of you have starred in other romance dramas, how does this drama stand out from other series for audiences?

One of the unique things about “Oh! Master” is its cohabitation-romance genre. A man and a woman who are complete opposites live together, they grow on each other and draw comfort from each other. The story about the family members is heartwarming to watch.

5. How will you describe your character in this show? Can you identify yourself with the personality and story of your character?

Although she’s the go-to actress for romance-comedy shows, Oh Joo In is a beginner when it comes to romantic love. She’s very filial to her mother, they share a special bond. Her cheerfulness and kindheartedness are what we have in common.

6. What is the one lesson about love that viewers will learn from this series, especially from your character Oh Joo In?

In the drama, Oh Joo In expresses love for different people. There is romantic love between a man and a woman. She is also a loving daughter to her mother. I believe that the two different perspectives of love shown by Joo In will give you the chance to rediscover the warmth of human relations.

7. What are the similarities and differences between you and Oh Joo In?

We are both actresses, we are loving toward people around us. However, the situation Joo In is going through, people she interacts with, and even the living conditions are totally different from mine.

8. Oh Joo In couldn’t resist Han Bi Soo’s script. As an actor yourself, what kind of script appeals to you?

I’m drawn to stories that are full of optimism and positive energy. In turn, I want to become an actress who has infectious positive energy, so I can inspire the viewers.

9. What kind of challenges did you encounter in the process of playing a top star? Did you put more effort into appearance? For example, personal maintenance, fitness, etc.?

To prepare for the role of actress Oh Joo In, rather than focusing on the self-management aspects of a popular actress, I worked hard on kickboxing, one of her hobbies, to make it look more natural and real.

10. What kind of message do you want to convey to the audience through this show?

“Oh! Master” isn’t just a romance piece, it’s a story about all kinds of love. I wish to convey the message of hope. I hope viewers will heal from wounds inflicted by other people.

11. What attracted you to take on ‘Oh Master’? Introduce your character and what do you think is the appeal and charm of the story and your character.

Among many other things, I was drawn to “Oh! Master” mainly due to its uniqueness in portraying the cohabitation-romance drama. When I went through the script for the first time, I could relate to Joo In’s occupation as I am an actress too. I wanted to show, in my own honest way, how a daughter expresses her love towards her mother.

12. If you were a writer, what kind of dramas would you want to write?

As an actress playing Oh Joo In, I was moved by the heartfelt feelings a daughter may have toward her mother. That is why I would like to write a story full of humanitarian elements that can comfort others.

13. You’ve acted in romantic dramas twice in a row. Do you like this genre?

I get positive energy when filming romantic-comedy shows. “Oh! Master” is such a romantic drama that gives off positive vibes. Plus, there’s the heartfelt mother-and-daughter relationship. So that’s why I accepted this project without any hesitation.

14. How would you rate your love chemistry score for your couple pairing (NANA & Kang Min Hyuk), and why?

Oh Joo In and Jeong Yu Jin have been besties since their high-school years. They feel comfortable around each other. That’s why people did not doubt the fake couple. Because of their close bond and perfect chemistry, I would give them a 100 out of 100.

15. How would you rate your love chemistry score for the couple pairing (NANA & Lee Min Ki)? and why?

I will also rate the chemistry of Joo In and Han Bi Soo 100 out of 100— but for a different reason from Jeong Yu Jin. They were completely different from each other to begin with. As they sought comfort from each other, they grew on each other.

I remember this particular scene, Joo In’s mother fails to recognise her own daughter due to her worsening dementia symptoms. Bi Soo comforts Joo In, she unknowingly leans in to give him a kiss on the cheek.

16. Have you ever worked with Min Hyuk before? What was that like?

When I was active as a member of K-pop group Orange Caramel, Kang Min Hyuk starred in our music video “Magic Girl”. I was so delighted to work with him again in “Oh! Master”.

Interview from: Hype Malaysia

[biaswreckermagnet]

Fate: The Winx Saga - My Thoughts and Critique - Part 1: Characters

Be warned: The following post will be quite long as I have a lot to say. Please note that this is all my personal opinion and this is just the thoughts and critique of someone that has watched the original Winx Club several time and I have watched the new Winx Saga, and this is in no way a blind hatred based on only word of mouth and seeing half a trailer. Enjoy

I will be comparing this new series to the original 4Kids version, as this is the version I hold close to my heart and grew up watching. So if there are any plot differences I describe from the animation, it is probably due to the slight changes made in the Nick Dub, which some people will know best (example, in 4Kids dub, Aisha’s name is Layla, and Sparks is known as Domino in the Nick dub)

CHARACTERS

Well, I have a lot to say about the characters, just like anyone else. I’ll break down, the casting, compare the character to the animation, and their personality in the Netflix series.

Bloom

The actress chosen in my opinion was a good choice. The problem I have, is her personality.  They got the determination and hot-head traits right, of course. But in the animation, Bloom is warm, friendly and bubbly. Easy-going and popular among her peers. I don’t know if they were trying to appeal to the oh-so-angsty teenagers that don’t want to go outside and have few friends. The typical “I’m not like other girls” trope. Tropes are popular, and as someone who has written stories in the past, I have used that trope once, but usually it’s a trope I like when it’s to show the character’s beauty compared to others who may be catty and selfish; not so beautiful on the inside. Here, to me, Bloom is just unlikable. She may be angsty and a rebellious teen, blah blah blah, but she was so rude to people like her Earth mother, and inconsiderate of her own actions and how it could affect those around her. Even if Aisha told her “That is a bad idea, you’re going to regret it” she runs along and does it anyway, and then she gets into a bad situation which also affects everyone, Even if she helps clean up the mess, damage is still done.

In Fate, Bloom’s relationship with her parents is not amazing. Yes, she’s an angsty, rebellious teen who almost kills them because she lost control of her power, but I found this cold, rude relationship so unnecessary.  As a teen, sometimes it may seem like no one is listening nor can understand,  parents just seem nosy and overbearing, but communication is key. That’s what I find so many shows are missing now: communication.

Looking at Bloom’s relationship with her parents in the animation, it’s not only simpler for them to know from the start that she has powers, but it makes the communication between both parties better. This strong relationship Bloom and her parents have is always present, but we see the beauty of it in Season 1, episode 13, “Meant to Be” when Mike and Vanessa sit her down and talk to her about how they realised she had magic before that fateful meeting with Stella.

There is none of that warmth and love now. Bloom curses at her mother, gives her attitude and is overall just a brat.  Bloom may feel remorse towards herself for burning her mother, but then, why is the attitude towards her so ugly? I really don’t like it.

Aisha/Layla

Next is Aisha, who is the only character that was not whitewashed from the original. The only reason I think she wasn’t is because the creators of Winx Saga knew there would be a true uproar if they dared to replace her with someone non-black.

She is the general voice of reason in the group, and the babysitter of Bloom and company. She will support and be the shoulder for Bloom to lean on in a few cases, but generally she’s the only one calling Bloom out for being rash and insensible, but then she gets ignored or sneered at for it, despite rbeing the only one with awareness for consequences.

There isn’t much to compare to with her animated version except for her being athletic; made very obvious in episode one where she says “I swim twice a day, every day”. (Even though that is the only episode we see her following said routine.) Other than that, her backstory is not expanded upon like the animation, obviously due to the lack of screen time and actual length of the Netflix series, therefore for me, I didn’t really bond with her character like in the original.

Stella

The actress is pretty. Not too hard to cast a pretty blonde in a series. Moving on.

In the original Winx, I adore Stella. She’s bubbly, she’s fun, she’s bright. Literally the sunshine of the group. Yes, she has her snooty privileged princess moments, but she is a likable snooty, privileged princess. Why? She showed that she really does care for her friends. Stella can be self-centered and insecure, but she’s never afraid to say that she’s wrong when she realises her mistakes. This is shown several times, but right now I can speak of two instances: Season 1, Episode 8 “Spelled”. Technically, she was under a spell that made her moody and rude, but she still knew she had to set things right after upsetting Musa. Another memorable moment for me when she showed her caring side was during the girls’ stay at the no-magic resort in Season 2, episode 21 ““Trouble in Paradise”. She went after Aisha/ Layla to check if she was all right, they connected and Stella earned her Charmix. Overall, Stella in the animation has her flaws, but she is loved by all and she herself loves the people she’s close to.

However, Stella in Winx Saga, I detest. I was really disappointed with what they did to her character. Honestly, it would have made more sense if she was Diaspro (Sky’s ex-fiance from season 1 and 3) and not Stella. She’s  a snob, rude and dismissive of others’ feelings. They did try to toss a sympathy card at our faces later when they eplained the reason why Winx Saga Stella is so - her toxic, overbearing and abusive mother - but honestly, maybe it was because it happened so fast because of the limited time, butI was not feeling any sympathy towards her. I felt like I should have, but I couldn’t. I hope her character changes in Season 2, if I even bother watching it, because I was enormously disappointed with Stella’s new persona for this first season.  The Solaria ring was nice enough though.

Musa

Well, here we go. One of the infamous whitewashing cases.  To tell the truth, I'm not surprised but disappointed that it acueallyhappened. You mean to tell me they couldn't find any capable Asian actresses for Musa? Yes, small production and low budget, but still. If you are going to make a live action for a cast that is well loved, respected and recognised for the diversity, you should keep it. It just feels like they do it on purpose at this point.

 Winx Club Musa I like a lot. I love all the girls, but she's just so laid-back and cool, but she's not afraid to call someone out for being unfair or on their attitude (namely Stella most times). She cares for her friends and she cares for Riven. She's family oriented and she's so passionate about music.

 In Winx Saga, she's a mind fairy who used to be a dancer and listens to music with headphones to block out the emotions of people around her when she gets overwhelmed. Interesting new concept and it comes in handy for the new show material. I wouldn't say she was completely unlikable in the WS series but there wasn't anything much besides her ability and that she and Sam (Terra's brother) had somehting more than a fling going on. They were a nice couple. Good chemistry in kisses. I don't know why they decided to not make Riven her man - who knows what the plan is. Riven was not hers in the beginning of the animation either, but we saw a great bond form later on. Their relationship had problems unlike the other Winx couples, but they still are a fan favourite. Let's see how this new match goes I guess?

Flora/Terra

Terra We all know she's supposed to be Flora, no matter how they try to spin it. Before anyone says she's a different character so it's not whitewashing, I have seen a video on Youtube where a girl explains that in actuality, it was supposed to be Flora because there are (now deleted) clips of characters talking to Flora, not Terra. And the adresses portfolio said she was to play Flora. They seemed to change it to avoid heating up the hot water they had already landed themselves into.

Therefore, I will be comparing Terra and Flora. I was extremely disappointed when I saw the trailer and realised Flora was clearly not there. I am not usually one to care whether or not someone looks like me in a show, but I do relate to Flora. I may not always be one that likes to get close to nature honestly, but everything else about her I relate to. I love pink a lot, I am a mixed race person so her looks are what I identify with the most, and our personalities are quite similar. 

Terra, on the other hand, is obviously white. The love of plants is there and her sweet and gentle personality is there. Though, it doesn’t get much time to shine because whenever she speaks, she’s either cut off or ignored, unless she’s spouting information the others want to hear at the moment.  They did make her quite chatty, and at times even I was a bit annoyed, not because she was chatty, but because that trait just seemed to be a gateway for the scriptwriters to hit you with details about Alfea and its history, and information about fairies without making much effort. Terra didn’t have much screen time, but whenever she was on screen, she was always the butt of a joke and treated poorly. When the situation became dire, she did have some moments of strength, but then the other characters still treated her the same so it seems meaningless.

One main reason Terra stands out to the audience is the fact that she’s the only plus-sized character. I’m all for representation, but I don’t like where they went with Terra. She’s shown to be insecure about her body (shown when she avoids her roommates to change alone). Yes, she’s supposed to be a teen who has heard non-directed comments about weight by other characters, but why couldn’t they make her a confident plus-sized girl? I have plenty of friends that are plus-sized and confident about themselves, older or younger. In media, it’s rare enough to see a plus-sized person, but also one that has confidence. This show is directed to teens, and those who may look and feel the same as Terra won’t have a good example set for themselves to be more confident. If you’re going to include a certain figure in your story, yes, everyone has insecurities and all, but if you have the power to shine light and empower, do it right!

Sky

One reason why I bothered watching the show. Danny Griffin. The man playing Sky. Iin the original Winx, I did not really care for Sky as I’m not really into the long blonde hair, I prefer shorter hair. So I was quite pleased to see this casting as it fits more into my personal type.

Anyways, let’s continue.

I found that the casting was done well for Sky. A hot blonde warrior that can wield weapons well? They nailed it. However, that’s kind of where it ended for me. Due to the plot, his character was pretty much ruined for me. Winx Saga Sky was sadly unremarkable personality-wise. The story didn’t allow for much expansion for him besides having the hots for Bloom and the whole boo-hoo story about his father. There was something of a nice relationship with his mentor, but I’ll get to that later.

Danny Griffin’s performance was quite good. My only issue was one part of his first appearance where his first few lines. . .sounded like lines. Not so much the result of bad acting, but it just was another case of sounding like lines written for a script than natural conversation. But I only really saw that in the first episode, and since everyone would have been getting into character at that time I can let it pass. Otherwise, he performed well as an actor.

Riven

Winx Club Riven does not have the best first impression. According to Musa, he’s “a little rough around the edges, but that’s kind of his charm”. He’s a troubled, moody guy who falls for the wrong girl. He has a very competitive side, especially with Sky, who always manages to beat him in combat. He is indeed often arrogant of his abilities, but he proved himself to not be just all talk during his escape from imprisonment in Cloud Tower during Season 1, and even Sky admitted to being impressed with his knowledge of survival and strategies, even going so far as to say he always thought Riven was the “Red Fountain Slacker”. Animated Riven also has a sweet side that was displayed in season 2 when he comforted Musa during the girls’ first mission to Shadowhaunt, and much more so after they started dating. He expressed how much he cared for Musa in shy but blunt ways. Flawed, but a character that developed throughout the series.

Winx Saga completely threw that out of the window. Riven is now just a clown that does bad boy things. He’s clearly still being portrayed as the “edgy” character with troubles and insecurities, but the rest of the show is so aggressively dark and edgy that he really has no way to stand out anymore. I don’t know what they’re planning to do with his characterr later on, but I really dislike what they did to him. The only thing done right is his competitive nature towards Sky. Side note, this is also my personal preference, but I must add that I am not feeling the minimal facial hair. I’d prefer a clean shaven face. The little spikes just looks messy. But then, facial hair always looks messy to me. 

Faragonda

Faragonda. Or as she is known now, Farah Dowling. I’m not sure what to say for her. The actress did well, I can say that. The problem always lies with the characters themselves.

 Faragonda is a beloved headmistress that always has an eye out for her students, whether she watches them through her magic mirror in her office or just personally. She gives them enough guidance so they can grow on their own and helps them when she sees the need to. However, she is also strict when needed and will not condone disobedience; this was seen in season 1 when the Winx were punished for breaking into Cloud Tower to get Stella’s ring from the Trix. She is a brave, just and kind woman, well suited for a principal position.

Farah Dowling does not have much besides her position. She’s very secretive and those secrets seem to be there to cause drama when it could have ben avoided. It could be an irrational thought process that humans have, but I’d expect that from someone who hasn’t experienced much in life. The type of past Farah has, she should know better than to keep secrets if she knows it can put the whole school in danger. Her lack of disciplinary action was evident, whether it was the scene of a villain making their move or Bloom blatantly disobeying orders and making choices that moved the plot forward a bit. It was odd to see that even if she knew this person went dilly-dallying in her office or broke a rule, ut wasn’t met with discipline unless something really bad happened. Whereas, we all know that in a school setting, small rule breaking is also punished. I did like the part in the last episode when she and Bloom finally had a warm interaction, I found it very sweet and it was nice to finally have her interact with Bloom without having to expect some impending doom to arise in the next scene.

Beatrix

We did not get the stylish trio we know and love for Winx Saga, but I must say, I was not disappointed by Sadie Soverall. She portrayed the character really well.

She’s a blending of the famous Trix. She’s cunning and does not let anyone get in her way, much like Icy. Seductive like Darcy and I’d say she has Stormy’s malicious nature. (I mean the Trix are all malicious but Stormy generally could let her viciousness rule her judgement). As well as the fact that her power kind of looks like electric bolts, like Stormy’s.

A manipulator that was being manipulated. She’s icy cold, cunning and she knows who she should attach herself to in order to reach her goals. Just a sub-villain I say, but I enjoyed the character. Minus the odd little plots her character was mixed into, which I will discuss later.

Rosalind

A new character who so far seems like the puppet master of all the characters - both good and evil sides. A master manipulator and charismatic. Very enjoyable to watch despite her short screen time. She was the one person that actually had me excited to know what was going to happen next. Very well performed in my opinion.

Mike

The only time I saw this actor truly in character was in the last episode when he was wearing this blue shirt. He really looked like Mike. It may always be necessary to dress a character exactly like the original, but some things are just subtle and yet iconic. Imagine Shaggy from Scooby-Doo without his green shirt and brown pants combo. It wouldn’t feel like him. Otherwise he’s quite a basic looking man so not too hard to cast. I do think this actor really matched Mike though - looks wise, at least.

With Mike, there are less interactions with Bloom besides having very basic “How are you doing?”conversations. There’s a lame joke here and there but nothing really worth commenting over.here now The focus when it came to mentioning the parents in Winx Saga was mostly to Vanessa.

Vanessa

Vanessa in the original series is warm, loving and a good mother.  She and Bloom have a strong relationship and have great communication between them, and Bloom not only respects her but also goes to Vanessa when she needs advice and support. The ideal mother-daughter bond.

Date’s Vanessa is more. . .trying to be a good mother but not quite nailing it. As I mentioned during Bloom’s analysis, she’s met with hostility or downright rudeness if she even mentions going out and making friends to her daughter. There were a few moments when it could have been touching to see thieir interactions, but apart from the scene when Bloom was feeling homesick, it felt a bit rushed. Perhaps it was the acting, perhaps it was that the awkward interactions overruled the positive ones, but the Winx Saga relationship between Bloom and Vanessa didn’t feel as connected.

In conclusion, mot of the acting was well done. The issues I have were mostly due to the writing of the characters, not the ability of the actors.

Other minor characters will be analysed during the plot discussion.

[sanstropfremir]

I absolutely LOVED reading your kingdom review. You gave me such an insight in things I never even considered, especially since our rankings are so different from each other. The Boyz was my favorite, the narrative was about RTK. How they felt bad for having to compete against their friends but eventually the groups only lifted each other up and it helped TBZ grow into the group they are now through the hardships and mental dilemma, falling into the next challenge right after they reached the top. It should have been more obvious though, I agree, it wasn't really visible for anyone who didn't know. I was wondering how you felt about the dancing in general? my reason for not ranking BTOB high was lack of choreo (and Peniel's verse), same goes for SF9. Mostly because I don't feel the hype when watching, it doesn't keep my focus on the stage. As a baby-performer myself, my goal is to make the viewer curious about what's next. is that the wrong way to look at it? that's what I've always been told, building the tension up and down to create focus. would love to hear your feedback on that! thank you so much for sharing, we need more reviews of people who actually know what they're talking about.

i'm glad that you got some insight from it! like i answered in the previous ask im here to hopefully bring some more depth and understanding for people that care and are curious!

you unintentionally proved my point about tbz’s performance: that is way too complicated! even the most talented solo dancers i can think of would have trouble distilling that down to something readable in 100 seconds, much less a group of like, a dozen people! the introductory stages are meant to show us the character of the group and their abilities in the most concise way possible, it's not the stage to do deep philosophical and emotional introspection. for a full stage? absolutely, go hog wild! but for this stage it was too ambitious and ultimately was ineffective to anyone that isn't a fan of them specifically. 

by dancing in general do you mean like, every group? i put most of my opinions on the dancing where i had them in each of the individual rankings but honestly? unless there is something that really stands out positively or negatively, a lot of ‘average’ kpop dance looks the same to me. i know it’s not, obviously, and if pressed i probably could do a more serious breakdown, but dance is only one element of performance. it has equal weight with all the others in my mind, and therefore i notice when it is either 

very good

does something unique

very bad, or

interferes with another element

which is the same as how i evaluate every element, if that makes sense. 

hmmmm. i thought about this a lot in the shower and turns out i had more opinions that i expected so i'll put them under a cut.

firstly, i don't think lack of choreo should be penalized or considered an ‘incomplete’ performance. at the end of the day, these are bands, and a part of their brand/product they sell is the music. complex choreo does not need to be attached to that to make it a successful performance. also, btob did have choreo. any movement on stage is technically choreography. but this terminology can cause confusion so usually non-dance choreo is referred to as ‘blocking.’ but they also did include the song’s original point choreo at 1.41. the blocking in their performance was well thought out and suited the arrangement, by placing spatial emphasis on each part of the song that needed it. obviously it comes down to personal taste if the performance is ultimately ‘successful,’ because all art is subjective, but just because something isn't as visually complex as something else doesn’t mean it doesn't have the same level of thought. think of it like this: one is a super clean-lined post-post-modern grey/white living room, and the other is a kitsch goth basement. both share interior design principles and have obvious care put into the space, but they are vastly different styles that appeal to different tastes.

part of the job of production designer/AD is to decide what gets emphasis. a question you're always asking yourself is ‘is this important to the story that we’re trying to tell?’ and btob/their AD made a very smart choice with their introductory stage because it says a lot about them and their abilities in a short amount of time. that stage said ‘our foundation is strong, we have the training and experience and confidence to be up here and not rely on visual tricks.’ because they know they physically cannot do the things the 4th gen groups can; they're a decade older and they only have four members, it's just not feasible. something you learn with experience is the power that specific and pointed emphasis holds, which segues into my answer to your last question. i don't necessarily think that ‘building hype’ is the wrong way to perform something, but i do think it is a flawed way to approach creating a performance.

i think that ‘hype’ is flawed concept at its core, and one that focuses on the idea that there’s always being something more, something next, beyond the work itself. now there’s nothing wrong with playing with tension within the internal structure of a piece, that's exactly how constructing a narrative happens. however, the flaws come once we extrapolate beyond the boundaries of that individual work. the idea of ‘whats next’ implies that you have to constantly be promoting, have a sequel coming, building hype etc so people will keep engaged with your work. which is deeply capitalistic in nature and operates on the assumption that art exists purely as a product to be sold. and in order to keep selling you need to keep making a bigger and better and more spectacular product. and this is not the case at all. marketability is not the essence of art, it merely a factor of creating it under this insufferable system. kpop in particular suffers from this because the industry is specifically fabricated to produce capitol. we can have discussions all day about idols and their artistic integrity but at the end of that day, they are all cogs working with a system that was specifically made up by essentially one person to be culturally exported and to just print buckets of money. so in following that train of thought, there is a constant attitude of bigger and better because shock value (whether positive or negative) gets social media attention and therefore it sells. and it has become exponentially easier (and also seemingly required) to make things that are bigger and better than ever before. i remember being blown away by the projection floor at the sochi 2014 olympics because something of that scale and complexity would never have been possible without literally having the funding of the olympics. now that technology is easily accessible to anyone with an amazon account and the time to learn how isadora works. in comparison, it took 2400 YEARS for just the job of a ‘theatre designer’ to be even become a job at all.

because of kpop’s fan culture it is especially prone to ‘hype’ behaviour. in general with the accessibility of the internet and social media, everything has turned into a competition, and who can generate the most buzz ‘wins’. but ultimately that has taken away the general public’s ability to recognize that you can enjoy something quietly and you can enjoy something slowly. that the enjoyment of something doesn’t need to be all exclamation marks and keysmashes and trending hashtags on twitter. there is value in a work engaging in an emotion within you that is not just excitement. most of the artists and companies that i consume the work of i don’t do so because their work makes me excited, i do so because i liked the experience of engaging with that work. several years ago i saw the eternal tides by legend lin dance theatre, which you can watch a really short clip of here. that is not slow motion, that is actually how slow the dancers are moving. and 90% of the show is performed like that. and its two hours long. and it was one of the most incredible performances i've ever seen. if i ever get the chance I will go see another one of their shows again, not because i care about how they can top that experience i had, but because i know they can produce that experience, and that is enough to make me want to seek them out again. the speed of the internet has also loosened the general public’s understanding of just exactly how long creating a performance work can take. the lead dancer in the eternal tides was with the company for eight years before she and the piece were ready enough to be performed. large scale operas, musicals, and plays often have a year or more of pre-production before they even get to rehearsal. smaller theatre companies workshop new pieces for years at a time. performance is hard and it takes time. you can eliminate some of that with sheer amounts of money and people, which is what the kpop industry has done, but it speeds up the cycle of consumption to a degree that is not sustainable, especially for companies and creators who do not have that kind of access. performers and performance makers often don't put enough trust in their audiences. if they like what they see, they will come back. they dont need to be constantly bombarded with content at all times.

now that i’ve said a bit about why i think hype is a flawed concept, let's bring it back to kingdom. sf9 did something very interesting with their stage in that they actively chose to limit their dance time. and this plays very well off the performance film stage that taeyang did a couple of weeks ago. taeyang is talented and confident (for good reason), and his solo was incredible. but when it came to the intro stage, instead of trying to one-up the solo stage, the group instead said ‘well people are going to be looking at us because taeyang is insanely talented, so let's show them that we ALL have the confidence and the attitude to be up here.’ no need for flashy theatrics, they had the foresight to do something that would make them stand out from the rest of the groups. even if i was just casually watching the stages without doing any analysis on them (like i did for rtk), i would still be able to distinguish them because they had the stones to stand around for half their stage time. now i recognize them and would like to see what else they can do. same principle as what btob and also what ikon did. there is a fine line between anticipation and hype that gets equated in media consumption nowadays, but the two are not the same.

i think the tldr on this is that you dont need to ‘build hype’ or ‘go all out’ to make an interesting work. just focus on telling the narrative that you want to tell, and the people that recognize that will come. i could have a lot more things to say about peoples shrinking attention spans and the constant stream of information that we consume on a daily basis that devalues the labour done by artists in the eyes of the public and promotes hustle culture that is burning out and damaging creators at a rate that is both exponential and frightening, but that’s probably for another time, because this is SO LONG

[titusmoody]

2021 Q2 stuff

Games

Return of the Obra Dinn -- Very different. A great experience to play, it doesn’t use any typical “gamer” skills or knowledge. It also hit on a lot of my personally prefered sensibilities (stories self-contained to ships, non-linear storytelling, mysteries, and meticulous attention to detail)

Kentucky Route Zero -- Even more different. I’m glad I played it for the atmosphere, though it didn’t click with me the way Obra Dinn did. Extremely atmospheric and cool, but also has a strong academic curiosity to it.

DOOM (2016)-- Okay, we’re back to regular video games. Everything about this one seems very carefully crafted. I had a good, mindless time with this one.

Spider-Man -- Not as well-crafted as DOOM, but also less juvenile. I also had a good, mindless time with this one.

Metroid: Samus Returns -- Feels like Metroid. The moment-to-moment combat is different than Super Metriod and Fusion, which is a nice way to keep things from getting stale.

TV

Shadow and Bone -- Sometimes tropes exist because they make for good stories. This show was a good example of that.

Pani Poni Dash -- WTF Japan, in a good way

Princess Tutu -- Much like I felt about Cowboy Bebop, this show was very well-made and I had an easy time appreciating what it was doing, though in the end it’s not the kind of thing that’s really for me

Miss Kobayashi’s Dragon Maid -- Pleasant to watch, mostly lighthearted but could definitely have emotional moments here and there to keep you interested.

Kakegurui -- Shows like this are the reason anime fans are so self-depricating. It was thoroughly trashy, but I’d be lying if I said that the trashiness didn’t lead to a lot of fun.

Love, Chunibyo, and other Delusions -- An excellent comfort-watch. About a high-schooler trying to run away from his cringe-y middle school phase. I definitely have criticisms of it, but I’m also definitely going to watch it again.

Devilman Crybaby -- I swear, Masaaki Uasa takes the most overdone premises and portrays them in such bonkers ways that they become pretty cool. This isn’t one of the best examples of that, but it still works.

Gundam 0080: War in the Pocket -- Part of Gundam’s brand is that it shows the effect of wars on individuals. This is a great small-scale example of that. 

She-Ra -- It’s good. The plot kinda meanders and the backstory lore is presented confusingly/unclearly at times. But the central characters are good enough to carry at least a few seasons, and the secondary characters really elevate the whole thing. I was personally very fond of Scorpia as well as the way the writers used Entrapta both in the plot and as a character foil.

Chernobyl -- Second time watching this, it’s definitely a favorite. 

Movies

Mamma Mia: Here We Go Again -- You already know what this is like and whether or not you enjoy the sort of thing it is. 

Moulin Rouge -- It’s hard to watch Mamma Mia without thinking of this one, so I watched it soon after.

Minari -- My personal reward for being fully vaccinated was to go to the movies by myself. This was a good movie, though overshadowed by the circumstances in which I saw it. I would’ve been very happy to be seeing anything.

My Fair Lady -- An iconic pop-culture touchstone. Not my favorite musical, for sure.

Interstellar -- This movie is in the odd position of currently being my favorite Christopher Nolan movie despite the fact that I don’t like it nearly as much as I liked either The Dark Knight or Memento when I saw those for the first time.

The Perfect Storm -- George Clooney, big wave.

Legally Blonde -- I didn’t hear the term “sitcom” until oddly late in life, and when I heard it, I assumed it meant movies like this where there aren’t a ton of jokes, but the characters are constantly in inherently funny situations. I don’t like this type of humor that much.

Jurassic Park -- A big “moral” of the movie was “don’t trust computers to do anything important” but today it’s hard not to get the message as “never underpay your system administrator” instead.

Apollo 13 -- Pretty good

ET -- I really didn’t like this movie and I don’t quite know what it doesn’t do that Jurassic Park and Indiana Jones do. Imminent danger seem to be part of it, but I don’t think that’s the whole picture.

The Day After Tomorrow -- *shrug* I had fun watching it

Pearl Harbor -- expected it to be bad, it was bad. It was definitely bad in interesting ways, and was almost good a lot of the time.

Die Hard -- I was looking for suspenseful movies with clear character motivation and this fit the description. It was good, though I didn’t like it quite as much as I hoped to.

Star Trek V -- Star Trek is often silly and I just can’t get on board with some of the silliness, like the last part of this movie.

Terminator 2 -- Yeah, I do like suspense. I don’t think I’ll look back on this as a favorite, but I was pretty into it. Moreso than Die Hard.

Cast Away -- Pretty good

Predator -- Somewhere between Die Hard and Terminator 2. I was a bit bored by the end, which ironically was the part that most closely resembled what I was looking for.

Braveheart -- I think romanticising medieval Europe is fun and cool. Unfortunately this movie has some creepy sexual hang-ups as well as rampant “no step on snek” energy that ruin the whole thing.

Redline -- Just a cool looking movie

State of Play -- I forgot the whole plot of this already, but I enjoyed it

Troy -- It’s not as bad as its reputation suggests, though the end does get really over-the-top cheesy

Demon Slayer -- I liked going to the movies by myself so much the first time that I did it again. This time it was in a much more full theater and I was one of very few people over 17. Fun action anime movie, though.

Gladiator -- I’m so disappointed that I didn’t connect to this movie, since over and over I felt like I was very close to loving it. I think the revenge motivation was what ultimately prevented me from really getting into it.

K-19: The Widowmaker -- Hell yeah, extremely tense submarine scenes, that’s exactly what I wanted.

The Manchurian Candidate (2004) -- The movie felt like it wanted its premise to feel plausible, but it really didn’t. Still pretty good, though

The Big Lebowski -- Still not a big fan of this one. 

The Naked Gun -- This confirms that my sense of humor has not gotten more refined since age 17 or so. I still thought this was pretty funny.

Dances With Wolves -- Mostly just boring. 

Angels and Demons -- Even at age 15 the book’s riddles and clues premise felt a bit too contrived. The movie has the additional disadvantage that verbal explanations are the most boring way to resolve questions, unlike books where words are all you have.

Chinatown -- Meh, a fine detective story but nothing really clicked with me. The director’s life is wild, though. He escaped the holocaust, had his pregnant wife murdered by the Manson family, and is currently a fugitive from justice for raping a 13 year old.

The Core -- Like The Perfect Storm, appealing in the “so bad it’s good” way.

Porco Rosso -- Think the type of character study of Kiki’s Delivery Service, but about a middle-aged man, so it doesn’t resonate with Miyazaki’s audience enough for many people to talk about it.

Uncut Gems -- My second time watching it, it’s definitely a favorite. Between this and A Serious Man, I seem to love extremely stressful movies about mediocre jewish men.

The Manchurian Candidate (1962) -- Interesting to compare/contrast with the other version. I like both

Galaxy Quest -- another movie that fits my personal definition of what “sitcom” should mean. Again, not my favorite type of humor

Fantastic Planet -- Looks like something between the animated sketches in Monty Python and Pink Floyd’s The Wall. Very weird, it personally really worked for me.

Scarface -- I think romanticising organized crime is fun and cool. 

In the Heights -- colorful, catchy, happy and fun. 

Books

The House in the Cerulean Sea -- a good comfort-read. very simplistic and a little clunky and amateur-ish, but ultimately pretty cute.

There There -- not a comfort-read at all. A super raw look at the modern life of a variety of Native American situations. Very harsh but also interesting.

Six of Crows -- Fine YA fantasy fluff.

[sole-cuore-amore-e-droga]

Tel Aviv 2019: Straight outta Germany to Eurovision with two total strangers turned friends overnight

First, S!sters, let me tell you how it works, hey!

I am never too sure why but German national finals just almost NEVER work in my exact favour. Granted, I have forgiven them for Roman Lob because I have had literally no other reason to hate him other than “eww he’s winning every single Unser Star für Baku show bar one he’s such an easy winner”; and maybe Michael too because my only vitriol towards him was that he’s such a great soul... but only on his non-ESC stuff? If I had anyone else at the time, it would have obviously been the energy of Xavier Darcy and his song too! But at the same time Xavier would have placed worse than Michael so I’ll assume that Michael was actually the best possible choice for Germany at the time? Sorry, voXXclub, Ryk and Ivy Quainoo fans.

But god damn Germany, you could have given us just at least SOME ounce of competitiveness this year, couldn’t you??? And you'll know exactly why do I feel this certain way about this next target of my reviewing. Meet Carlotta Truman and Laurita Spinelli that were assembled specially for the German national final (which hopefully gives you a bit of a heads-up of where are the things going) and have a song written especially for them to pretend to be something they are actually not looking like to be, without their involvement... this songwriting camp experience has turned them into S!sters. Got that? Even the exclamation point part? Good, because you'll probably never hear of neither them, nor their song "Sister", ever again. Just like it is accepted for a German entry as of lately, I suppose.

It starts off innocently enough, with the music-box-y sound, and then quickly escalates into the singing on top of a different set of instruments. If there’s one thing I can’t fault this song for, it’s the instant relatability levels this song hits you with: “I’m tired”, “I’m tired of competing”, “I’m sorry for the drama”, “I tried to steal your thunder”... if these aren’t moods. Now what does this message tie into? Of course one of the songwriters (Laurell Barker) talked about the message of it being somewhat related to women who get aggressive with one another for things and I think I remember that the choruses represent their unity or so. However, I’d like to interpret it a little differently. If I consult myself of the meaning of this song for myself, it is somewhat indeed about two sisters that find it hard to get along a LOT (e.g.: me and my sister irl), but the chorus represents that in the end of the day, they’re still sisters, therefore, they’re each other’s family parts and the “fire” burning in between of them is the sign of the by-default sisterly bond and that it can be strong. If I listen to Laurell, however (and I should because it’s HER song and HER interpretations should be official), it’s two women who probably compete for a man’s attention and get angry at each other when they either receive something from that man (”how dare you get more flowers from him than me!”) or they don’t (”it’s your fault he didn’t look at either of us today!”). At the end they’re just “tired of competing” and “tired of always losing” and secretly accept the fact that they should just get the man notice them both equally so he can hang out with two chick of one’s price, all at once. ^^

But what about how the song sounds? Well, that’s the problem. It’s just your standard average pop tune that doesn’t offer anything fun nor exciting. It uses simple instruments (guitars, music box), simple melodies (the main leitmotif progression on this song is C - E - lower B - C), even the simple stage presentation (the girls were dressed in black for this song on the NF). Simplicity is key, but for a country like Germany, they often tend to wander off into a painfully average or just plain ‘misunderstood-idea’ category. Cascada had a good tune but in a rapidly evolving Eurovision their act just looked completely uninspired - just some chick with a mediocre dress dancing on stairs with random camera shots to the backings. While the others were even more fun and intriguing (or diaspora overvoted them). Elaiza for some reason was uninteresting for most songwise, to say the least. Ann Sophie wasn't so bad but the German staging director did not get the gist that turning your ass against Europe is a no way points magnetiser, not even from the thirsty guys looking for attractive Eurowomen. Jamie-Lee was so-so but she refused to let her otaku look go away for her Eurovision performance, therefore everything looked so confusing and there was no absolute point in anything, not even in those laser trees. And Levina was... ehhhhh... and like someone said on Twitter few days ago, this was a song with no staging. It's sad to see Germany sending something cookie-cutter but it's even more awful when they send something remotely decent but their staging sucks at the end. Even the one for "Sister" is not gonna feature the spinning platform they had in the NF originally for Tel Aviv, that's a shame.

Well if there’s something I can admire the song for is that the girls kind of sound good when they do the song live? Unlike San Marino 2018 (which is also two girls only paired for a national final that never knew each other in their lives but having to pretend to be besties after winning the NF they sang on), they truly sell the thing nicely without making it out to be a mess. The spinning platform might have helped a bit more and with it being gone so is the magic I guess, but I guess the ladies might make it work some more at SOME point (at least with their singing)... Also the structuring of the song is pretty smeared out but interesting. I'd expect them to go "oOoOo SISTER! WahOoO SISTE-ER!" after the whole chorus but Carlotta and Laurita are rebels - they use it after half a full chorus, omitting the second chorus line. And they manage to somehow bring that chorus back, so they can end it with proclaiming once more that something "[shines] like city lights, torches in the skYYY". Then they go all like "don't you try to hiiiiide iiiit, dON'T YOU TRY TO HIIIIIDE IIIIIT... SISTER!" and the music box closes everything. Bookends. And its simplicity is nice enough to not bother me, and the instrument touches (again, guitar, and they even tried to make the chorus slightly majestic, with strings I suppose, and thise backings that repeat the song's leitmotif melody) are quite delightful in itself, so that it wouldn't be boring, melred out vanilla with maple syrup - instead it's a bit more 'orchestral' vanilla. It's vanilla that's at least accompanied with some vocal strenght. I do imagine playing just that "oOoOo SISTER" part alone in a background of a fancy ball, with red carpet, punch bowl, silver sparkly dresses and chandelier lights. Everything of there filmed from top view until camera pabs to someone that looks like Anne Hathaway.

In the end I actually kinda like this, and I even liked Levina to some degree 2 years ago (but wasn’t fond of Jamie Lee and Ann Sophie, the better of the average German entries). It stands its ground out more than them - it has more going on for itself without needing to sound like a ripoff of another song or an anime fangirl staging. It has some nicer things going on for itself that I could care about (like the ‘orchestrale’). I have a feeling I might not like the girls' chemistry on stage and that it won't transmit to the viewing audience’s TV screens though, but more on that on the below résumée:

Approval factor: It’s... approvable, nothing much of complete approvable, but the feeling of liking this is there, so go ahead with it Germany...

Follow-up factor: Do I need to say more on this? You know what, these last two years for Germany proved that they decided to not improve on their result, Michael Schulte was just a fluke and if the Germans were more cloudcuckoolanding on last year’s German NF, they would’ve sent that only vanilla NF song they had in there...

Big 5 factor: If (emphasis on “if”) S!sters are staged nicely - decent vocals (no voicecracks like Levina), a bit better staging, “believable” chemistry - they maaaay escape bottom 2 at best, maybe even explore some more beyond the bottom 5... if anything else fails, bottom 5 is locked. I mean, they have plenty of places to fuck up in, like, making the girls look way too fake happy at each other at the end, or just let them scream “SISTEEEER” at each other with no mutual emotions exchanged at each other. Just like Italy was feared to look like last year - two men yelling angrily/passively-aggresively at each other. So can be S!sters, but the catch is that they’re’nt the fan faves. And they’re singing in English. And barely anyone of the “locals” would care about them anyway, just like the Eurofans don’t. (Also can S!sters get better stage clothes for Eurovision? Please? That’s just my flop suggestion, idk if it will give them better points but I would dress Laurita in a white suit (white crop top, white coat, white pants, even the stilettos white). Just because... they could play ying-yang with each other. Laurita can still have red lipstick on if she wants btw)

NATIONAL FINAL BONUS

Soooooo, Unser Lied für Israel. To be honest with y’all, this wasn’t a very favourable edition for me because, for one, I have never heard of any of those final NF acts. Wish they admitted Kasalla to the lineup, so then I could’ve had another clear favourite next to the first one down below that I’ll be talking about in this bonus. Second of all that... like I said, I wasn’t very hyped about this NF much unlike last year, where even some “who is she where did you find her” people tried their asses off to be appealing, and hey, a mediocre German NF filler-declared-winner did not win for once! (instead she went for judging talents in her actual home country and even danced a bit to that country NF’s winner song while it was performed as a competitor) This year, not only don’t I have an act that I would actively mourn of its NF loss, but also aside from my apparent favourite, the songs weren’t even that likeable by me. Yes, a lot of them were nice and Germany certainly upped their game, but I feel the same way I felt with Dora - only one good song, then another decent favourite that I have I guess, but that’s it. Let’s find out who won this NF for me and some other things:

• Look Germany, I found you your saviour you seemingly rejected! Well yeah fine, she didn’t do well with the international jury and S!sters did (only because the biased German juror pushed them into 1st), but let’s all agree her song would be a-bangin’. Meet Aly Ryan and her stylish synthpop tune “Wear Your Love”, complimented with a cool stage show, with projected stripes and everything! The expert jury rewarded it with 12 points rightfully, I’d say. Germany should’ve followed suit :) (also the trumpets remind me of a British NF fan flop from last year, “Legends” by Asanda. Is it just me???)

(this might as well just not matter anymore now that Aly’s management thought that it’s the best idea to block the fans that go to her DMs... granted that some artists could really use some privacy Instagram-wise, but that’s what disabling DMs is for. At least Aly still has fans though, unlike most other ULfI candidates. She should have enjoyed her attention, no? ( ͡° ͜ʖ ͡°) UPDATE: despite this people still would’ve wanted to see Aly win, and I agree. Some minor things are forgotten anyway and the artists are loved still if anything.)

• Not necessarily my favourite now but there was this cool chick going by the moniker Lilly Among Clouds. Nothing particular in her song “Surprise” sounds like there’s a happy sky with few clouds - it’s very much so a cloudy sky with a slightly dramatic storm coming out of them, complemented with Lilly’s bold vocals and the tone in her voice, and those orchestrals were something (and this song has an orchestral-based music video if anything). The song dragged in between a lot of the parts (verses felt like a passenger in a vast desert and the choruses were like a big oasis) but maybe those in-between song parts were to signify the calm before the storm, the warning before the “surpriiiiiiise”. Would have been a bold choice for Germany, this chick. Oh and I didn’t put a video down below (instead it’s linked somewhere) because I still have this screenshot on my phone. I love it.

• Besides those two, there also were two other remarkable ladies, and they they have a lot of things in common, besides their dark skin and that they’re ladies - BB Thomaz and Makeda. Two powerful ballads and two powerful vocals! Granted they were not my faves (I like 1,5 of both those songs combined though) but I admire their singingwork. It was magical. Not to mention are their songs themselves - BB Thomaz sang “Demons”, a quite personal song about overcoming one’s fears, bullying, naysayers, depression and everything like that, and also spawned this iconic line I am probably going to use on my T-shirt someday: “my demons can go and *dramatic thump* themselves!”. But I would’ve liked it more if the whole song sounded just like the verses - granted, it makes sense for her to go all showtune-y happy when she declares that her demons can go and *you know* themselves as she’s no longer dependent on them, but I found the choruses cheesy either way. Whereas Makeda, the sweet lil lovely gal, decided to go for a romantic ballad about not hating a guy after he breaks her heart. Her song “The Day I Loved You Most” is one big role model of mine now when it will come to my future relationships: I will never have to worry about the days when my non-existent future BF is a dick to me - instead I will rather cherish the good ole’ days in my heart without whining big time about our broken-off relationship! Yeah that’ll do I suppose. It was a nice ballad to me. Makeda also nailed one damn big great highnote live and that’s how I understood why International Jury and Eurovision Expert Jury loved it so much. Televote dares sink Makeda and uproot S!sters? For shame. Inb4 y’all ask me “but what about the other two?!?” - lol they’re not worth your attention. They’re just twink songs. I like one of them enough to be my 2nd of ULfI, but lbr, no one and absolutely no one, cared about them. That’s all.

• This NF started off with the hosts collectively attempting to make “You Let Me Walk Alone” sound somewhat funny? idk? and then Michael came back to save his own goddamn song out of the entrance door from the audience and right onto the stage <3 amazing. 

• Yet again, I commend the hosting of this show that has, and how much does it try to make a knock-off Eurovision, ever since last year ❤ Starting with the logo, continuing off with live commentary during the ending and the beginning of performances, including interval acts, and a sequenced voting ❤ One of the few complaints I have is that the postcards seemed waaaaay longer than each individual competing entries? I know I tl;dr with my reviews a lot here but some NF shows just get out the stories of singers' lives rather quickly and painlessly...

• ULfI decided that it'd be a good idea to outrival Festivali i Këngës in terms of ridiculously unnecessary interval acts. Yeah. There was this cowboy guy with glasses doing his own tunes, then him again on another interval act (I forgot but wasn’t his name Udo?), then Lena at some point (one of the better interval acts actually), then Michael Schulte, then this one dude from a band Revolverhed (who later voted as part of the International Jury as the German juror and... 12′d S!sters out of his The Voice mentor bias for one of his ladies. Yeah yeah, rigging...)... there were just a little too many, that’s what I’m saying.

• Now how exactly did we all know of the victory of the S!sters? Why, with voting sequences, of course! At first we have had this international jury made up of random specific people, usually giving 12s to S!sters, Makeda or some other twink. S!sters won it, then came the Eurovision panel whose votes were co-read by ... GASP! WILLIAM FROM WIWIBLOGGS!!! ;O don’t worry though he did not dun goof anything this time - the 12 from the Eurovision panel went to Aly Ryan. Sounds hopeful enough, right?? Well, hell no, as then came the televoting results, announced by Mr. Jon Ola Sand and he announced the 12 to S!sters! Oh German televoting, why did you allow yourselves to be THIS brainwashed and decline the good progress since Michael???? I will never forgive Germany for pushing S!sters this far. Putting them up together last minute and also last-minute adding them to the lineup, giving them the pimpslot, making a person who knows one of the S!sters more personally a German 'representative' of the International Jury... unacceptable.

• IDK where to find this but there was this part of the winner reprise where the blonde S!ster (that’s Carlotta) was so overwhelmed with joy that she struggled to open her song straightforwardly and instead let all the tears and laughs(???) take over her. It’s obvious this happens during all those winner reprises that the winner cannot really contain their emotions for what joyballs the victories have rendered them to, but that moment still sticks out to me. The other S!ster (Laurita) was much more collected and later on both of them carried on the right track and sang the rest of this whole thing decently!

For now I’d just wish them viel Glück in Tel Aviv and I hope that their friendship last longer than Jessika’s and Jenifer’s from last year! (probably not because like these two, S!sters are bound to flop, and separate as immediately as the unfortunately-formed class group project participants, just like Jenifer from Jessika)

[slifers-executive-writer]

A Overall Discussion About Godzilla: King of the Monsters 2019.

It has been awhile since I wrote an original piece on my blog, and while I’ve stated this is mostly for my writing and anime fandom, I cannot help but include one of my other passions. That is of course the movies. One topic that has been going around the internet lately is the potential flop that is Godzilla:KOTM 2019. I will put it out there right now, that while this movie isn’t doing as good as I would like, I’m sure it will make its money back and I certainly don’t think it is a flop. But my main reason for writing this particular discussion is to clear the air about where this film stands. I’ve been hearing a lot of reviews both top critical and various Youtubers complain about this thing and my overall observation is a lot of them claim to ‘like’ Godzilla and yet clearly don’t understand a goddamn thing.

A very similar thing happened with Detective Pikachu. Both movies not scoring that great on Rotten Tomatoes and overall critic/Youtuber reception being very mixed, yet the general audience seemed to enjoy both summer blockbusters. Both films suffered from a lot of ‘reviewers’ not doing even the smallest amount of research on source material before opening their big angry mouths and complaining why certain characters or concepts weren’t included.  

And example complaint on these films were:

Detective Pikachu: wHeRe Is TeAm RoCkeT?

Godzilla KOTM: wHy ArEn’T tHeRe OtHeR tOhO mOnStErS?

Yes these were real complaints.

Now in all honesty, I know neither of these movies are masterpieces as in terms of depth of plot or character arcs. If I had to choose one, I would definitely say it terms of the human elements, Detective Pikachu was a much better film. So I am fully aware that these flicks are complete nostalgia pandering hunks of cheese. 

And yet I still found myself enjoying both films to the point where I clapped at the end. The same way almost everyone and their grandmother did for the Avengers. So what is it about this hot garbage making so many people flock to the theaters multiple times to see them?

It’s the simple fact that we have had these Japanese properties in our lives for several decades. Pokemon (1998) & Godzilla (1954). If anyone grew up on either of these or both (such as myself) then we know that as long as these Americanized films are a loads of fun, we can forgive the lazy messy plots. But perhaps that is why these movies aren’t what we all wish they could be...because they are created on American soil. 

You see unfortunately, Hollywood has been in one of the most non-creative/reboot mayhem crisis I’ve ever witnessed. Big corporate studios have to pump out as many safe reboot/non original IPs as possible and it seems to have lost most it’s writing talent as well. If certain directors and producers aren’t behind a project, then the adapted movie (such those inspired by anime and other foreign film franchises) probably won’t have much substance. Not to mention Western filmmakers and our critics don’t seem to fully understand the culture shock of the growing popularity in these Japanese properties. Nor do they understand the appeal of these features, hence all the negative/angry reviews. We have seen this time and time again. And it is nothing new.

Now let’s get back to Godzilla: KOTM. It was a fun ride no doubt. The CGI was incredible, and with certain recent Marvel and DC films, this is a mark a lot of those films miss. So thank Godzilla that our beloved kaijus and other effects looked gorgeous. The cinematography for the monsters was also done very well. There are plenty of moments where we truly understand the grand size of these creatures. Overall the fights were awesome and mind numbing. And the music, oh my god the scoring was incredible. Done by Bear McCreary, who did the recent God of War installation did our Kaiju King a great service. Paying homage to classic Godzilla themes was the perfect icing on the cake. So what was the big complaint? 

Lol These dumbasses. The people in any robot/kaiju/creature feature seem to be the hardest thing directors cannot figure out no matter how hard they try. But let us admit that we as viewers are pretty hypocritical in this argument. On one hand we ask for a shit ton of monster brawls and on the other hand, we complain their are too many explosions and that the effect wears off after a while. We want human stories and then we complain that they are in the movie at all. Godzilla KOTM by no means has a good human story. Some moments with the military and Ken Watanabe were fine, but the idiots in the images above this movie did not need...like at all. I especially hated the father and mother figures. Like yeah Eleven (Milly Bobby Brown), I would run the fuck away too. I’m not excusing the writers for the shitty human plot, I’m just explaining as to why we still suffer from this problem. However, if you are a fan of the Godzilla franchise, you know for a majority of the films, the human plot is not much better than what we see here. Maybe that was Michael Dougherty’s point. He claimed that this was the ultimate film for Godzilla fans and quite frankly, maybe he is right.

Aside from the very first film (Gojira 1954), the human elements of these films were always lack luster, silly, and even forced. Yet so many people are quick to judge our American filmmakers for ruining what ‘only the Japanese can do right’ and in all honesty I’ve never heard such a false statement. The image above is from one of my favorites, Godzilla 2000. Japan’s fuck you to the terrible 1998 film. But when watching this, did you really care about this guy, his daughter, and his dumbass girlfriend. Or the scientists and their anime-esque villain. The answer is probably no. In any of these kaiju films, very rarely do we ‘really’ care about the people. We just want to see the action. The plots are always, cliche, predictable, and stuffing in some bullshit environmental awareness message. Nukes are bad and people suck. But we love Godzilla (practically a walking nuke) anyway. 

Godzilla KOTM, is the same shit we’ve seen before only with American styled editing and tropes. So lots of quick cuts and a focus on the family unit. But hey the special effects are so much better than anything we have seen previously. I don’t have to laugh when I see wires and crappy green screen, or using the same footage from a previous movie. Nope. All our favorite kaijus are in beautiful IMAX quality and are ready to wreck cities worldwide. This is the film fans asked for and we got it. Oh and before the next person complains that the Japanese can only do it better, here is what was done before this.

We got Evangelion Goji with AIDs and CG Tree Goji with Ramen Noddles Ghidorah. While Shin Godzilla was a masterpiece over seas, if you didn’t understand the political subtext, then this film was an angsty destructive ride by a guy who can’t even finish his own art thesis of an anime. (I totally don’t have mixed feelings over Evangelion lol). I didn’t hate Shin Godzilla. It had its moments, but I didn’t think it held the same power of the film it was trying to emulate. Not to mention the CGI and sound design at points were just dreadful. As for the Netflix anime Godzilla trilogy...just wow. Aside from loving the physical design of this new Goji and his new powers, this story was worse than awful, it was downright boring. Even hardcore Godzilla fans had a hard time defending this mess of bad CG. With a promise of multiple featured kaiju and Mecha Godzilla, we get a hunk of nano metal and the only other kaiju actually featured looking like a pack of Maruchan coming down to like ...basically have a staring contest with Godzilla and then evaporate. What a fight for the ages...

In conclusion, I’m not sure if and when either Japan or American will ever truly get it right. We may like certain aspects of one film but hate the rest of it and the cycle will continue on and on. But as far as KOTM goes, I’m happy it exists and hope it does well enough for Legendary to renew its licenses with Toho. I and many others just want Godzilla in the roster and to continue the legacy. Something for future generations of children and adults to enjoy the romping monsters and hear their iconic roars. We can’t let this current toxic and hating Internet culture bitch and complain about concepts and niche cultures it doesn’t fully understand. Like the anime community, the Godzilla fandom is a unique one and has a niche audience. But perhaps like what the Marvel movies have done for comic book fans, the exclusion will lessen over time and become more mainstream. But for now, Godzilla KOTM is meant for a particular group of people and it seems for that bunch, it has made them plenty happy. Myself included. 

So what are your thoughts on this movie and others like?

Feel free to share your comments, reblogs, and however else you would like to respond down below. 

[idolizerp]

LOADING INFORMATION ON DIVINITY’S MAIN DANCE, VOCAL HAO MEIYING...

IDOL DETAILS

STAGENAME: Miyoung CURRENT AGE: 20 DEBUT AGE: 19 TRAINEE SINCE AGE: 15 COMPANY: Koala T ETC: she was a fansite master for another group on the site (debuted before 2017) and was scouted at a fansign

IDOL IMAGE

with the concept of down-to-earth idols growing in popularity, koala.t went one step further with meiying’s image and pushed her as just an ordinary girl who happens to be an idol. the classmate, the girl-next-door, someone you meet at the store. with lots of casual pictures, relaxed captions, and comments echoing what everyone is already thinking, meiying is highly relatable, especially as people from her fansite days can confirm that this is her real self. it isn’t of course, but as the people that knows the true meiying can be counted on two hands, that isn’t really a problem.

its’ with this image koala.t is hoping to attract lower end, everyday brands that would normally not even look for someone to promote their products. so far there has been no deals signed, but as fans often ask meiying about the products she uses and recommendations on those she does not, the appeal is clearly there. meiying herself has started to try and establish herself as someone who knows fashion and beauty, which is difficult has the high-end brands she prefers clashes with who koala.t wants her to be.

the end result is what the fans fondly call “everyday princess”, a meiying that mixes drug store and high-end cosmetics, disapproves of companies spending thousands on outfits that are going to be used once, but highly recommends expensive training shoes for their durability. anti’s and media often call her fake, but fans, even those of other koala.t groups, are quick to jump to her defense. as for as talent and skills go, while she’s never on the lists for best idol dancers or vocalists, even those that hate her grudgingly admit she’s solid as far as idol skills go.

one backside to her image is that fans seldom shy away from approaching her when she’s out and about, even during her personal time. meiying herself highly enjoys this, but as it makes security difficult and bothers her non-famous friends and family, she has asked people stop seeking her out when she’s having time off. of course it’s only been partially successful.

IDOL HISTORY

meiying hails from guangzhou, but has always been more interested in korean idols than chinese. perhaps it’s because in chinese showbiz everyone is a jack-of-all-trades, and thus idol doesn’t really mean the same thing. either way, she has wanted to become a korean idol for a long time, and been preparing for it ever since she figured out how. when asked why, she claims that it’s because she wants to be a positive role model, and love performing. that is not true in the slightest.

while meiying adores being on stage, it’s not the performing she likes. in fact she finds it rather tedious. the thing she craves is the spotlight, the attention of the audience, looking out over the crowd and seeing people holding signs with her name and face. she wants fame, plain and simple. money would be nice too, but it’s honestly an afterthought in the end.

it’s debatable whetever it’s harder to to make it on the chinese scene or the korean one, but in the end it all comes down to the same thing - which company you have behind you. seeing most information comes by word of mouth, meiying simply looked at the popularity and success of other groups. she’d managed to convince her parents to let her apply to school of performing arts in korea as her high school of choice, and planned to audition as soon as she got settled. midas media, 99 entertainment, and msg entertainment was her the three that she was considering, and with two of them recently having debuted a new girl group, it was an easy choice.

in the summer of 2014, meiying moved to seoul, and auditioned for 99 entertainment. with almost fluent korean, decent dance and vocal skills, and of course great visuals, she was accepted on her first try. she threw herself straight into practice, but focused more on reaching the top of social hierarchy of the other trainees. this was difficult has a foreign trainee, but even if she isn’t the most intelligent or talented, meiying has always had a natural charisma and persuasion skills. when school started up later in the year, she did the same thing with her class. there would always be people that sneered at her, but in general meiying was finally living the life she’d always wanted. of course that would quickly change

when returning from a late night cramming session to the dorms one night in early 2015, the taxi meiying was in was struck by a drunk driver. fortunately she had her seat belt on and didn’t receive any major injuries, at least not at first glance. when she arrived to the hospital minutes later, it was revealed that due the fact that she’d been talking on the phone during the crash, and said phone had been smashed between her head on the window, small shards from her plastic case and even from the screen had found their way into the ear canal. the doctors quickly went in and removed them, but whetever she’d retain her hearing on that ear was still unsure.

in order to recuperate properly, she had take a break from both school and training. any louder noises could further damage her hearing, and the protections available could open up the wounds. she couldn’t even get on a plane to go home and recuperate. thankfully her mother traveled over and rented an apartment for them to stay in, but being so isolated was truly devastating to such a social person as meiying. she still chatted with her friends, but it was not the same thing as going out and doing things together. falling behind on her training was also a hard hit to take, given how cut throat the idol world is.

eventually she returned to both school and 99 entertainment in fall that same year, she would flinch at loud noises, which made training very difficult. her contract with the company which had been put on hold during her healing period was cancelled just a few weeks later, and meiying just stood there without direction. she tried to stay in contact for the other trainees, but since most of their time spent together was at the company and dorms, and some resenting her for leaving, it led to many friendship dwindling.

her mother eventually had to go home to china, but still rented the apartment for meiying to stay in. meiying honestly planned to go back home as soon as the school term was up, but then something happened - another former trainee reached out. this person had decided that being an idol was not for her, but instead choose to run a fansite for the koala.t music group celeste. as their company had debuted another group, b.rite, earlier in 2015 they were looking for people to run another fansite for the new group. after taking a listen to their debut track and being pleasantly surprised, meiying decided to give it a go.

despite being a fansite master for one of the first fansite for b.rite, meiying never considered herself a fan of the group, but then again she’s a manipulative narcissist who would rather die than consider herself a fan of anything. in terms of music, they’re easily her favourite boy group, though some of poizn and 1nferno’s recent releases has caught her ear. the members are likeable enough, and while she doesn’t go out of her way to praise anyone, she’ll not let anyone insult them in her presence. thus, in the more traditional definitions of fan, meiying is one. just not to herself.

as a fansite master, she finally got use for the camera her father gave her as a get well present. being very into fashion and beauty, she quickly found photography and videography to her liking. the fansite, named b.well, quickly grew from just updates and translations into various visual content, fashion finds, and then event and fundraising co-ordination. while school kept her from attending every fansign, fanmeeting, and other events, she was there as often as she could to support the group as well as other growing fansites. she became known as a mentor-like figure, often reaching out to teach and help out other sites, even for other groups. the only place you would never find her was at louder events, such as festivals and music shows. the loud cheering and blasting of the speakers made her want to curl into a corner, but with her accident and injury being a known fact in the community, many were quick to jump and get pictures for her.

then, in 2016, came that fated day. the fanmeeting to celebrate b.rite’s on year anniversary was something the community had looked forward to, with various charity fundraisers as well as gifts having been planned. meiying’s gift was one to herself as well as the group - finally getting therapy in order to being able to attend the events she so far had missed. well, turns out that decision was just the right one, as she was scouted at that meeting. a former 99 entertainment employee recognized her and since her image matched what koala.t music was looking for for their new girl group, he approached her. meiying was shocked, but eventually accepted, taking this as a sign from the universe that she was finally ready to go into the world of idols again. the old celeste and clover was two of her favorite groups, and with what she now knew about the company due to her time as a fansite master, it was a leap of faith well worth making.

sadly this further alienated her from those few 99 entertainment trainees that she still spoke to, but seeing she had a new group of people she could find friends within, she decided to say fuck it. she threw herself wholeheartedly into dance, having focused on vocals during her time at 99 entertainment in order to not create a rivalry with a dance trainee, and eventually debuted as the main dance and vocal of divinity. while the group is not very popular, they have not even been debuted for a year, and the concept of units and such frequent promotions is sure to gain them more attention as time goes on.

koala.t has been a new dawn for meiying. her earlier young lady image has been shed for a more relatable one, both in public and private. it’s not everything she’d ever wanted, but it’s a start, and perhaps a chance to find out what she truly wants in life, beyond the glitz and glamour of the spotlight.

[fmdtaeyongarchive]

↬ no one even knew about us.

date: ~march/april 2019.

location: n/a.

word count: 792 words.

summary: n/a.

notes: creative claim verification for the non-points part obviously of dispatch.

ash finds working on songs for candy’s album draws him further and further away from the routine he’s accustomed himself to, and its change of pace from what else he’s been doing lately, head aching from trying to create music for himself, brings out a fire in him he hasn’t felt so fervently in a while. instead of a deadline looming over his head like the sharp blade of a guillotine, having a concept he wants to write makes the deadline look more like a shining promised land on the distant horizon.

a break-up song isn’t anything new, not when he has two albums with a fair few of them in their track list. if he can say he’s known for anything as a songwriter, it’s probably writing break-up songs at this point, but they’re break-up songs that are safe in a way this one isn’t going to be. they’ve never been safe for him, no, they’re raw and entirely real, but if they’d been too real they wouldn’t ever get approved to see the light of day.

he’s stumbled across the forums and threads online of people dissecting his lyrics, trying to claim they’re about one person or another, or other instances where they claim he’s had his heart broken so irreparably by one person that every love song and song of parting he writes is dedicated to the same person. people like to talk, but the songs and the way bc limits how he can discuss them publicly all lends itself just as well to the belief that he’s making everything up entirely if that’s what anyone is truly determined to believe. as always, he’s forced to keep that dulling beacon of unwavering availability to his fans burning bright, regardless of how little evidence there is left for them to think he belongs to them.

but this song, no matter how one looks at it, is about dating as a celebrity, and it’s going to be hard for anyone to say he’s making up the feelings that compose the parts of the song he’s been tasked with. that’s precisely why he knows it’s not something he’d ever get away with if he wasn’t writing for someone else’s album, for candy’s album. again, he’s grateful for the opportunity to write for her. it’s not that he’s never written for anyone else before, but writing for her mini-album, this is the first time he’s really pushing past what he’d dare to write for himself.

the lyrics he writes aren’t based on one past relationship he’s had. it’s based on all of them because he hasn’t known a serious dating life where he didn’t have to hide. it was another casualty of becoming a trainee so young, but that doesn’t mean he doesn’t know what dating is supposed to be like. he’s very aware of how much easier it would be to keep a relationship going if other people knowing about it wasn’t a threat to its very foundation and if they didn’t have to look over their shoulder constantly any time they were together.

it’d be easy for ash to turn his lyrics into whining, and at first when he begins writing, that’s what the message comes off as, even to him. he doesn’t want it to beg for sympathy; he knows many fans, both candy’s and his if they decide to check out the song because he’s credited on it, won’t be very sympathetic to its message. secrecy and hiding are considered a side effect to the fame and fortune they’re showered with, something to balance out the scales of life. it’s not something bc would profit much off of them being sympathetic to either, and  he doesn’t think the company will care about the truthfulness of it, so whining won’t do much good, even if ash thinks it’s justified.

he writes his lyrics like a normal break-up song, except it’s one he doesn’t have to filter part of the truth out of to make it more palatable and more relatable to an audience who likely has had the fortune of not having to hide away so much about themselves for the sake of their image. being an idol and the crazy expectations that come with the label contribute to the downfall of relationships in the industry just as much as shifting feelings or incompatibility do, if not more, so why shouldn’t they be able to write about it or sing about it?

he sees the appeal of now of not being the one to sing the words he writes. he can help get a message across that would be silenced or derailed by his own image otherwise. and, honestly? ash thinks this song will sound better coming from candy anyway.

[the-chaotic-neutral]

I’m so unprepared this year! Due to a lot going on in life, I didn’t have time to watch either of the semi-finals or even pregame with the official music videos! So that means I’m going into the finals 100% cold. I feel both unprepared and excited. I haven’t gone into finals without research and preconceived judgement before. I have no idea what each country’s songs will be like or what style their stage shows may take.

So here’s to art, entertainment, and surprises! 🥂

Opening performance by TK. Last year’s winner, Salvador Sobral, championed authenticity (sometimes to the ire of other contestants and fans) and it feels like

I’m watching the US broadcast this year, which is presented by Logo and hosted by Ross Mathews and Shangela. Since Eurovision is still relatively new to the USA, and very new to Shangela, this broadcast is a perfect entry for American viewers. Ross explains the basics along with the idea of the Big 5[foot]The Big 5 are the countries that have contributed the most amount of money to Eurovision which guarantees them a spot in the finals without competing in either night of semi-finals. They are [/foot]. It’s also available as a live stream on Logo’s Youtube channel regardless of your TV package, so it’s accessible to literally anyone to watch.

01. Ukraine – Mélovin “Under the Ladder” A vampire rises. The song isn’t great, and the performance suddenly loses some of its exoticism when it becomes apparent that he’s singing in muddled English and not Ukrainian. It gains some back when his entire set catches on fire (on purpose).

02. Spain – Amaia & Alfred “Tu canción”

Super cute! Simple staging and great chemistry between these two makes this performance so damn endearing! But they’re really early and not much of a spectacle, so I worry they’ll get buried by later performances.

03. Slovenia – Lea Sirk “Hvala, ne!” She’s trying to throw down tough and maybe come off like Pink, but that’s hard when she’s got a huge, goofy grin on the whole time.

04. Lithuania – Ieva Zasimauskaitė “When We’re Old” A slow, sweet ballad with holograms. Holograms can be a real risk in a show. It can be a neat effect, like when Australia used it for a Minority Report computer interface, and it can be the show-stealer, like when it’s a nude clone with wolves. This came of as middling, especially because she seemed to reign in her own vocals. It felt more like a verse of a song rather than a full performance.

05. Austria – Cesár Sampson “Nobody but You” Great job utilizing the stage and lighting as a single performer, but this song is not up for the job.

06. Estonia – Elina Nechayeva “La forza” Estonia has a history of visually impressive performances, and this is not a disappointment. With this, the world comes one step closer to the Diva from The Fifth Element. Her voice is great and her dress is all projection mapping! This is how you make a strong impression while pushing the vocals to the forefront.

07. Norway – Alexander Rybak “That’s How You Write a Song” Shoobidoo dap dap, shoobay doop hay, that’s how you write a song.

No it’s not. This an adorable performance with incredibly inaccurate instructions on song writing. Major props on playing the violin, and the whole thing is really endearing, but I think it’s too breezy to stick in this competition.

08. Portugal – Cláudia Pascoal[h] “O jardim” This is the home team, the current champions, so they have a lot to live up to. I don’t know if it’s authentic enough for Sobral but I’m loving it.

Anyone else get a total Lola vibe (from Degrassi) from her? These are not the same person.

09. United Kingdom – SuRie “Storm” I’m getting Annie Lennox redux. Her song is not the Tim Minchin song, disappointingly, but this is one of the best UK contestants in years. Many of the Big 5 countries, which can go straight to the finals, seem to phone it in or at least submit very generic pop. This is the first time I can remember actually enjoying the UK contestant.

10. Serbia – Sanja Ilić & Balkanika “Nova deca” (Нова деца) Amazons and the grim specter of death! And discotheque! Unfortunately the visuals are the best part of this group. Their song is meh and I don’t think I’ll even be able to remember what they sounded like the next morning.

11. Germany – Michael Schulte “You Let Me Walk Alone” Really touching, personal ballad. The stylized screen show behind him came off as far more effective than the holograms. I was really surprised at how honestly the whole thing came off touching. The song and accompanying performance are all about Schulte losing his father, and that personal connection does a lot to elevate this from just another pop ballad to a standout act. Also Schulte looks like Philippe and I had a son together, so I am very proud of my boy.

12. Albania – Eugent Bushpepa “Mall” This is clearly a grunge or metal band performing their first ballad before they go soft. Okay song, but could have been more specific to Albania or the band performing it or, well, more memorable in any way. And the disconnect between the look and the sound is jarring, disappointing, and lackluster.

13. France – Madame Monsieur “Mercy” Velcome to Sprokets. Just a reminder that this isn’t Germany’s submission. Okay, enough about their look. There’s a fundamental problem with this song here, though the song itself is good. It’s a really good song about real life baby born on a ship of refugees fleeing to Europe. This song would have been great on an album, but in a music and performance competition the nuances get smoothed out and the striking visuals take, no pun intended, center stage. I’ll probably come back to them as a band, but think that they’ll be lost when the voting starts.

14. Czech Republic – Mikolas Josef “Lie to Me” The year is 1994. The soundtrack is The Mask. The costume is Minkus from Boy Meets World. The inspiration is Fresh Prince of Bel Air. The performer was having fun, so I guess that’s nice. And that’s really all I can say about it.

15. Denmark – Rasmussen “Higher Ground” Do you like vikings? Do you like Silent Bob? Do you like when people take a theme (in this case, All Aboard) 100% literally? Well, have I got the group for you!

16. Australia – Jessica Mauboy “We Got Love” And the Bland Award goes to… The only words I can think of to describe this is “Europop” and “gyrations”. There’s nothing more to say.

17. Finland – Saara Aalto “Monsters” The remix of this song could be a club hit, but not this version. As it is now, there’s not enough bass or and energy for a club and not enough complexity for a pop hit.

18. Bulgaria – Equinox “Bones” I can’t be the only one that sees this guy and thinks black Jack Black.

The song itself was not all that great, but as a group their voices sounded great together. Similar to France, I’m not a fan of this one but I am intrigued enough to keep an ear out for the rest of their singles.

19. Moldova – DoReDoS “My Lucky Day” They’re introduced as a folk-pop group but… well, that must mean something else in Moldova. They have the presentation of a Laugh-In skit and the emotional range of a Bar Mitzvah DJ team. Hard pass.

20. Sweden – Benjamin Ingrosso “Dance You Off”

SCENE I. A desert place

Thunder and lightning. Enter three Witches

First witch

Performance of Bieber

Second witch

Face of Ephron

Third witch

Song of Timberlake

I’m assuming that’s how this performer was summoned. An amalgam of safe bets, it’s no surprise that the song is generic yet appealing. Coupled with a great use of stage lighting, I don’t really like this one but I’m betting it’ll be a contender.

21. Hungary – AWS “Viszlát nyár” Yet another country who’s music submission seems to be off by a decade or so. The look screams Fall Out Boy but the music is more of a mid to late 90s pop metal. Whatever their inspiration, I spent way too much time trying to remember what forgettable bands they reminded me of and had no time to actually pay attention to them.

22. Israel – Netta “Toy” Yasss! Netta! And then… Okay, so I am very much not crazy about the Asian appropriation, but I’m here for everything else. The whole kimono and maneki-neko motif is just not sitting right. Please, you can do but. But her amazing sneer, the bizarre incorporation of the chicken dance, and the dance-able Tel Aviv music is killing it! Also, it’s great to see my homeland with something that’s not some punchable dude-bros on a beach.

23. Netherlands – Waylon “Outlaw in ‘Em” When you think of the Netherlands, what comes to mind? High taxes? State supplied health care and other services? How about Ted Nugent tributes and awkward krumping? Well, it will from now on.

24. Ireland – Ryan O’Shaughnessy “Together” This is the reason that China lost the finale broadcast rights. The musicians are recreating the Broadway show Once while a So You Think You Can Dance routine plays out with two dancers. Honestly, I kind of loved this. It was intimate and sincere and lovingly executed. One of my favorites of the night.

25. Cyprus – Eleni Foureira “Fuego” Oh no! Cyprus has read from the Necronomicon and opened up a rift in time! Ash Williams, come save us! This is Cyprus expect a danceable track. Because that’s what you’ll get. Also, every year there seems to be a Beyonce impersonator. Just saying.

26. Italy – Ermal Meta & Fabrizio Moro “Non mi avete fatto niente” I immediately see this one as a real contender. Not because I love the song (I don’t) but because it’s engineered with brutal efficiency. It perfectly balances poignant lyrics, earnest performance, and a solid song. The lyrics come up on the video screen with stylized fonts, rolling through various languages in a brutal and brilliant method of bringing in the world audience. You could maybe find a performance that is better in each category, but none so perfectly balanced across the board as Italy’s.

And now we wait for the votes to come in and be tallied. There’s always a lot of confusion about how they work so I’ll break it down to the best of my knowledge for y’all.

The jury votes. Each competing country has their own jury of voters that rank a top ten list. Then points are portioned out to their picks, with a top 11th award getting 12 points.

Public votes. These are given out based on the call-in voting from across Europe. This are announced second as they completely reorder the competitors.

If that sounds convoluted, it is. And purposefully so. The system was designed to draw out the suspense of the announcement as long as possible. So really the jury votes set up a baseline that can be completely overturned.

And impressions of this year? Well, I’m happy that the “white dress and a ballad” phase seems to be over. No clear style came out as a successor so maybe next year we’ll see a clear group-think strategy emerge.

My top picks, in no particular order, are:

Estonia

Portugal

Germany

Israel

Ireland

And I want to draw attention to a few more musical performers from Portugal, that weren’t in the competition but performed in the opening and closing segments. Mariza, Sara Tavares, and Mayra Andrade all caught my attention. So if you’re actually looking for new music in the midst of this spectacle, those are a few people I’d like to draw your attention to.

After an insane amount of re-ordering, and a long stretch when it looked like bland-as-bland-can-be Austria might win, Israel won! I am so happy, as that was personal pick. I figured Italy would take a high place in the public vote, and they did with 3rd place.

However, I think I would have preferred that Germany (my precious boy) would have won, as I do worry about Israel hosting Eurovision and all of the possible repercussions. Between the security issues of the people to go, and the political statements of the people who won’t, it’s going to be interesting. So now we can all revel in the greatness of Toy (if not the Orientalism of the performance) for a year. In the meantime, I’ll start a betting pool for how many countries will pull out of Eurovision between now and then.

NEXT TIME IN JERUSALEM! !השלב הבא בירושלים

I watch Eurovision because I know you didn't! I was totally unprepared this year. Still had a great time, though. Eurovision 2018: Finals I'm so unprepared this year! Due to a lot going on in life, I didn't have time to watch either of the semi-finals or even pregame with the official music videos!

[kwa-mii]

Only The Dance

My second offering to @queermiraculous Pride Month (wow what a consistent and dedicated upload schedule) with today’s prompt: dance

I’ve had this idea in my head ever since I saw the prompt calendar but I’ve been struggling to write it. For some reason, today while I have been DYING OF THE HEAT it all came out so, kudos to summer? and maybe time constraints?

I’m tempted to make this one longer. I’m also tempted to nap for the next month so it might take a while? but I’m going to do the best with what inspiration I have!

I upload my fics on ao3 a teeny little bit earlier than I do on tumblr, if that’s something that appeals to you ~

Oh yeah and this takes place just after the events of Jackady/Simonsayz

Only The Dance- a DJNoir fic with hints of Adrinino (1588 words)

Warnings: slighty sexualised vocabulary, suggested sexual feelings

They were such simple words, but they changed everything for Nino.

"Don't even have to think! I'm gonna choose two buds, who'll never let me down, that's for sure! Ladybug and Chat Noir!"

He'd meant what he said - he genuinely trusted the two superheroes and knew they'd come through - but the swiftness of their response was somehow unprecedented. As soon as they appeared, he couldn't keep the grin from his face. He'd cinched this. He had it. The Challenge was won.

Chat Noir had appeared in a matter of moments, and Ladybug followed soon after, skidding into the room with an almost embarrassed look on her face. "The party can't start till we walk in," Chat Noir smirked, and with a - somehow intimate and dazzling - wink over his shoulder had told Nino, "Hit it, Mr DJ."

And so the DJ had obliged him, spinning the deck so that the sound whipped and the music began. Nino was totally improvising, but he knew what he was doing. He let the music carry him. To him, it was a friend and ally more trusted even than the city's superhero duo. To him, music was an everything, an absolute.

Ladybug did not appear to share his closeness of connection with the music, because her movements were somewhat self-conscious. Her hips did not quite follow through the balls of her feet, meaning that the sway of her body rippled without real reason. She didn't know what to do with her arms, and she looked down for the most of his set, face as red as the mask that graced it. But she was dancing. One down.

Chat Noir had no such reservations, for he danced with abandon, in his motion a perfect marriage of elegance and impropriety. He didn't seem to dance with a plan, but each line that he drew through his limbs was exquisitely formed, and each sway of his hips was lascivious and languid, each move executed for the best display of the athletic arc of his abs, his pecs, his... other muscles that Nino had not been aware of before, and now saw with new marvel.

Nino was suddenly made aware of certain muscles of his own. His fingers reflexively twitched over the deck, slackening for a moment as he stared. His heart was beating time with the bass that Chat followed like a beacon. His hips, or something within them, strained towards this empyrean vision.

Everyone in the studio was staring - how could they not? - and Nino's eyes were pulled in with the rest of them. But Nino probably had a better view than the rest, because Chat was facing away, and it was as though that ass was gyrating for him alone.

This show was supposed to be PG, right?

That rating surely was going to change after tonight, because the way Chat danced was simply sinful. In all that leather, and with that feline prowl...

It was the leather. It had to be the leather. Leather was sexy by default, and so his awe had nothing to do with the boy beneath it. Nothing to do with that flawless body, or the way he made love to the music with his entire being, or the smirk that flirted across the edges of his face. Nothing to do with the admiration that surged through Nino every time Chat saved the day, every time Chat simply showed up. Nothing to do with anything except the flatteries of leather.

He nevertheless, along with likely the entire audience watching at home, could not look away as Chat continued to groove to his steady rhythms. He simply begged for attention. So often overshadowed by his partner in her popularity, it was in dancing that he excelled her, but it seemed he was more comfortable for the two of them to share the limelight. The superhero grinned over at his partner, took her by the hand, and whirled her around - Ladybug was shocked and dizzied, and Nino too, head spinning and vertiginous with something akin to jealousy. To have Chat's hand in his, and to embrace the music by his side, was the only thing he wanted in that brief moment. The truth was simple and crystalline.

Then, shaking these thoughts from his head, he tried to concentrate on his music, he really did try. But this damned boy, this cat-like thief, stole his attention time and time again. What did pitch and timbre compare to motion? They paled, became of lesser importance. Damn, was the superhero stunning when he was like this.

Nino didn't even notice that the studio was calling for a wrap, so captivated was he, until Chat Noir himself turned to repeat the producer's request. Blushing, Nino squeaked his deck to a halt. Despite the unceremonious, slightly awkward finish, his music was met with enthusiastic applause.

The applause meant very little to him now; he already had what he wanted, and it came gift-wrapped with a bell on its collar.

The thought was sharp and traitorous. Nino did his best to push it down, even as the superheroes caught him in a group hug - "That was so good! You've got some serious talent!" - and the cuplrit came up close to him, the leathery smell of his costume bold and biting. Just ignore it, Nino told himself, it was obvious that he had been somewhat carried away - music often did that to him. Besides, it was obscene to think of the protector of Paris like that, totally ridiculous.

And yet, he couldn't deny he wanted more. Just to see that again. Just to...

He decided he was going crazy; he needed to talk to someone who would make him see sense again, and he knew just the person for the job.

He tried to broach the subject with subtlety the next morning, "So... what do you think of Chat Noir?"

Adrien stretched back in his seat, his hands behind his head and tongue prodding through his lips as he pondered, "I'd say he's pretty amazing. He's such a good guy, and he's always so cool - it's more than enough that he does the right thing, and that he protects us, but he's always so stylish on top of all that."

Stylish? That was a word for it... He tried to conjure some of his inner calm, a little light humour, in order to project his own feelings onto his friend, "You into that leather, bro?"

"I didn't mean stylish that literally. But I suppose so, yeah, he's definitely hot, right?"

"R-right!"

God, if only Adrien knew the whole of it. If only he'd seen that body up close, that question would surely have been posed as a statement - Adrien had apologised after the show for running out on his set (not that Nino had noticed at first), having been hit with a sudden nausea due to the intensity of the studio lights. Luckily, the Ladyblog had uploaded the clip and provided him with the opportunity to catch up, "By the way, I don't know if you're aware but there's a comment war on the blog at the moment. They couldn't decide what was better; your music or Chat's dancing."

"Oh, definitely Chat's dancing! There's no question about it, dude!"

Adrien stared at him, unable to keep the smile off his lips. So much for subtlety, Nino thought, the amazement had practically dripped from his tongue... So he rapidly backtracked, rushed out a gruff and hopefully ambivalent, "Or, at least that's what the majority seem to think."

"Sounds like you're right there with them. At the front of the pack of fans, perhaps."

"Could you blame me?" it was difficult now to keep an even tone, but he soldiered on "Chat has that effect on people. It's probably got something to do with being a superhero, or... something."

Gently, Adrien laughed, "I believe you. Besides, I'm sure you probably just want to sound modest. You know you smashed it. And if Chat danced well, it's because your beat was so good."

"I'll accept that one, but... I don't know, he's definitely a natural dancer."

He raised an eyebrow, quirked a grin, "Should I take back the modesty point? You know, I'm starting to think you might like Chat more than you're willing to admit."

Nino laughed, protested, garbled something out.

Adrien persisted, "I mean, come on, who wouldn't like Chat?"

There was something strange in his voice there. Did that mean Adrien liked Chat as well? He was sure Adrien had expressed a preference for Ladybug, bordering on something like infatuation, but now he had called Chat amazing, cool, even hot. Nino could've sworn that Adrien hadn't ever called anyone hot before, not even Ladybug herself. Could it be... did Adrien... was 'like' even the appropriate word here?

Of course not. Adrien was straight, and that meant that Nino shouldn't be thinking about his non-existent thing for that Chat  as hard as he was. Besides, it made no difference if Adrien was straight, because Nino was straight. As a ruler. As an arrow. As the plane of Chat's toned stomach...

Well, perhaps not exactly.

"I guess Chat is very... uh... likeable."

A flash of something quite like victory swept across Adrien's face. Seeing this, Nino looked instantly sheepish, although he didn't quite understand the cause of his friend's expression; it seemed this was a new thing, not understanding boys, and not understanding himself.

But if figuring it all out meant spending more time with Chat... well, he didn't mind.

[houseofvans]

Sketchy Behaviors | Jenny Sharaf (SF)

Never afraid to reinvent herself or her art, San Francisco based artist Jenny Sharaf’s works are fluid and spontaneous; her approach fearless and at times vunerable; and her style cool and comfortably bad-ass.  We’ve not only been fans of her visual and abstract creations, but also her passion to work with her community in SF and Oakland to spread art and creativity – from her work with the Lab’s 24-Hour Telethon, The Parking Lot Art Fair to her most recent project- the Public Art Tour.  Sharaf shares some insight into her work and process; important issues and themes; and her thoughts on the contemporary arts scene in this installment of Sketchy Behaviors.  

Photographs courtesy of the artist

Tell us a bit about yourself and your art background.  

My name is Jenny Sharaf and I live with my partner-in-all-things John in San Francisco where we are the parents of an 80lb blue nose pitbull named Lola. Though i live in San Francisco, my wanderlust is at an all time high and if I’m not traveling the world, I’m plotting my next escape.

I grew up in a relatively small beach town in Los Angeles called the Pacific Palisades. Surrounded by salt-licked-waves and girls tanning on smooth beaches, my favorite place growing up was the bluffs; where I could sit above it all and watch it from a distance. I certainly was not your typical California beach babe, but I was wildly inspired by its appeal.

I found myself in San Francisco and went back to school at Mills College to receive my MFA. At Mills my ideas about feminism and California culture collided and my art was heavily influenced because of it.

My life now is a state of constantly making art. Whether it be painting, working on something digital or organizing big public art events in the city, or climbing some construction scaffolding in Paris to smack one of my stickers on the side of a building, I am always finding news ways to reinvent myself and my art.

How did you end up creating art and doing it professionally? And what have you learned along the way?

I’m just doing what I love doing and sometimes people agree to pay me for it. I create new work and new concepts non stop, I contact people that inspire me in hopes of collaborating. Even though I’m afraid at times to be vulnerable, I put myself out there every single day in hopes of new people discovering my art and hopefully falling in love with it. Being an artist can feel very scary, I think maybe I love being scared.

You’ve mentioned “process” as an important aspect of your work.  Could you take us through your creative process?

When I’m in the studio or working on a project on site, I always love that intense moment of chance and not having a plan. It takes a serious level of trust in yourself and the materials.  Those are the wonderful times that feel one-the-line and frightening, but are always rewarding.  In those painting meditative moments, I have no sense of time and space. My best work and most dynamic ideas come out of a period of making and thinking simultaneously.

What important issues and themes do you find yourself and your work drawn too?  Why are these important to you and how do they permeate into your works?

Artists are vitally important to our culture, our story and our future. They represent our freedom of speech and expression. The contemporary moment that we are living in feels very historical. Artists are more necessary now than ever and we all should critique the world around us through whatever means possible.  As I’m finishing this interview, I’m watching Trump’s first week in office. It doesn’t feel real, but it very much is. This is a call to duty. This is the first president that rose to power on twitter and a tv game show. Currently it’s scary times. I suggest everyone find a great apocalypse outfit.

The colors and abstract drips of your work are some of our favorite things.  You recently created a beautiful interior for last year’s Fog Fair and a mural for the Ace Hotel in Palm Springs.  How did this come about and how do you approach the design of interiors and exteriors?

Both of these opportunities came through curators & designers following me on instagram. Charles de Lisle and Cultured Magazine invited me to collaborate with them on a “reading room” for the FOG art fair. It was a lot of fun and it was a moment to make something large, inclusive and accessible to an art crowd. For Ace Hotel, their art director at the time; Matt Clark, approached me after seeing an instagram post by artist, Thomas Campbell. The art world is sometimes a really nice place after all! It’s also really wonderful when one project leads to the next.

Whether you’re calling it “placemaking" or whatever new buzz word we’re using, it’s rewarding to create a work of art that people want to include in their own story. I will always love painting on canvas, but it feels much more exciting to do “murals” or large-scale installations, where the audience can insert themselves and interact with the art directly. It’s less egocentric, even though I do always appreciate a @tag :), but mainly just so I can see others enjoying my work!

From painting, murals, videos, installations to paint on paper and digital works, do you have a preferred medium and if so what do you specifically enjoy about it?  Is there a medium you’ve have yet to tried and are dying to?

I’m always dying to try new things, new ideas, new materials. I probably have about thirty ideas going in my head at any given moment.  As as a preferred medium, I love paint and always have. It’s the most temperamental and if you do the dance, it will talk back in this amazing way. It’s literally fluid (duh), so you have to be a bit go-with-the-flow to fully embrace the stuff. There’s nothing better than a painting session with your headphones blasting and paint just flowing oh-so-naturál. There are a million things I want to try that I haven’t yet.  It’s hard to predict where it will go….That’s part of the reason I love being an artist.

What has been some of the best art advice you’ve gotten and some of the worse?

Best art advice– Dream bigger. Don’t be shy. Don’t glass-ceiling-yourself.

Worse art advice–  Be practical and realistic.

Not only are you a passionate artist, but you’re really activity in your community with various projects that are focused on community engagement and about promoting the arts.  Can you talk specifically about how you founded The Lab’s 24-Hour Telethon and tell us about it and its purpose.  What other community based activities are you working on or currently developing?

Throwing big art events in the Bay Area is really important work to me it helps keep the art scene alive for the community and for myself.  I was approached to come up with the task to raise money for the The Lab. I grew up on TV and I’ve always been particularly enamored by it because my parents were in the business. They were TV journalists and were always deep diving into the life of some interesting personality. I loved the idea of bringing that to life in a new form and so the The Lab’s 24-Hour Telethon was born. It helped majorly that Cinefamily had been doing a super awesome telethon as well. It was in the zeitgeist. San Francisco needed a version. It ended up being a big success that I am extremely proud of. Since then, I’ve done projects with San Francisco’s Department of Public Works that involves giving new life to public places by highlighting our local contemporary artists.

Most recently, I’m working on a program called Public Art Tour. It’s going to be an online experience and a series of big public events, bringing attention to local artists and San Francisco’s downtown public art. We are scheduled to do a massive party under the Bay Bridge, closing down the Spear Street’s cul-de-sac and making some legally permitted-noise;) Maybe Vans wants to set up a skate ramp? Call me.

The Parking Lot Art Fair that you founded in the Bay Area sounds like a super fun and exciting get-together.  How would you describe this event to folks?  What has been the best aspect of this for you?  

It was a blast. Basically, The Parking Lot Art Fair was a renegade art fair outside of a “legit” art fair at Fort Mason (in San Francisco).  All the artists set up very very early morning, as soon as the parking was free and permitted. At that point, the chaos began. The best part was being able to see the Bay Area art scene spread out in oceanside parking lot and realizing how much talent and weirdness this place still has left. San Francisco and Oakland have had many growing pains in the last few years and because of it the art scene has also foregone many changes. In terms of housing costs (studio space, etc) a big portion of our community has had to leave. So to be able to celebrate a more fringe art scene feels insanely gratifying.

How would you describe your personal style? Favorite Vans?

My personal style is all over the place. I like to be comfortable. When I’m not in my painting white or navy onesies and painted Vans (raw canvas pair I’ve probably had for 10 years), I love to play with fashion and try on different looks. Right now my look is very Gloria Steinem plus a sixties-Italian-cyclist inspired; ripped black jeans, my boyfriend’s cashmere sweater and a fringe black suede jacket. I always wear sunglasses - my look never feels complete without them.

My favorite vans are the classic black and white checkered low tops. They always look effortless. OR the high top surfer-girl-chic sneaks.

Name 5 of your favorite artists, followed by some of your top 5 favorite bands / musicians to create too.

Artists: Helen Frankenthaler, Joan Mitchell, John Baldessari, Joan Brown, Alicia McCarthy

Music: Paul Simon, alt-J, Jungle, Ace of Base,Haim

What are your thoughts on the state of contemporary art?  The good, the bad, and the ugly.

The good - the art world is accessible than ever because of social media and the internet.  You can basically get anyone to see you work these days, which is a big change from ten years ago.  

The bad - there’s still a lot of old white guys that seem undeserving of shows, but they know people and they already have money to create massive bigger-the-better machismo art.

The ugly - the art world is huge, and can be incredibly hard to navigate and can be mean. We should all work harder to be nice to each other, especially about something as special as art.

You’ve worked with various clients and done many collaborations.  What have been some of the most rewarding projects? What do you like best about collaborations and what are some of the aspect you’d like to see changed or evolved if any?

I love collaborating with cool brands. Working with the Ace Hotel is always awesome. Such great people and a company that really gets the creative experience. I just worked with this handbag line Luana Italy. They really let me do whatever I wanted and honored my voice as an artist, which I always greatly appreciated. I think big brands are finally embracing and empowering the artist's’ voice– allowing the space it takes to achieve that.

What would you tell folks who want to follow in your footsteps?  Pitfalls to avoid and/or words of inspiration.

I’d say, don’t follow in anyone’s footsteps. That’s always something to remind yourself.  Make your own path and listen to your own visual / conceptual impulses.There is absolutely no rule book or how-to guide to being an artist. It looks different for everyone.  I by no means have figured it out, but I do try to practice trusting the inner voice and taking risks.

Lastly, what’s up for 2017?  Any exciting projects you can let us in on?

For 2017, I plan on working hard, painting like a madwoman and traveling. I’m doing some fun projects with B&O Play by Bang and Olufsen as a cultural ambassador- public art events, listening parties, contemporary art experiences.  Also, I’m curating a weekend at Ace Hotel and Swim Club Palm Springs on March 18th called “What’s Your Name / Who’s Your Daddy” featuring Sahar Khoury, Alicia McCarthy, Francesco Igory Deiana and Jess Meyer. Also, planning some mural projects overseas, but it’s too early to talk about. Don’t want to jinx it! Follow me on instagram to keep up with it all:)

Website | Instagram | Public Art Tour

[thesinglesjukebox]

SAM HUNT - DRINKIN' TOO MUCH [5.33] What've we got here? Why, it's a CONTROVERSYBOMB!

Ramzi Awn: A bold experiment with a few good ideas, "Drinkin' Too Much" employs dark moments of candor to highlight a muddled mix. [5]

Olivia Rafferty: The heart and soul of country music is storytelling, which is why this track works so well. "Drinkin' Too Much" shifts the typical country subject of alcohol abuse to the context of sad man R&B, aka Drake's genre. The spoken verses contain a rawness that could only be conveyed with that style of delivery, and the lyrics themselves are so vivid. Lay this over a subtle blend of 808s and slide guitars, and you have a solid attempt to influence the direction of country music. Let the genre-mashing begin. [8]

Anthony Easton: John Prine, in a recent Rolling Stone cover story, spoke about how Dylan's Nashville Skyline broke apart country music for him (he was a folkie at the time): "Man, there's something there where their two paths crossed. My stuff belongs right in the middle." This is also in the middle: between soul and hip-hop, between the drinking and heartbreak of Nashville and the fame-wasted ennui of Kanye and Drake. But it's also at the bottom: the bottomed-out production, how Hunt trips over details, how he extends stories, how he never quite brags about his money, how his self-loathing bubbles up like swamp gas. It's the opposite of all those party songs, the opposite of Moore and Eldredge and Gilbert. It has a singular voice -- a songwriting voice, but also how he sings, a gravelly push that reinforces his production choices. It is the smartest thing he has done, and maybe the most heartfelt. [10]

Alfred Soto: I'm no country corn pone. I like electronic whooshes and the kind of manipulation of space more common on Drake or "Climax"-era Usher, but Sam Hunt can't even talk-sing without his sockless boat shoes tripping on his ill-lettered cadences. He comes off like a lunkier Chainsmoker, in the market for any hook that'll get him on the radio and laid -- two of his more admirable virtues. Find better songs, dude, and don't try so damn hard. [4]

Thomas Inskeep: This non-single posted on SoundCloud is the audio equivalent of a viral video, and like many viral videos, it's also essentially a journal entry set to music. Frankly, it's not up to snuff: this is him doing his rhyming couplets (he loves rhyming couplets) with a woozy rhythm track from Pro Tools or whatever. It also sounds a lot like a demo for Justin Bieber. Most of all, this is slightly creepy oversharing; I want a Silkwood shower after listening to it. [0]

Elisabeth Sanders: Everything about this is deeply embarrassing, and that's why I love it. While I can't pretend I like this as much as anything off Montevallo, it makes up for it with "I wish you'd let me pay your student loans," and I'd like to submit this as a great entry into a music category I'd like to call "voice-memo pathetic-wave." (The other artist in this genre is Mike Posner with his great, deeply pathetic album At Night, Alone.) The song approximates, sonically and with almost nauseating accuracy, the feeling of being just too drunk enough that the room is spinning a little, being very sad about something that might be your fault in a crowded place at 2 in the morning. BEEN THERE, SAM. [7]

Jonathan Bradley: In which Sam Hunt pens a letter to Montevallo's Courtney From Hooters On Peachtree and proves himself to not be country music's Drake, but rather its Mike Skinner. The hook is the weakest part; it doesn't resolve Hunt's thoughts but elides them. (The austere "8pm" take works better and is worth a point or two more.) There is frisson in a lyric that pushes too far past the fourth wall, threatening to combust as it reaches the event horizon -- for the non-country, non-rap examples to which "Drinkin' Too Much" draws nearest, look to emo acts like Cursive's The Ugly Organ or Say Anything's "Every Man Has a Molly." "Hope you know I'm still in love," Hunt closes, except it's a correspondence that is only intimate the way a performance is, and so his words are combustible as well as heartfelt. The sour sense that this song bears too much truth is its most compelling point but also its most repellent; Hunt is too casual in his exhibitionism. [5]

Will Adams: It feels right; we've reached the level of bleakness in our pop music that songs can now just be actual shitposts with first draft choruses tucked in. [3]

Katherine St Asaph: Did we need another country "Marvin's Room"? In every country review I keep harping on artists telling the same generic story addressed to the same imaginary sorority girl, but here's a lyric and addressee that are certainly not generic or imaginary, and I'm not sure what to think. If Sam Hunt's byline didn't scare off the traditionalists, the first vocoded note is almost deliberately scheduled to shoo away the rest (none of the subsequent vocal is so blatant), leaving a smaller audience of fans and an explicit audience of one specific, named girl. There's something inescapably creepy -- voyeuristically creepy for the listener, manipulatively creepy for the artist -- about this, this couple chords and a tirade. Most of his target demographic will hear this as romantic, but for those unfortunate enough to have been stalked, the details are so familiar as to be textbook: presenting her with his un-rebuttable imagination of her life, in which she stages the Everytime video every time she wants to cry, in which there's nowhere else in Georgia she can buy peaches, in which everything reminds her of him, or at least does now; reminding her of her debt while holding Montevallo money over her head; apologizing for boosting her profile while writing her name into a huge triumphant chorus; pondering "whether it's OK to lie" while careful to mention none of the indiscretions that got him there -- merely their consequences, which now seem unreasonable. Better to address this as fiction, then -- like most "autobiographical" songs by celebrities, somewhere between songwriting exercise and publicity stunt, because you don't cross over into pop and stay without some dating drama. What's left is slapdash: accurate-sounding candor spewed over a couple identikit country choruses, each piece well-crafted but only assemblable by a real-life happy ending. Which is the point, and the problem. [5]

Megan Harrington: Too much of my instant dislike of "Drinkin' Too Much" hinged on the preposterous way Sam Hunt apologized for (more or less) doxing his then ex-girlfriend, now fiancé Hannah Lee Fowler on his debut album Montevallo, only to turn around and close the song by singing her name. In case there were any straggler fans out there who hadn't quite put her identity together, I guess. It was incongruous in a way that grated on me until I realized that it was the perfect synecdoche for the song, one that indulges overwrought production as 40 as it was country and several different singing styles, including plain old talking. It's right there in the way he names her his first fan and then cheats on her, the way he dismisses her sisters as "matchmakers" but hopes her dad still prays for him. Real life is messy and filled with leaps forward followed by half-steps back, relationships are chaotic and confusing, and Hunt captures all of it, ending hopefully with a (sort of, he hopes) romantic pledge to win her back. And it (sort of, I think) worked? [7]

Crystal Leww: The first time I heard "Drinkin' Too Much," I did not like it. I did not like the 40-esque production, the sad sap lyrics, the way that Hunt called out his ex-girlfriend. Then I listened to the 8pm version, stripped of the production flourishes, and figured that it was just the production that was bugging me. The lyrics were sad, but they were so specific: peaches in Pelham, a hotel room in Arizona, and that devastating, heartbreaking "hope your dad still prays for me," a reminder that breakups are the deaths of families, too. I've never liked the comparisons to Drake -- Drake is someone who has clearly never been in an adult relationship with a real woman rather than a built-up image of a woman, but Montevallo and "Drinkin' Too Much" feel like they're about real adults who have genuinely loved each other and created lives together. I still like the 8pm version more, but I've come around on the full version. It's dramatic, but I appreciate the attempt to appeal to a broader audience, and it highlights that Hunt's lyricism shines through anything, even snaps and strings. [7]

Josh Langhoff: A prof used to tell us, "People who are sorry weep bitter tears." I don't buy Sam Hunt's sorrow. Nor do I buy that this song has a melody or a beat, that it has any connection to country or R&B, that this is the same Sam Hunt who did "House Party," or that picking peaches is anything but the pits. More schnapps! [3]

Katie Gill: Look, I'm sorry, I can't hate this. With the exception of that "I hope your dad still prays for me" bit, the verses are awful, not singing but the Sam Hunt Spoken Word Poetry Hour. They swing between endearingly hokey and the awful Nice Guy sort of patronizing that was the entirety of "Take Your Time." But the chorus is AMAZING. It's so silky and smooth, perfectly mixed, and Hunt shows that he has a halfway decent R&B(ish) voice. But the two never really meet. The transition between verse and chorus is awkward every time, as the buttery-smooth chorus butts up against the not very smooth speaking voice of Sam Hunt. [6]

Joshua Copperman: I keep singing this title to the tune of Twenty One Pilots' "Ride", attempting to remember what little melody this song has ("I've been drinking too much, help me..."). Until the bridge -- which would make a better chorus -- nothing is worth remembering: not the strings, not the drum machine, and especially not the single strum of guitar to signify that it's still country. What made "Marvin's Room" work was the honesty and subtextual self-loathing that Drake would spend the rest of his career distilling. This seems less stream-of-consciousness and more trying to write stream-of-consciousness, which rarely works as well and results in lines like "I wish you'd let me pay off your student loans." The dramatic piano ending makes clear Sam Hunt's lack of shame in copying Aubrey, but that just makes him sound even less authentic, even though the backstory contains more than enough drama for something genuine. [3]

Edward Okulicz: The first time I misheard the line as as "I'm sorry for making the album Montevallo," but this sketch wouldn't be a repudiation even if he were sorry for that. And it's really not that much more than a series of lyrical fragments and a chorus, but I find myself nodding along at some parts, and being frustrated at the lack of detail in others, and going to the "Personal life" details of his Wikipedia article to see the resolution. So that means it's fairly compelling for its limitations. [7]

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[maryseward666]

GUS G. Says New FIREWIND Vocalist HENNING BASSE Is ‘One Of The Best Power Metal Singers Of Our Generation’

RARE BLACK METAL COLLECTIBLES

Metal Assault recently conducted an interview with Greek guitar virtuoso Gus G., well known in rock and metal circles for his work as Ozzy Osbourne's guitarist and as leader of his own band FIREWIND. You can listen to the full chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On reactivating FIREWIND after doing two solo albums: Gus: "The whole idea from the start was to do another FIREWIND album whenever I felt ready and had good enough material. That time came now, basically. It was just the right time for us to do a new record. It was really simple as that." On how he makes the distinction between his solo material and FIREWIND: Gus: "I think it's pretty easy for me to do that. FIREWIND is, like, older, classic heavy metal, like all of my IRON MAIDEN, JUDAS PRIEST, or maybe Euro power metal ideas. It's pretty easy, 'Okay I know that it's going to be a FIREWIND track.' Whereas with my solo records, it's going to be the hard rock stuff I do, or these crazy '80s instrumentals. [Laughs]" On whether he always knew he'd go back to doing FIREWIND: Gus: "Yeah, it's my band. I started it when I was a kid. I didn't see a reason to stop. Of course, we've gone through a lot of lineup changes, especially with singers. That can hurt the band after some point, but not only myself, but the rest of the band also felt that, 'Hey, man, we worked hard for this. There's no reason why we should quit especially since we still have fans out there who want to hear from us.'" On how his work as a solo artist and in FIREWIND appeals to a wide variety of fans: Gus: "I would say with the solo stuff that I do, the audience, the core of it, it's still FIREWIND fans because that's where they know me from. But then again, there's a chunk of Ozzy fans who come in, but also a lot of guitar players. In a sense, because my solo project is still in its beginning stages, I'm still finding a new audience. I am aware not all FIREWIND are digging that stuff, but the majority of them, they dig it and they've been supporting me too." On new FIREWIND vocalist Henning Basse (METALIUM, SONS OF SEASONS): Gus: "At the end of the day, because a lot of names were thrown into the mix, it was like 'Maybe we should try out this guy or that guy. Maybe we should talk to whoever.' I reconnected with Henning after losing touch with him, in 2014. I called him up to help with some of my solo shows, then the next thing you know, he's out with me touring Europe. I went, 'This is the guy. He's still looking for a band, apparently. We're still looking for a singer. We know the guy. He can sing our back catalog and he's a good friend.' So there you have it." On the differences between Basse and ex-FIREWIND vocalist Apollo Papathanasio: Gus: "Anytime you have a new singer, the identity of the band is going to be altered. The voice is the identity of the band. Luckily, Henning falls into the category of this genre of music and he fits really well with our style. He is still different from Apollo and the other singers, but he still has a similar background if you know what I mean. It's not like we got a glam rock singer or something. [Laughs] Or it's not like all of the sudden we got some guy singing opera or something. It's still classic heavy metal. I think all of our singers, the background is guys like [Ronnie James] Dio, [David] Coverdale and stuff like that. We like those thick voices, mid-range voices with some grit on it. I think Henning fits very well. Like I said, Henning is a more appropriate power metal singer because he's been considered, not now, but for many years, especially in Europe, one of the best power metal singers of our generation. We were also surprised that even up to now, he wasn't picked up by a bigger band. It was a good opportunity for us and a great opportunity for him to finally find a band to call home." On how he plans to balance his solo work with FIREWIND: Gus: "I always write stuff. I already have seven or eight ideas for my next solo record. I think both projects are going to co-exist now. I'm either going to be touring with one band, like when FIREWIND is on a break, I'm going to be doing solo stuff and then vice-versa, when the solo stuff is on a break, then FIREWIND is going to come out. I think it's going to be both at the same time, or maybe try to split it to one year each, depending on what offers we get and what the interest is from promoters. Sometimes, you want to control things, but you can't because when opportunities come, you just can't miss out on them and you have to do some stuff. We're going to try to balance it out for sure. One thing is for sure, it's going to be a non-stop, 12-months-a-year workload for me, which is a good thing." On whether he wants to release an album a year between his two bands: Gus: "That would be the perfect scenario where we don't have to shove each project down people's throats continuously. We can take breaks with FIREWIND and [go out] as a solo guy, then go back to doing FIREWIND. That will keep it refreshing for me as well." FIREWIND's eighth studio album, "Immortals", was released on January 20 via the band's longtime label partner Century Media.

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MY BLOG: http://www.rockoutwithyourcockout.com/

The post GUS G. Says New FIREWIND Vocalist HENNING BASSE Is ‘One Of The Best Power Metal Singers Of Our Generation’ appeared first on Rock Out With Your Cock Out.

[maryseward666]

GUS G. Says New FIREWIND Vocalist HENNING BASSE Is 'One Of The Best Power Metal Singers Of Our Generation'

RARE BLACK METAL COLLECTIBLES

Metal Assault recently conducted an interview with Greek guitar virtuoso Gus G., well known in rock and metal circles for his work as Ozzy Osbourne's guitarist and as leader of his own band FIREWIND. You can listen to the full chat below. A few excerpts follow (transcribed by BLABBERMOUTH.NET). On reactivating FIREWIND after doing two solo albums: Gus: "The whole idea from the start was to do another FIREWIND album whenever I felt ready and had good enough material. That time came now, basically. It was just the right time for us to do a new record. It was really simple as that." On how he makes the distinction between his solo material and FIREWIND: Gus: "I think it's pretty easy for me to do that. FIREWIND is, like, older, classic heavy metal, like all of my IRON MAIDEN, JUDAS PRIEST, or maybe Euro power metal ideas. It's pretty easy, 'Okay I know that it's going to be a FIREWIND track.' Whereas with my solo records, it's going to be the hard rock stuff I do, or these crazy '80s instrumentals. [Laughs]" On whether he always knew he'd go back to doing FIREWIND: Gus: "Yeah, it's my band. I started it when I was a kid. I didn't see a reason to stop. Of course, we've gone through a lot of lineup changes, especially with singers. That can hurt the band after some point, but not only myself, but the rest of the band also felt that, 'Hey, man, we worked hard for this. There's no reason why we should quit especially since we still have fans out there who want to hear from us.'" On how his work as a solo artist and in FIREWIND appeals to a wide variety of fans: Gus: "I would say with the solo stuff that I do, the audience, the core of it, it's still FIREWIND fans because that's where they know me from. But then again, there's a chunk of Ozzy fans who come in, but also a lot of guitar players. In a sense, because my solo project is still in its beginning stages, I'm still finding a new audience. I am aware not all FIREWIND are digging that stuff, but the majority of them, they dig it and they've been supporting me too." On new FIREWIND vocalist Henning Basse (METALIUM, SONS OF SEASONS): Gus: "At the end of the day, because a lot of names were thrown into the mix, it was like 'Maybe we should try out this guy or that guy. Maybe we should talk to whoever.' I reconnected with Henning after losing touch with him, in 2014. I called him up to help with some of my solo shows, then the next thing you know, he's out with me touring Europe. I went, 'This is the guy. He's still looking for a band, apparently. We're still looking for a singer. We know the guy. He can sing our back catalog and he's a good friend.' So there you have it." On the differences between Basse and ex-FIREWIND vocalist Apollo Papathanasio: Gus: "Anytime you have a new singer, the identity of the band is going to be altered. The voice is the identity of the band. Luckily, Henning falls into the category of this genre of music and he fits really well with our style. He is still different from Apollo and the other singers, but he still has a similar background if you know what I mean. It's not like we got a glam rock singer or something. [Laughs] Or it's not like all of the sudden we got some guy singing opera or something. It's still classic heavy metal. I think all of our singers, the background is guys like [Ronnie James] Dio, [David] Coverdale and stuff like that. We like those thick voices, mid-range voices with some grit on it. I think Henning fits very well. Like I said, Henning is a more appropriate power metal singer because he's been considered, not now, but for many years, especially in Europe, one of the best power metal singers of our generation. We were also surprised that even up to now, he wasn't picked up by a bigger band. It was a good opportunity for us and a great opportunity for him to finally find a band to call home." On how he plans to balance his solo work with FIREWIND: Gus: "I always write stuff. I already have seven or eight ideas for my next solo record. I think both projects are going to co-exist now. I'm either going to be touring with one band, like when FIREWIND is on a break, I'm going to be doing solo stuff and then vice-versa, when the solo stuff is on a break, then FIREWIND is going to come out. I think it's going to be both at the same time, or maybe try to split it to one year each, depending on what offers we get and what the interest is from promoters. Sometimes, you want to control things, but you can't because when opportunities come, you just can't miss out on them and you have to do some stuff. We're going to try to balance it out for sure. One thing is for sure, it's going to be a non-stop, 12-months-a-year workload for me, which is a good thing." On whether he wants to release an album a year between his two bands: Gus: "That would be the perfect scenario where we don't have to shove each project down people's throats continuously. We can take breaks with FIREWIND and [go out] as a solo guy, then go back to doing FIREWIND. That will keep it refreshing for me as well." FIREWIND's eighth studio album, "Immortals", was released on January 20 via the band's longtime label partner Century Media.

[Read More ...]

MY BLOG: http://www.rockoutwithyourcockout.com/

from Rock Out With Your Cock Out http://www.blabbermouth.net/news/gus-g-says-new-firewind-vocalist-henning-basse-is-one-of-the-best-power-metal-singers-of-our-generation/ via IFTTT