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kiribakuhappiness · 3 years

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Some notes for a KiriBaku AU that I would love to write one day but probably won’t ever find the time to, so here’s the barebones outline for it at least because I thought it was a fun idea! :,D

Lady & the Tramp

Gentleman and the Tramp

- Eijirou has always lived a comfortable lifestyle. He’s always had food in his belly and a roof over his head and a fireplace to huddle around during cold bitter nights. His parents’ marriage was filled with love and their house was filled with warmth and, with a new baby sister on the way, things were looking pretty good for him.

- Katsuki hasn’t known such comfort since he was a young boy, when his mom was arrested for something he didn’t even know what cause he was too young to have coherent thoughts yet and his father cracked under the pressure of being a single parent to an explosively rebellious child. The streets weren’t ideal, but Katsuki grew up tougher than his old man and more intelligent than what was for his own good, and so he made the most of it.

- Eijirou’s close friends are Denki /a local artist/ and Sero /a general store clerk/ who regularly visit with him at his house.

- Katsuki would say that he doesn’t have friends but that doesn’t mean that he doesn’t begrudgingly accept the friendship of an overly zealous newspaper boy by the name of Deku, who mentions to him one day how the wealthy Kirishima family is expecting another child.

- Katsuki comments that he doesn’t see how that could possibly be news to anyone, until later that day when he overhears a rather disturbing conversation about how someone is planning on kidnapping the baby for ransom.

- “A yuppy family like that’ll no doubt pay extra-”

- “double,”

- “triple!”

- Intrigued by all the commotion, Katsuki visits the Kirishima Mansion, eyeing the picturesque Japanese gardens with some underlying prejudice and the perfectly manicured yards with barely contained disgust. A real run-of-the-mill, too fancy for their own good establishment; Katsuki’s finding it hard to gather any sort of sympathy for them.

- While observing the manor in all its glory, Katsuki overhears Eijirou speaking with Denki and Sero about the new baby and how excited they all are for its arrival. Unable to help himself from chiming in with his own opinion, Katsuki comments how bringing another child into the world when there are already so many on the streets that need homes could be seen as the utmost snobby act of privilege shown by the upper class. A real kick in the groin to those struggling to make ends meet out in the real world.

- Denki and Sero are immediately put off by Katsuki’s cynicism and tell him to slink back to the grimy part of the city where he came from, but something about his speech gave Eijirou pause. He’s never met a man as bold and bitter as Katsuki, and the abrupt change in perspective is baffling to him.

- Katsuki holds his chin up high following an ominous warning to “keep that spoiled little brat with the silver spoon you’ll shove in its mouth under close supervision” before he finally takes his leave.

- Eijirou soon forgets this strange encounter, as a few months later his new sister is born. Eijirou takes on a lot of the responsibility - feeding and changing and wholeheartedly enthusiastic to learn the ins-and-outs of parenting. He’s seen the amount of stress the pregnancy had on his mother, and he wants to help, so he offers that they go on a vacation and leave the baby with him.

- Unwilling to leave their infant with their teen son, the Kirishima’s hire a nanny service to help with the upkeep. Eijirou knows it’s rude not to like someone based on prejudice, but he’s got an uneasy feeling about Himiko Toga. He can’t pinpoint exactly what it is. She’s fairly sweet upon first introductions and seems capable enough, but Eijirou can’t really figure out that look in her eyes whenever she’s holding his sister, like she’s thinking about darting out the door and taking off with her or something just as silly.

- That dumb street boy must have really gotten in his head.

- Reluctant to leave his sister in the care of a stranger, but knowing that Eijirou has errands to run and that letting a random sitter take his parent’s credit cards probably wouldn’t be a very smart idea, he takes the plunge and sets off into town for the day to gather supplies and puts Himiko in charge.

- As he’s leaving the grocer, he stumbles across Katsuki again, who is being forcefully removed from a convenient shop down the street while a portly man reprimands him for stealing, barking out a stern “get a fucking job, street rat!” before slamming the door in his face. Katsuki flips the guy off and continues on his way with hardly a pause, and Eijirou knows that he’ll merely move onto the next place as his sharp red eyes are already searching for a new target.

- “Are you hungry?” Eijirou asks as he falls into step beside him. “I could get you something from the grocer!”

- “Don’t need your damn handouts, rich boy,” Katsuki is adamant to inform him that he doesn’t need any help.

- Eijirou is perplexed by this refusal. He’d just watched him get thrown out of a store and yet Katsuki’s confidence could have fooled the most common of men into believing he were the descent of some royal lineage.

- Still, Eijirou is just as stubborn as he is, maybe even more so. He can’t help but let it eat away at him; his family has lots of money to spare, he wouldn’t mind paying for some groceries, honest! But Katsuki is shrewd and proud... and yet oh-so very easily manipulated.

- Eijirou tells him that he’s looking a little on the skinny side, so he must not be very good at living on his own. Katsuki takes immediate offense to this statement and takes Eijirou around town as though to prove him wrong, showing him parts of the city that Eijirou has only heard about in books, taking him through the slums where a large portion of people greet Katsuki like family despite the cold shoulder he gives them in return.

- It’s clear that he’s done a lot for the community, in his own hot-headed ways. Teaching the young girls living in poverty how to properly defend themselves, sharing scarce food with whoever he comes across who looks like they haven’t gotten enough for themselves, standing up against the rich and the wretched who like to look their noses down on them for their misfortunes.

- Even with his hardened exterior, Eijirou is surprised to find just how warm a presence Katsuki can be. How freeing it is to wander the city and live without order or rules or a clock to keep track of time. It’s a liberating sensation to skinny-dip in the harbor despite all of the signs telling them that they weren’t allowed to, and to sneak into the junk yard to sit in an old muscle car listening to music, and to visit some wholesome family kitchens where they were treated to an array of new samples after it’s revealed that the owners knew Katsuki when he was just a baby - long before his mother was arrested and his father became the shell of the man he used to be - and they’ve always made it a priority to feed him whenever he happened to meander unknowingly into their neighborhood.

- Eijirou sees his beloved city through a brand new lens, and he likes what he sees. Musutafu has never looked more enticing and adventurous than it had been that night.

- Katsuki offers to walk Eijirou back to his ‘big ole mansion’ under the guise of added protection. “You’ll be fuckin’ mugged if you walk around lookin’ like that at this hour.”

- Eijirou thinks they might kiss once they reach the gate to his property, but he can sense the tension settling in Katsuki’s shoulders as they get closer to the abode, and a bitterness starts to grow on his face that chills the warmth they had begun to grow between them. Eijirou decides to ask him about what he meant when he said that they should keep a close eye on his sister after her birth, but Katsuki is evasive and avoids his gaze and doesn’t give him a straight answer.

- He’s hiding something, he knows more than he’s letting on.

- Eijirou tells him that there’s going to be a party at the Kirishima Mansion that weekend to celebrate the birth of his sister, and invites him to come for the food.

- Katsuki tells him not to hold his breath and leaves without another look back.

- Eijirou worries that he might have upset him somehow and goes back into town a few days later to try and find him, but even the family kitchen comments that they haven’t seen him around lately. He begins to think the worst until he meets Camie and Shouto, two teens from equally wealthy families who visit the Kirishima Mansion with their parents on the day of the party to meet the baby.

- As it turns out, both Camie and Shouto know Katsuki from school. Apparently, the Bakugous used to be pretty well-known and were fairly respected in the fashion industry before his mother’s very public meltdown and the destruction of the Bakugou legacy.

- Shouto explains how he used to attend lessons with Katsuki at the university, studying under their apprenticeship program, and how he has always had a raging temper, but that his dedication to his studies and resilience in his training were both very admirable traits. He’d dare even go as far to say that they were friends, at one point in time.

- Camie’s intel, on the other hand, is far more risqué and full of gossip.

- She tells Eijirou about how Katsuki was “a lone wolf who couldn’t tell you the definition of the word lonely,” hinting at a promiscuous past filled with midnight escapades of sneaking off campus to drink and roam around the city with whoever had fallen head-over-heels for his aloof charisma that month. She describes how he draws people in with the promise of mystery, and leaves them behind when his true aggressive nature is revealed after any amount of prolonged exposure.

- She should know, of course. She’s been there and done that before.

- ‘you can never tell when he’ll show up’ / ‘he gives you plenty of trouble’ / ‘I guess he’s just a no count pup’ / ‘but I wish that he were double’

- The overwhelming consensus is that Katsuki may have had a bright future at one point but, as Shouto comments, “Some are just luckier than others, and Bakugou’s luck ran out long ago.”

- Camie mentions Shouto’s older brother who went down a similar path, and Shouto’s only response to that is, “You can’t really save someone who doesn’t want to be saved...”

- As the party winds down and the guests start to leave, Eijirou can’t help but think about Katsuki. He’s a little put off to know that the day they had spent together in the city probably wasn’t the only round-trip adventure that Katsuki has gone on. He doesn’t even want to know how many others there have been, and he feels somewhat foolish for thinking that there was anything more between them than that.

- That night after all the guests are gone, Katsuki shows up in the back gardens.

- Eijirou doesn’t understand why he waited so long, and Katsuki explains how ‘those people’ wouldn’t want him there anyway and that it’s for the best. Eijirou is still a little jaded about everything he had learned from Shouto and Camie, and he tells Katsuki that he doesn’t have the time to be messing around with guys who don’t take him seriously and who don’t know how to take responsibility for themselves.

- Katsuki looks like he wants to say something, but instead he ends up leaving in a furious huff, and Eijirou believes that it’s the last time he’ll probably ever see him. He tries to remember Katsuki’s earlier words.

- It’s for the best.

- Even though it doesn’t really feel like it is.

- Unable to sleep in the middle of the night, Eijirou goes to check on his sister in her crib only to find that Himiko has invited two men over to the mansion; Dabi and Tomura. Eijirou catches them red-handed in the parlor as they’re attempting to steal valuable family heirlooms and making a plan to kidnap the baby for ransom later.

- Eijirou fights with everything he has in him to stop them, but it’s three against one and he never really stood a chance. Himiko disappears upstairs to grab the baby while Dabi and Tomura deal with Eijirou, brandishing knives without any intentions of holding back.

- Katsuki arrives after breaking in through the kitchen, having kept tabs on the growing rumors around the city that a group of assholes were planning on kidnapping the baby girl, and he helps Eijirou fight off Dabi and Tomura, who escape into the night with Himiko when it’s obvious that their attempt has failed.

- The police arrive on the scene shortly after, and it’s Katsuki who takes the hit in the fallout of everything, arrested for petty theft and breaking & entering despite Eijirou’s adamant arguing against it.

- The police aren’t interested in hearing his side of the story, though.

- One act of kindness doesn’t expunge a man of several years worth of crime.

- Katsuki is taken into custody and shipped off to the station, and Eijirou is left behind to clean up the mess and tend to his sister.

- When his parents fly back into the city the next morning following the news of the attempted kidnapping, Eijirou recounts the events of the past week to them, and shortly after their arrival from the airport they go to the station together to pay off Katsuki’s bail.

- Katsuki is resistant at first, unfamiliar with this type of treatment and reluctant to accept it, but Eijirou tells him how grateful he is that he had been there that night, and believes that everyone deserves a second chance, even someone as jagged and prickly as Katsuki.

- The Kirishimas make a few sizeable donations to the city and the family kitchen from before in Katsuki’s honor, boasting about his heroicism and how their family is indebted to him, and Katsuki finds himself back in their neighborhood more often than not to attend cookouts and charity events.

- He still feels out of place in their fancy home, and he’s not so great with Eijirou’s sister, but he tries to make an effort, he works hard to make the most of it, and Eijirou would never ask anything more from him than that.

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vagabondedlife · 3 years

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Kei Fujiwara’s name is hardly recognizable to most fans of Japanese cinema despite her crucial role in director Shinya Tsukamoto’s early cult classics. As Tsukamoto’s “right hand” woman in the 1980s, Fujiwara became closely involved in his underground theater troupe, Kaijyu Theater, and contributed to the productions of the experimental and DIY films The Phantom of Regular Size (1986), The Adventures of Denchu Kozo (1987), and Tetsuo: The Iron Man (1989). Her credits include actress, cinematographer, prop artist, makeup artist, and set-designer (her apartment was used as a primary set). She also engineered Tetsuo’s iconic phallic drill.

Born in Kumamoto in 1957, Fujiwara moved to Tokyo in her early twenties and discovered theater troupe director Jūrō Kara, who became her mentor. After a decade, she created her own troupe called Organ Vital, which underwent a series of evolutions but remains her life work. Her new project this year is Ibunkitan, a form of micro-nomadic theater, whose kanji characters mean “strange-listen-machine-story.” A private person now living in the reclusive mountains of Nagano, Fujiwara rarely gives interviews, but seemed excited to talk about her rarely discussed directorial debut, Organ (1996).

An avant-garde exploration of violence, pain and pleasure with an operatic amount of coagulated blood and extrasomatic body horror, Organ follows two detectives after they break into an organ harvester’s warehouse and collide with yakuza gangsters, a drugged doctor, and his eye-patch wearing sister Yoko, played by Fujiwara herself, who also produced and wrote the film. A cherished work among hardcore fans of Japanese cult cinema, Organ is still ripe for rediscovery. The film’s offerings of a full-bodied sensorial experience and an abusive questioning of cruelty prove tirelessly relevant.

Fujiwara’s work was recently revived at FFFest in New York City with a double feature of Tetsuo: The Iron Man and Organ. Fujiwara prepared a special statement that was shared as an introduction. Following the screening, we had the opportunity to speak to the artist about her life, practice, and ideals in more depth. The conversation was held over the phone in Japanese.

NOTEBOOK: Is Ibunkitan a new Organ Vital?

KEI FUJIWARA: Yes, it’s a new Organ Vital. When I was young, I lived in the rural area. I always just read theater but never had the opportunity to see state-of-the-art theater. When I was in high school, I was always reading, and I picked up an Antonin Artaud book that featured this French term. It meant the vessels of life. When translated to English, I’m told it just becomes, “vitals of organ,” or something, but in Japanese it is called gozōroppu and to me signifies the corporal. That’s the name of my theater company, and it has always been that for me. Born into this three-dimensional world with bodies, we sense and express. That’s what’s interesting in life. Ibunkitan can be done in a very small space. We’ve done it in temples, in the corner of a shop, in salons. Our first performance was in March, and we’re planning to do another in November. We've been invited to perform my new Jomon-inspired piece in a live-house in the mountains in Nagano, so we’re preparing some woodwork for that now.

NOTEBOOK: You were working in Shinya Tsukamoto’s Kaijyu Theater production between working with Jūrō Kara?

FUJIWARA: Jūrō Kara, my mentor—when I was in Jōkyō Gekijo [Situation Theatre], he took a liking to me and wrote roles for me. A lot happened, and Kara said he would make a new troupe with me, but I had other plans, so I left once, and he said, “As my mentee, you can leave but wait for me to come get you.” That’s when I went to work with Shinya Tsukamoto on his plays and films. It was after Tetsuo: The Iron Man [1989] that Kara started the new troupe “Kara-gumi” and I returned to work with him.

NOTEBOOK: How was it that you began working with Tsukamoto?

FUJIWARA: I had just left Kara and after a while a friend said that Tsukamoto was looking for someone to act in his plays. He was Tsukamoto’s classmate and an actor, and he made the introduction. I found Tsukamoto interesting and talented. So, I began working diligently as his right hand after that.

NOTEBOOK: I wanted to ask you about Tsukamoto’s 1987 film, The Adventures of Denchu Kozo.

FUJIWARA: Denchu Kozo and Tetsuo were actually both shot in my apartment where I was living at the time. You know all those cats? I couldn’t rent a normal apartment, so I had to live in a cheap nagaya tenement house on the verge of getting demolished. I just needed a place to live that permitted pets. Denchu Kozo and Tetsuo’s interior shots are all at my place.

NOTEBOOK: Are the scenes projected in the TV monitor in Tetsuo from Denchu Kozo?

FUJIWARA: Yes. They’re from Denchu Kozo.

Above: Organ

NOTEBOOK: What turned you onto making Organ, if you were always only interested in theater?

FUJIWARA: That was because of my experience filmmaking with Tsukamoto. It prepared me for how arduous it would be. Theater is an impermanent art, and that’s why it’s such a luxurious art form. But film is like capturing a world in a crystal ball. The joy of creating film is like making your own universe. My staff members at the time— six men other than myself—were all talented, and I thought, “Everyone’s here, why don’t I just make it?” So, all the staff also became the actors, and that’s how we started filming. But it was so difficult at first. We used the atelier space we had and reformed it over and over and shot it like that. It was time-consuming. It became the warehouse set, the school set. It kept on transforming. We did it all in the same space.

NOTEBOOK: That seems like a very theatrical way of using space.

FUJIWARA: Yes.

NOTEBOOK: But first, you started writing it?

FUJIWARA: Yes, I first started writing it. I’m actually not very good at planning. I just think that if I put my mind to it, I can make it happen. So I wrote the script, and had the staff pool in their savings. Between the seven of us we had 200,000 yen, so I thought, “Great, if we have 200,000 yen and one reel of film is 5,000 yen, and even if we bought lights, we can make 30 minutes of footage.” As for the equipment, there are countless aspiring-filmmaker boys who have camera equipment lying around collecting dust, so we borrowed from them. As for the set, we were all used to making it for our theater. We were good at foraging free stuff to make things. That warehouse set in the beginning of Organ was made with an extremely cheap budget. Then we started filming. All those organs in that scene were worked from what was supposed to be our dinner for the day [laughs]. We used real food. We took some gelatin- and konjac-noodles and thought, “This can look like veins!”

NOTEBOOK: And then you had it for dinner?

FUJIWARA: Well, we ended up not being able to, because it was covered in fake blood! It was all about how little money we could spend and still make something, which was a valuable lesson for me.

NOTEBOOK: You’ve mentioned the Kenji Miyazawa poem, Ame ni mo makezu1.

FUJIWARA: Yes, I just really like Kenji Miyazawa. I like the way he thinks, and his philosophy. He’s a Buddhist, and as I haven’t studied Buddhism properly, I cannot say for sure, but I think his seimeikan, or view of life, is on par with that of Osamu Tezuka. Osamu Tezuka and Kenji Miyazawa are two gods with the same perspective regarding seimeikan. No matter how great their art is, Yoshihide Otomo and Hayao Miyazaki can never reach Osamu’s level. Osamu’s core is love. There’s only love. The way they think about life is totally different. I was reading manga before I was literate [laughs]. I like Osamu Tezuka, but also Sanpei Shirato. And in my teens, I liked Daijiro Morohoshi. He’s an extremely interesting person.

NOTEBOOK: Do you think that your films need to be discovered?

FUJIWARA: They need to lock in perfectly with someone’s desire to watch it, or else watching it has no meaning. It just appears as a confusing, grotesque film.

NOTEBOOK: Please tell us about your make up and special effects.

FUJIWARA: Since Tetsuo, my method is always the same. I don’t have any background knowledge of special effect makeup. I just have a gut feeling of what can and can’t be used. Tsukamoto had these drawing storyboards for Tetsuo, like the steel body and the drill penis. For the latter, Tsukamoto just wanted to make something simple and said it would be enough if we could just pretend like it was moving, but I thought it would only be interesting if it actually moved. I didn’t have any hi-tech skills, so I thought, “That’s it!” I took the nearest working electric fan, dissembled it down to its core, used all the rubber and tape I had at home, sprayed it up and got it to go, vroom [laughs]! It was the same for Organ. I used household products, mostly kitchenware.

Above: Organ

NOTEBOOK: What about your cinematography?

FUJIWARA: I had no background knowledge. The first time I started shooting was on Tsukamoto’s set. A lot of people who graduated film school and wanted to help were there, but Tsukamoto didn’t trust any of them. Just because you have technique doesn’t mean you can shoot well. He thought that the person wielding the camera needs a certain amount of power, of energy. So I, who had never touched a camera in my life, was given the camera and told where to press to get it rolling, and shot all of the scenes Tsukamoto was in.

NOTEBOOK: Do you still shoot with a camera lately?

FUJIWARA: Rarely.

NOTEBOOK: As the occasion for this screening was FFFest, Female Filmmakers Festival, could you comment about your experience as a female filmmaker?

FUJIWARA: Something men don’t have—there are two types: female filmmakers who focus their perspective on their immediate surroundings and daily lives, and those who focus on creating a worldview from the even more intimate bodily perspective. That’s what’s a little different from male filmmakers. Even in theater, most female directors write familial narratives, although I don’t [laughs].

NOTEBOOK: The podcast Ladies Horror Night, on the occasion of this screening, recorded an episode that raised the question of why you, a female filmmaker, didn’t include more female characters. I’m not sure about this pressure for female filmmakers to represent female subjects, as I think there’s power in the female filmmaker re-writing the male-centric story. Can you speak on this and how you came to write the police story in Organ?

FUJIWARA: When I think about seimeikan—our view of life—it appears to me that the moral judgment of good versus bad is not something universal, but just a rule that protects our lifestyle in society. It’s a regulation. We make regulations to protect ourselves. That takes the form of “good” and “evil.” But that’s not the good and evil that holds ground in nature. Animals kill other animals for their own predation, right? Humans, too, in the context of war, can kill other humans and become heroes. The concept of zen-aku, or the notion of good and evil, is just a societal regulation. The police represent upholders of this regulation. And then there are those who defy this regulation, who lie in a realm completely different from this conventional morality. Organ is a clash between these two groups. That’s how I formed the police narrative. As for why there are few female characters, well… In the case of females, expressing them requires—for many, not all—a focus on the micro world, the micro perspective, that is, if you pay attention to their priorities. In other words, if you have a goal and you want to finish something, but she says she needs to take a bath at this certain time and cannot participate, there’s nothing you can do. In my theater, only men can keep up with me. Because of this standpoint, if a woman were to express a woman, she would need to create a micro world. But when describing a police story, a macro worldview, the direction would lose focus.

NOTEBOOK: It would become more internal?

FUJIWARA: Right. That’s why there aren’t as many female characters. But the wife of Numata represents the reality for women. And also the female teacher who approaches the criminal but gets killed. Woman participated in this way. But it’s hard for them to take leading parts for the narrative. It’s hard to let them be there and have their perspective be represented, because their perspective is in a different dimension.

NOTEBOOK: What about the character you play, Yoko?

FUJIWARA: Yoko is outside of that realm. She’s an outlier. She doesn’t represent family or the household or the joy of daily life, because she didn’t enjoy any of those things. That’s why she can exist there.

NOTEBOOK: How did you direct your actors in Organ, was it different from how you usually direct them in theater?

FUJIWARA: It’s the same. The only direction I gave them in Organ was that they only get one shot. I don’t give actors multiple takes. If there’s a camera or equipment problem that requires another take or two, I’ll do it. But I won’t do it for the actor. The actor has one chance, the take. But, on the offhand that the actor makes a mistake and requires a take two, I tell them they need to buy their own film roll. That was the rule. So, no one ever made a single mistake. They were all dead serious, completely focused. They’re all broke and have no money to buy film.

NOTEBOOK: In that sense it’s theatrical.

FUJIWARA: Right, and I had one actress tell me that that it was brilliant. She said, “I do lots of work for TV and film, but everyone is so lukewarm and they do take after take, and think about it so leniently. But there’s none of that here. The one take is the real thing.”

NOTEBOOK: So, that urgency was good for the actors?

FUJIWARA: Right. They said they couldn’t afford to buy their own film.

NOTEBOOK: If you give theater actors the same direction for film, how does that work? The performances in Organ don’t come off as exaggerated; I doubt a viewer without knowing would assume they are all theater actors.

FUJIWARA: There’s no difference. In theater, my scripts are like music scores. The lines come out and dance, modulate, sing, calling on the innate sensation playing the instrument that is yourself on stage. The actor, with this music-score-as-script, has a multitude of possibilities of how to play it. In film, the scripted character is a part of the environment. They are simply material for the scene. I didn’t need to explain this to them, they naturally just became materials for the scene.

Above: Organ

NOTEBOOK: That’s a good transition into my next question: can you talk about your music and sound design direction?

FUJIWARA: Music is difficult. What I say doesn’t get across, because I was working with new people. They hadn’t even seen any of my theater. I like German bands, something strong and hard. But even if they mimic the Germans, the Japanese can’t avoid making music that doesn’t sound soft and weak. One day I said, “Make it more powerful, something that alludes to the power of nature, more animalistic and sturdily-built,” and they said, “Okay.” The demo they brought to me literally had animal sounds, like elephants wailing and dogs barking, and I was like, “…That’s not what I meant” [laughs]. It didn’t get across. But there were some interesting sound bites that I could use. But Japanese band musicians can’t get over their own softness. I think what they have is different.

NOTEBOOK: So you’re not happy with the results?

FUJIWARA: Well, I’m the type of person that thinks, que sera, sera. So I wasn’t satisfied, but…

NOTEBOOK: You’ve mentioned that you a very easily scared person. But in Tetsuo and Organ, your characters say, “I won’t be afraid.” How do you interpret this difference?

FUJIWARA: When I came to Tokyo in my twenties, the first theater directors I met said they’d never met anyone as weak and sensitive as myself. They didn’t think I could live on a few years longer, much less do theater, and that I might find myself drugged up in a brothel in the near future. Kara was the only person that ever said to me that I was the strongest person he’d met. In other words, the fear and strength that I have appears to others as a weakness that can barely withstand life, but it’s just my highly sensitive nature they see. In actuality, I’m very strong. I feel very easily, so that seems weak, but my capacity for empathy is just very large. I feel others’ pain and sadness so strongly that I throw up thinking about them. That’s why I don’t watch TV or read the newspaper. Or else I would be crying all day [laughs].

NOTEBOOK: Watching Organ feels like you’re making the audience feel this extreme pain you describe.

FUJIWARA: Yes, that’s the result of the film. My second film, ID [2005], is even more so.

NOTEBOOK: In addition to fear and pain, pleasure is another large theme. After the screening, someone told me your film was grotesque but something about it was so pleasurable. How do you maintain that balance?

FUJIWARA: I think humans, in order to live, can’t cut those away from existence. If you deny desire, you’re not human. The existence of such things causes our misery, too. Thus, desire and slaughter are inescapable. My fear and sorrow regarding this, and my questioning what are they anyway. That’s what I wanted to portray.

NOTEBOOK: What’s interesting about your portrayal of violence is that Yoko uses the gun as a weapon but doesn’t shoot from it. The one time she tries to shoot at her father, it wasn’t loaded. She mostly hits with it.

FUJIWARA: When I act a role, it needs to be real for me to imagine it. I can’t shoot a gun just like that. I need to feel it. Whenever I do something I feel a corporal build-up that can’t just be released by shooting away.

NOTEBOOK: Shooting it would be too easy?

FUJIWARA: An action needs to be taken. The body and the heart are connected. It’s not that easy.

NOTEBOOK: What was the biggest challenge in shooting Organ?

FUJIWARA: The most difficult challenge was the first scene, in the warehouse. When the doctor and yakuza fend off the police while trying to dissect the man. That shoot was in the middle of summer, but we had to close off the warehouse because it was a night scene. It was hot, smelly, only men, and everyone’s body odor was suffocating the room. That was really difficult. At the time there were seven of us, and now there are three of us, just Takahashi, Mori and I. In Organ, all the actors take on multiple roles. Whenever they weren’t onscreen they were doing lights or shooting. We shot it scene by scene in order. I remember towards the end of the film, during the scene in the tunnel, when my role Yoko comes in on a bike and there’s a fighting scene, we couldn’t get a permit to shoot. We were able to shoot outside the tunnel on the road but not inside. But I badly wanted to shoot inside so we went at midnight, and the characters got all bloody and we were shooting, and the police came. They thought it was a real yakuza fight and took off the safety on their pistols and were about to shoot at us. We thought we were done for. The character Yasuda, who later falls into the ditch and gets stabbed with a Japanese sword, was responsible for getting the permits and he had all the documents on him. So, he came out from the ditch all bloody and with a sword in him, screaming, “We’re shooting a film!” terrifying the police even more. While he was negotiating with them we finished shooting the scene. The police just told us to be safe and left, but it was all thanks to him for putting his life on the line. We really thought we were going to get shot. Usually film shoots have large crews and it’s obvious, but in our case, all the crew were also the actors, so it was hard to tell, and the lights were hidden.

NOTEBOOK: What about the camera?

FUJIWARA: Yes, but it was a small 16mm Scoopic, and the police were so focused on the bloody actors they didn’t notice it. The police were terrified, but it was a great location and I just needed to shoot there no matter what.

#link #in case they delete it

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project-paranoia · 3 years

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Live Watch: Guardian Episode One, Part One

It's Guardian! The show that got me interested in this genre! I love spooky things and I love mysteries and fantasy! I simply adore it so much! When I can't sleep I just put on a playlist of Guardian in the background. I was aware of censorship before - every country has some version of it, but to some degree this was my first deep dive into how it might effect a piece of media. Guardian is exceptionally acted and incredibly written, as well as suffering from obvious dubs where the dubbing voice actor sounds nothing like the previous actor and odd cuts that are disrupted. In some ways it's the little drama that could fighting its way past their studio going bankrupt while they were filming, reshoots, and being taken down and altered several times.

In some ways Guardian's struggle fits the spirit and aesthetic of the show. Worn in like an old pair of jeans but still making an effort. Putting emphasis where things count and hoping the kindness of the universe will make allowances for the rest. Attention to detail where the story really matters. It has the charm of a community production put on out of love with actors and crew who would not be anywhere else in the world for any amount of money. That feeling of love comes through, and whether or not I'm barely literate I have so many words to share.

Part of why I love it as well is it has that feeling of 80s and 90s fantasy, like Moomin, Xena or Condor Heroes. Everything feels lived in, nothing's been spit shined except for Shen Wei's suits. It's an old city street of a show, it has history and character built in.

*After all that I don't know that I have a tonne to say about the intro. It's very good but it's also full of spoilers. I think having the intro song be in English does make a difference in making it appealing to English speaking audiences as well as standing out as different and interesting, which the show is. Speaking of Spoilers! Spoilers below!

* The obligatory beginning narration is beautifully animated, I have another post that will be done some time before the heat-death of the universe talking about the fascinating world building options. Unlike some Make It SciFi plots, this one has legs and implications.

* Remakes rarely are able to meet the original on equal ground - and I struggle to believe the actors would Fit as well - but part of me really wants to have a chance to have the Dixingren worldbuilding really leaned into. The writing is good enough we get implication but no real follow through. I want fifty episodes of how Dixing functions, give me more pseudo-science behind the mutations, what are the biological differences. I'm hungry for more!

* I love the cameos of later characters, and the way there was some effort to be discrete with spoilers.

* It's Ya Boy! I love Shen Wei. With that music cue and that sinister turn around they really set him up as dubious. I wish they went with something a little different with the intro so his character wasn't spoiled. The writing, directing, and acting was so good and spoiling who Shen Wei is kind of took the teeth out of that.

* Also cheers to the costume designer who outfitted Zhu Yilong so well and made him look jacked with the fit of those clothes.

* Also you can tell this is a real university because the staff has to sit in tiny student chairs. I'm not joking, please be warned if you're going into academia. Unless you have tenure life is An Adventure - and even then.

* Also shout out to Shen Wei's Prized Cabbage and the Queen of our hearts, Li Qian. Why is this actress not in more things? She has such an expressive and lovely face and she really goes all the way in with her acting. I respect an artist that acts from their chest. Also that windbreaker, white skirt combo is chic and fun all at once, it draws the eye and makes her melt into the background all at once - perfect for the character. I love her so much.

* Here's another one of Shen Wei's coats, it's a lovely color for him but it also is so thin that it looks like it crinkled up just from being worn.

* I'm being distracted by details and missing plot stuff.

* Story of my life.

* I love Li Qian hovering along behind Shen Wei like a duckling following their mother. A) Mood and B) it quietly informs their dynamic. Shen Wei has like one person he can trust but no one he can really confide in and it's the same for Li Qian. A ship will find a port in a storm and Shen Wei has Big Da-ge Energy. My fanfic heart hopes they found comfort in the pseudo familial relationship with each other while it lasted.

* Even in episode one we receive foreshadowing, we love and respect some excellent writing. For those of you who missed it - Professor Ouyang is talking about Lin Jing who I love partially because he's so outrageous large but has the total opposite of intimidating energy.

* What did they feed you Lin Jing? He is so tall and wide, but they do a lot with camera work to try to make him not quite as big. Side note, I would really love to see the actor who plays Lin Jing (Liu Minting) both in more dramas but more specifically in a role where he was like a minister or scholar - someone intellectual. I think the combination of being such a big gentleman and also someone who like plots or plans would be really dynamic if it was written well.

* Also I like the exchange where without a word Professor Ouyang indicates he has one last thing to say, it's private and that he would like Shen Wei to ask Li Qian to leave. That's What You Can Do With Good Actors!

* Li Qian is just so pretty and the actress emotes so well!

* Shen Wei totally understanding what's going on with this shady research immediately and wanting to stay as far away as possible. We see one of the first examples of him being aggressively polite to remove himself from a situation.

* "i'M jUST aN oRDINARY sCHOLAR." No one buys it Shen Wei.

* Angy Thinking Face

* One thing the show is really good at is using establishing shots really well so you always know where everything is and everything is going

* Guo Changcheng, all around good boy and angel. We stan a nervous legend

* Zhou Yunlan Arriving. Why is everyone on this show an Absolute Legend

* Guo Changcheng protecting himself with his certificate is too cute. This young man is trying his best and I support him.

* Also that coat is Young, Pure, Stylish; I love it

* Zhao Yunlan, what's wrong with you? You are amazing!

* His irreverent style and disregard of usual policy makes him fit in really well with his band of misfits and special cases

* Guo Changcheng's OO face is too good, elastic face

* Da Qing my love!

* Jin Ling, I think he has an all seeing eye on his hoodie thing. Illuminati Confirmed.

* Also they filmed the shots so well, so you always know where everyone is in relation to everyone else

* Our Prized Cabbage! I love her!

* Great handheld work: shaky and unhinged, but not migraine inducing

* Foreshadowing in the form of a shadow and reaching for the necklace

* Da Qing's cat behaviours. I really want behind the scenes of the actor discussing how cat was he going to cat

* We get our first real example of how Zhao Yunlan doesn't feel safe emoting negatively and so he uses a super sunny mask to hide his feelings, except with Da Qing who he lets his anger show with because he trusts him.

* I'm not even halfway through and I've written so much, peace and blessings to the readers of this.

* Zhao Yunlan's swagger, after his childhood having a little power must feel comforting and good

* I love how Da Qing is talking as a cat less than a meter from the medical examiner. Does the examiner not care or does he know? Is he deaf?

* Harassing Guo Changcheng is the new team sport

* Zhao Yunlan Realises Something Music

* Also, Lollipop Measurement

* It's nice to see Zhao Yunlan just being himself with Da Qing, he's able to really be honest and genuine with him

* Slow Look Moment

* This moment is so fascinating! Shen Wei doesn't know what's going on yet. He just sees an old friend who winces when he sees him and disappears. We mostly see things from Zhao Yunlan's point of view, but from Shen Wei's perspective this is a first part of just some Odd and Confusing Happenings

* This cat though! I love him!

* The delicate way they’re both feeling each other out. This must be so confusing and startling for Shen Wei and Zhao Yunlan is trying to figure out if this teacher is going to bust him or what.

* He forgot to let go, way to set off Zhao Yunlan’s suspicions

* “Mark Stewart” Is he though? Who picked out that English name?

* Li Qian! I love her and I love that striped blouse. Fashion. Got to look good when you’re resisting a mental break. *Also she hears a meow and looks around at eye level, I love that for her.

* Zhao Yunlan! You can’t take pictures of young ladies without their permission. What is wrong with you!

* I love Da Qing’s very cat attitude of I Will Have Vengeance for These Wrongs

* Two for one! Shen Wei meets two faces from his past.

* Also, I get a little frustrated about people making a big deal about the 10,000 years versus 1,000 years age thing with Da Qing. a) He has amnesia and b) the thousand years refers to the amount of time needed to cultivate to a certain stage in Chinese mythology - usually by absorbing energy from the sun, moon, or depending on the animal other sources.

* I feel so bad for Shen Wei, who knows what he thinks. Were his friends brainwashed? Did they forget? Can they not say for some reason? What is happening?

This review is getting a little long, so join in tomorrow for Part Two~~!

#Guardian #watchthrough

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flovey-dovey · 4 years

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I want to say something about Klaus

I’ve been waiting a very long time to see this movie, and when I finally could I loved it to pieces. But the ending broke my heart- in more ways than one.

There will be no “tldr” here because my feelings about this film are too strong to let me minimalize what I have to say about it (but I might have to make a part 2 since this is pretty big). If you don’t agree with me, that’s fine, it’s okay, I don’t blame you. I won’t tell you you’re wrong, because in your own life you’re as obligated as ever to have an opinion of your own, correct or not. One other thing I want to say before I start rambling is that this will be messy. Also I do not- nor have ever- claimed to be a critic, and this is not a review. This is just a single person on the internet expressing their opinion, and for the love of all that is holy let’s keep it at that.

Foreword over, on to my pure thoughts. Oh, and spoiler alert for those who haven’t seen the movie yet. No matter what I think about it it’s definitely worth a watch, and going into this without seeing it will probably confuse some folks. Maybe.

Okay, since my main qualm is with the characters, let’s start with Alva. I like her. She’s not the generic “tough girl who don’t need no man” I was fully prepared to have shoved down my throat. She has some genuinely good moments on her own as well as funny and pleasant interactions with both Jesper and the children of the town and is a fine character. She is jaded and determined, though not to the point of that being her entire personality, and I loved watching her find happiness as the teacher she wanted to be. She is a victim of circumstance that eventually has her environment changed and finds herself changed with it for the better. Her design and personality were very pleasing (to me) to see as well.

However...

Why did she have to be the love interest? Just- why? What warranted her eventually desiring a relationship of any description when she was shown to be more devoted to her position as a teacher- and as a single woman- throughout 90% of the film? This is especially frustrating since it turns almost every scene with her into one that involves Jesper in some way rather than build her as a character outside of this perspective. It takes away from Alva “the character” and instead focuses more on her as Alva “the love interest”. In media stuffed to the rafters in heteronormative relationships, and from those that I’ve seen, as afraid as I was to see it happen I was also prepared to have this aspect of the movie gracelessly thrown into my face. So, as might be expected, I actually groaned out loud when I saw it come to pass. I’m not mad, just... actually that’s a lie I am rather irritated by it, but also just... sad. Very, very sad. Disappointed, you might say. She and Jesper don’t have a lot of interactions showing that this was the obvious outcome. The best I can think that people would draw this conclusion would be a) she’s a woman and he’s a guy and they looked at each other that one time, and b) when he was trying to be charming to wriggle out of her wrath. Also, same scene, I don’t buy that it’s further implied by the boat-guy (I forget his name and can’t find it on IMDB) teasing Jesper over “young love” after she leaves in a huff. He’s not a reliable look into any feelings Jesper might feel towards her since all he’s done up to that point is tease him. It’s not enough, it just isn’t. Not to me.

In regards to her feelings for Jesper, the most I see from her is gratitude. The scene when she’s showing Jesper what he unintentionally did for the town is just that, and as she’s looking at the townsfolk Jesper looks... distressed. This is because he is conflicted about what to do at this point in the story, not necessarily because of any feelings for Alva, but it doesn’t even look like he’s thinking of her- romantically- at all. They don’t share any additional conversation, either; not a single flirtatious joke or anything that would lead me to believe they were bonding. I feel horribly conditioned to see her as the love interest and nothing more because that’s all I’ve ever seen done with a man and woman who only share a single line of dialogue before some narrator is telling me “of course” they got together in the end. Oftentimes, that line of dialogue is in an unpleasant or downright aggressive scenario, and that’s not romance. Seeing it happen over and over and over and over in almost every piece of media I subject myself to makes me want to take a blowtorch to my brain. I’m literally at my wit’s end. If it was more built-up and actually there, then fine, I take it back, but the thing is I hardly saw anything at all in terms of either Jesper or Alva or both of them thinking about each other, wanting to be together as more than just friends, throughout the entire hour and a half of the movie. The most scenes I can say they shared (not counting the ending because I’ll get to that in a bit) are four, with each one being little more than a minute long, two of them being more on the aggressive side, the third being when Alva shows Jesper the new Smeerenburg. Pleasant and humorous, yes, but not inherently romantic (neither of them share more than a glance and Jesper looks pretty preoccupied internally). The fourth is of Alva helping Margu translate what she wants from Klaus for Jesper. When Margu hugs Jesper and he and Alva exchange silent looks, the expression on Alva’s face, to me, says something like “you’re not half bad” and a note of good humor for how he handles children. Just so we’re clear I’m not against her finding happiness with Jesper. I just want it to be warranted. Not narrated.

Oh, but their love for each other is obvious and clearly meant to be from the start, is it? Okay then, show me when Alva says or does something and makes Jesper laugh, or vice-versa. Show me when she thought of him OUTSIDE of simply showing him what he did for everyone and how their hands touched, their gazes met and shy or flirtatious smiles spread across their faces as they drew slightly closer, and how she felt something more than gratitude and impressment for him. Show me when Jesper wanted to do something for her OUTSIDE being the means to a letter-related end. Show me the parts when they pined for each other and how happy seeing the other’s smile made them and how they were happy for each other’s progress and encouraged each other. Show me the parts of the movie where Jesper visited as often as he could manage to squeeze into his busy schedule just to chat. Show me kisses, hand-holding, lingering looks and happy little half-smiles cast from across a crowded courtyard. Maybe they do share something more than friendship, but no matter what I can’t get over how little there was between them to give me the impression it was going to lead to romance. It’s not even subtext, in my opinion.

Do you remember when Jesper’s father came back and it all came out in a part known as “the liar revealed” (a trope I quite hate for the oftentimes needless forced drama it creates, but whatever, for now I’ll let it slide) that he had ulterior motives which, at that point, he no longer had? Alva was the FIRST to turn her back on him in spite of their “lovey-dovey” merry-go-round painting MOMENTS earlier. She didn’t even want to hear out Jesper, who was clearly upset, and jumped straight to accusing him without showing that she was just as upset by the revelation that he could’ve been using her and playing with her feelings. How romantic. Meanwhile, the last one to return inside was Klaus, who was far more saddened and disappointed, leaving slower and leaving Jesper looking the worst, like he was heartbroken by his words- an echo of his own- most of all.

In fact...

Speaking of Klaus, I’d say Jesper is far more attracted to him than to Alva. This movie, while nearly devoid of interactions serving to build romantic chemistry between Jesper and Alva (which it absolutely should’ve if they had the ending be what it was), is littered with moments, wordless and otherwise, between Klaus and Jesper. So let’s go over them. I mean, if you’ve left by now then like I said at the start, I don’t mind. But if it’s alright I’d like to talk about them anyway, because holy holly I love them.

The scenes in question are clearly shown to develop their friendship and only get more romantic from there, and I could run out of breath trying to ramble them off all at once and what it meant to me to see them portrayed in such a beautiful way- artistically as well as in terms of the story.

Fairly early on, we learn that the wind is kind of its own “character”, guiding both Jesper and Klaus to ultimately meet each other as well as bringing them together more than once afterwards, and later on with what we learn about him it’s heavily implied to be the spirit of Klaus’ dearly departed wife. I’d like to think she was trying to tell Klaus to move on and find new love in Jesper and for Jesper to find purpose by Klaus’ side. The instances involving the wind are scattered throughout the film, so this is going to be a bit out of order.

To start, Jesper, while trying to get Klaus to donate his toys to the children of Smeerenburg, doesn’t notice the wind swirling around behind him like it was telling Klaus to follow him even if at the time Jesper’s intentions were selfish. Because he changes. They change each other, and their dynamic progresses so much more naturally, directly and clearly than Jesper and Alva’s.

There’s another scene when it leads Klaus to his workshop, where he opens the door to see a silhouette distinctly meant to parallel his wife- the one he loved- and revealed when he pulls back the cloth to be Jesper- his potential new love.

It’s one of the most explicit scenes enforcing my idea that Klaus’ wife was trying to get him to love again. Anyway, Jesper then excitedly starts going on about his gift and trying to get his mojo back before making an unintentionally big mistake by revealing a painful reminder of Klaus’ wife. A mistake he deeply regrets, mind. Not too long later, Jesper tries working on his own to make Margu’s wish for a boat/sleigh come true. While he works, the shot fades to see Klaus back at his workshop. He sees the picture Jesper drew of them and sighs, giving in and going to see him at the post office [also not to mention the drawing fades with the family shelf thing Klaus made so that’s pretty neat; took me a year to edit this in but hey better late than never]. My favorite scene is Klaus showing up to work on Margu’s present, giving Jesper a tool as well and interrupting Jesper to wordlessly point at the task at hand as if to say “If we work, we work together”. And that spoke to me. More than anything else in the movie and more than I’ve heard from any movie I’ve seen that I can remember. Also, Jesper’s soft, shy, willing smile put the biggest grin on my face. It was the last nail in the sled that made me convinced beyond a shadow of a doubt that they were forming a romantic bond from this moment forward.

Part 2 because this is long:

https://flovey-dovey.tumblr.com/post/189133807093/part-2-of-my-thoughts-on-klaus

#Klaus #Jesper #Alva #part 1 #text post #Klausper #TALL AND SMALL

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hornedandhornypandan · 4 years

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Vent/Rant post about Witchtok idk

Tw: CSA/Grooming mention

((TLDR: Witchtok seemed fun at first but pretty soon showed a very ugly side of itself that puts kids in danger. Meanwhile 'experienced' witches are out there are putting dangerous misinformation about religious practices. +Also a personal rant about how this whole thing has put me off from talking about my own practices with Pan.))

I've been a somewhat active "tiktoker" for a few months. I only really posted videos of my artwork and whatnot to sort of gain some traction and sell commissions, which was great! I met a lot of really cool people, and made some really sweet friends within the small community of artists on tiktok... And then I found the Witchtok tag.

At first I was uniquely excited, it was really cool to see other witches actively show off how proud they were of their craft and their religious practices. I saw lots of pretty good advice, and for me at least, it was absolutely wonderful to see how different and unique each person experienced their craft. I feel stupid now in hindsight for thinking this, but I genuinely felt something with how fun and welcoming Witchtok seemed to be.

And then all of sudden it became a fucking train wreck. There are lots of things wrong with Witchtok: Cultural appropriation, online harassment, misinformation, people throwing around hexing accusations with no proof, etc etc. A lot of really dumb shit. At first I was able to ignore it, because surely people will be smart enough to do their own research and not trust some random person on tiktok about entire religions, right? And then I realized how dumb I was for thinking that. There are people on Witchtok touting themselves as being experienced witches who are experts in everything spiritual, and beginning practitioners are going to naturally look up to them as positions of authority to consult on matters that they might not even be in the position to be consultants of. So many of these people are actual children too, and its become a very scary situation with how out of control it has become. I think the breaking point for me was the issues surrounding that,,, "Medusa" tiktoker who began trying to groom minors for illicit photos. I just couldn't do it anymore with Witchtok, that was too much. It already hurt a lot to see so many experienced witches actively condemn and shame children for not knowing better, but that entire thing just proved to me that too many people within the Witchtok community DO NOT CARE about protecting or educating each other. They all just want to one up each other in this imaginary game of who's the most correct, meanwhile AN ONLINE CULT WAS LITERALLY BEGINNING TO FORM, I'M JUST,, AT A LOSS FOR WORDS.

There's so much to unpack, especially from my perspective as a Hellenic Pagan who's worshiping Pan. I'm going to get quite personal but it's been on my mind and I need to share it for my own sake. Up until recent events, I was beginning to consider participating in the Witchtok community because I really do enjoy sharing things about my path, especially my relationship with Pan. I love sharing the things that I learn, and I want to record all of it as I go, so that one day I can look back and see how far I've come in my journey. My time with Pan has not only helped me grow spiritually, but my overall outlook on the world around me has changed for the better. To illustrate better what I mean by this, I am a CSA survivor, and for most of my life, sex fulfilment and healthy love were things I fundamentally believed I didn't deserve. By the time I approached adulthood, I had already accepted that I would never be able to enjoy sex or feel the kind of love I wanted. Pan at this point has obviously proven me wrong. He helped work through my trauma, he taught me that sex can not only be safe but exciting, and he showed me that my body isn't something to be ashamed of. Needless to say, my relationship with a deity heavily associated with sex and fertility is OBVIOUSLY intimate.

So it really fucking hurts when I see my fellow pagan peers tell me that my relationship with Pan isn't real, and that my practices based on tradition that I spent MONTHS researching before I started is just me being a 'stupid baby witch.' Or worse when people tell me that I should FEAR my God, my God who has done nothing but treat me with kindness and love throughout my entire time with him. Or even worse, when people who think that because they read up on a little mythology, they can tell me my God is a r*pist, and that I'm wrong for having a close and friendly bond with him. It's almost laughable how so much of what Witchtok considers to be "the right way to worship deities" is exactly what Pan would've hated if I behaved the way they deem to be correct.

Pan would HATE it if I was never friendly and comfortable around him. He is known for having a unique sense of humor, why wouldn't his followers be able to do the same? Obviously there are boundaries, but any deity including Pan will set up said boundaries when necessary. He loves when his followers are silly and playful! He loves when we explore ourselves in ways that are happy and healthy, whether spiritually, sexually, or physically! He loves when we let ourselves loosen up and forget about our chains, even for just a moment! If I talked at all about my practices with him I can guarantee Witchtok would eat me alive. To be honest, I wouldn't put it past them if the collective opinion of Witchtok was that he's dead because it says so in myth.

In retrospect, I'm very glad I chose to stay away from Witchtok, not only would I not be welcome, but children are watching. I feel like not enough people are thinking of that, and that's terrifying. I can't imagine how guilty I'd feel if I put something out there that was misinformed, or even DANGEROUS, and kids were seeing it. I just couldn't bear it. As an artist I'll continue to post videos on tiktok exclusively about my art, but I can't in good conscience post anything there regarding my religious practices. Which honestly saddens me, so much of my practice involves me drawing and painting works involving what Pan looks like to me, and I would've loved to show off that artwork had it not been for the absolute shit show I've been exposed to.

So in conclusion, Witchtok is fuckin yikes man.

#tw csa mention #tw csa #tw sensitive material #tw grooming #witchtok #obviously of course not every single individual person on tiktok giving advice on spirituality is bad/wrong #but there comes a point where something may be more harm than good #sorry for the negativity #and the absolute monster of a post this is #i just needed to let it out #witchtok has really ruined the term 'baby witch' for me #im going to bed rant over lmao

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thebrokenblackman · 3 years

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KRS-One - “Ah Yeah!” Critical Analysis by Hakeem Ture

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

The musician is a natural master of vibration and emotion. Many musicians have been able to make us dance. Many have been able to draw on relatability because nobody is the only person like them in the world. Perhaps some have even made us cry or provided soundtracks for intimate moments. Only few musicians have taken on the task of socially and historically educating their listeners through their music.

Even fewer have been able to combine the mastery of teaching with mastery of rhythm. Those who do this become legends like; Nate King Cole, B.B. King, Nina Simone, Bob Marley, Chaka Khan and Fela Kuti’ and their influence lives throughout generations. In 1995 Krs-One released a self-titled album that came in the sunset of his reign. His career would mirror the sepia filter of the album cover.

This album had dominant auras of militancy and rebellion that Krs-One fans had not heard since Boogie Down Productions - Criminal Minded. Krs-One was able to both appease his day one fans and gain the younger generation of Hip Hoppers who were listening to artists such as: Nas, Redman,Das Efx, Tupac, and A Tribe Called Quest. The message and timing of this album may have been divine. Let us look at the historical events of the year(s) Krs-One was creating this album in. In 1994, the United States congress had successfully completed the first step of becoming fascist by Voting to Censure Dr. Khalid Muhammad, National Advisor of the Nation of Islam. Bill Clinton and Joe Biden led Democrats to pass the The Violent Crime Control and Law Enforcement Act and effectively fueled the prison industrial complex. South Africa held it first election since intergrating with the apartheid government and Invisble Man author Ralph Ellison had passed. Hip Hop was the soul vehicle of expression to protest the genocide that had been going on and KRS One was one of its leaders. The youth looked toward this leader to deliver an album reflective of their mindstate and he delivered.

Imperative of a classic work of musical art, this album is composed of multiple great songs, but in my opinion the cornerstone song of the album is undeniably “Ah Yeah”. In this song he masterfully uses three 16 bar verses to empower and mobilize his listener much in the same way Dr. Khalid Muhammad did. This track starts with the establishment of an a capella warcry. He writes in response to western power’s having done such an incredible job destroying the rebel instinct that Afrikan people possess by publicly shaming our leaders and traditions. These lyrics are him trying to raise the psyche of a fallen warrior class and put revolt back in its holy place as opposed to the negative connotation that has been applied by the white power structure. He essentially made a chant-like hook with an underlying message of “This is your enemy, This is how to handle him, and THIS is okay”. The aim focuses on redirecting the accumulated anger of a traduced peoples that is often mistargeted toward self so that we may be collectively progresssive.

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

Then comes the establishment of an eerie bass line. This song structure is familiar to fans of his earlier work. It was what they were longing for. For a few albums he took the perspective of being in the classroom or office as opposed to in the battlefield with his men. He had returned to fight with us like Haile Selassie. Immediately he establishes a dual level of respect. One with his men and one with his deterrent.

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

In the first 2 bars of the preceding excerption he lets us know he intends to drop some knowledge, but it will not be filtered for political correctness or comfortability. The following 2 bars he establishes both a tone of encounterment and identity. Then he goes on to explain from which direction he came much like Saint Maurice's appearance upon the plagued people of Europe to let them know he has navigated and he is no spook. He goes on to talk to his listener and the most important of them, the women.

In 1994, fresh off a press tour on which she gained popularity from criticizing Bill Clinton, Sister Souljah published her first book that was heralded by black scholars and youth alike entitled No Disrespect. Her Influence was cemented in the minds of black youth and played a huge role in raising generational consciousness by dealing with topics like “how the black woman is viewed by black men” and “the black woman’s role in repairing the black family structure”. She had solely been awarded leadership duties by a disregarded demographic in a scapegoated culture and was handling it with the grace of Misty Copeland. Her and the women she raised to consciousness needed the camaraderie of Krs One. He goes on to sell to himself:

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

In the first five bars he addresses the enemies of the oppressed people within the oppressed people. These “Wack MC’s” are the Uncle Toms’ and Judas of the rebellious, afro-centric movement that is Hip-Hop. He says they lack discipline and do not have the self awareness to rescue themselves. In comparison with himself who uses that energy toward an ultimate goal, Independence through revolution. In the succeeding excerption KRS briefly displays the cognitive processing and coping mechanism of a warrior:

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

Throughout the preceding excerption KRS skillfully uses onomatopoeias to create a setting for his listener. There is a battle going on. Shells casings are falling to the ground and bullets are flying from high caliber weapons. He is in the thick of it and then an enemy approaches him. He musters the courage to engage with his assailant by remembering the suffrage the morals of his enemies’ elected nation-state has caused his ancestors. Then he rejoices in the death of one of their leaders, Richard Nixon.

In the second verse Krs-One addresses an age-old topic of discussion for spiritual people that was brought forth to the Afrikans of today by Noble Drew Ali, “The Prophetic Soul”. This belief dates back to ancient Buddhism in the caves of Asia taught to us by Dr. Ivan Van Sertima in his book “African Presence in Early Asia”. This belief entails that all the prophets of the world including but not limted to; Adam, Jesus, Buddha, Muhammad, and himself were the same soul being reborn until its mission is completed.” Krs-One puts himself and a couple others in this divine line of being.

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

In the beginning of the third verse he briefly continues the theme of possessing The Prophetic Soul but now, he does not speak from a perspective of being the people who had the soul. He speaks from the perspective of the soul. This soul is traveling and looking for a host. In the first two bars he speaks of how he was able to travel without detection from the government’s surveillance. Then, he goes on to finally choose a host that is relevant to the demographic of people it intends to reach. This host is stylish and his image is relatable, so the people will be receptive of his message through familiarity.

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

After the prophetic soul latches on to the host, KRS-One, it manifests purpose with grassroot organization and motivational speaking. Being KRS-One founded the Stop the Violence Movement in 1988 and was solely responsible for mobilizing many of the most influential Hip Hoppers against Gang Violence and Culture he had plenty of knowledge to give on the topic.

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

Too often credit for the creation and establishment of a culture or society is given to one person as opposed to being evenly distributed amongst the support structure. How many times have you been taught the legacy of all the men that signed the declaration of independence? It is likely that you’ve only been taught about Thomos Jefferson. Just like there would be no Fidel Castro without the parallel influences of Che Guevara and Camilo Ceinfuegos there would be no Hip-Hop without KRS ONE. Perhaps without his tenacity, passion, and will it would have been infiltrated and exploited before it reached its full maturity. If that would have happened America would not have its current number one export. In his prime most consumers who listened to his message and gazed upon his image said “OH NO!” from fear of what they could not understand. Today, we look at his legacy of art and effort and cant help ,but smile and yell “AH YEAH!”.

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

#krs one #krs1 #hip hop #90shiphop #boombap #african art #African American Art #african history

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finelythreadedsky · 4 years

Note

Hello I just looked up the Frederic Leighton Orpheus and Eurydice because you mentioned it and 1) I'm having feelings and 2) I would very happily read any and all thoughts you have on it

ahh I love it so much it’s one of my favorite paintings of all time! I wrote my first ever real paper on it (specifically on its engagement with Ovid) and to this day I don’t know how I did on that paper, but writing it was transformative for my understanding of the myth. This past summer I finally got to see the painting in person at the Leighton House and discovered there’s a Robert Browning poem affixed to the frame that definitely would have been helpful to know about while writing about it. It somewhat supports my points anyway though, so that’s okay.

long post: Ovid, Leighton, and my 2016 and 2020 takes on the two of them

First of all: his eyes. Obscured and shadowed and leaving it ambiguous whether or not his gaze has fallen on Eurydice yet. Is this the moment before he gives in and looks at her? Is it the split second after he sees her and before she disappears? YES. (I did finally get to confirm that the eyes are just as shadowy and ambiguous in person as in all the pictures on the internet.)

Secondly, something a lot of paintings of Orpheus leading Eurydice out of the underworld do, but which is particularly brought to the forefront here: Orpheus is touching Eurydice. He should clearly know that she’s there, since he can feel her, so why would he doubt her presence and need to see her to confirm that she’s there? Many other painters show him leading her by the hand (Corot, Feuerbach, Rubens, Poynter, Cervelli, Vignali, Raoux), creating a paradox where you’re just not supposed to think too hard about what it means for the story that they’re holding hands. But what’s going on here is much more than that. She seems to be actively urging him to turn around (a point in which I was vindicated by the Browning poem, which ends “look at me!”). Leighton’s drawing attention to their physical contact and the impossibility of Orpheus NOT knowing that she’s there. He must know, she’s clinging to him so tightly, and look at his hand, he acknowledges her presence by pushing her away, actively trying to avoid looking at her.

So from there I go back to Ovid (metamorphoses 10.44-52)

… Nec regia coniunx sustinet oranti nec qui regit ima negare, Eurydicenque vocant. Umbras erat illa recentes inter et incessit passu de vulnere tardo. Hanc simul et legem Rhodopeius accipit Orpheus, ne flectat retro sua lumina, donec Avernas exierit valles: aut inrita dona futura.

Neither the royal consort nor he who reigns below can bear to deny the beggar what he asks. They call for Eurydice. She was among the recently deceased, and she walked with a stride slowed by her wound. Rhodopeian (Thracian) Orpheus received her and a rule at the same time OR At the same time, Rhodopeian (Thracian) Orpheus also received this rule: that he not turn his eyes behind him until he had left the valleys of Avernus, or else the gift would be in vain

The pains Ovid takes here to note that Orpheus gets Eurydice and the rule “simul,” at the same time— specifically, that he does not get Eurydice before the condition is named. Eurydice is not present when they specify that he is not allowed to turn around. She doesn’t know that he’s not allowed to look at her. That’s what I think Leighton’s working with.

Eurydice is begging Orpheus to look at her and he won’t and she has no idea why. She’s confused, she’s distraught, the man she loves, the man who just descended to the underworld for her, refuses to look at her. She’s desperately begging him to look at her and acknowledge her and speak to her and confirm he loves her, her as a person, not just the idea of being the man who could sing someone back from the dead.

He doesn’t turn because he doubts she’s there. He knows. He can feel her arms around him and hear her pleas. He turns because he cannot bear her thinking that he doesn’t love her. He needs her to know that he loves her, even if it means losing her. His resolve to not look at her is defeated by the strength of his love, not his doubt. He turns knowing she is there and knowing he will lose her, because he cannot face the alternative, that she thinks he does not love her and that he raised her from the dead out of pride, not love.

Now, why on earth he can’t just use his voice and tell her he’s not allowed to look at her, I have no idea. That youtube comment asking why the two of them don’t just marco-polo their way out? Yeah, that. Oh also throughout the paper I referred to Ovid’s version of the character as “Eurydice” and Leighton’s version as “Euridice” with the Italian spelling because for some reason the internet often gives the painting’s title in Italian, but actually that was a really helpful way of dealing with two portrayals of the same figure.

In the last few years I’ve moved toward a much less romantic perspective on the myth. I talked somewhat recently about my take on Eurydice, and last year I got something close to it. I think these poems and this art capture a lot of my thoughts right now. But still, like Leighton, I adore the idea of her asking him, even begging him, to turn around. Like in Portrait of a Lady on Fire, when Heloise says “perhaps she was the one who said, ‘turn around.’” But in Portrait of a Lady on Fire I think the implications are that Eurydice would be urging him to make the artist’s choice rather than the lover’s choice, telling him that art is more important than love, that the memory of love is enough (which is, incidentally, I think exactly what the Browning poem is saying).

I think I’ve been wanting to examine whether it is love to begin with. Reinterrogating what it means to say that the memory of love is what’s important-- that the idea of the woman is more than the woman herself. Maybe Eurydice doesn’t mind being dead. After all, it is the first thing she has done for herself, all her life things have been done to her. It’s the first time she has existed as her own person. Maybe she would like to stay dead, stay in a world without Orpheus. Maybe she knows that his relationship to her is one of art, not love, and that he has always looked at her as more a poem than a person. Is she angry at him for having the audacity to break the laws of nature, to intrude on the one thing that is supposed to be hers alone? Asking him to turn is asking him to respect the finality of death, to come to terms with and accept his loss, to let her rest in peace, to let her exist apart from him. She might ask those things as desperately as Leighton paints her.

#mine #metamorphoses liveblogging #at least i have the flowers of myself #i raise my cup to him #libraryofjoy #to forbid that you should ever lose your screams

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benm-assignment · 3 years

Text

Fun Home: A Family Tragicomic By Alison Bechdel Research Assignment by Ben Mulloy

Alison Bechdel Won an Eisner for best reality-based work for Fun Home, about her self-discovery as a lesbian, and her relationship with her father. Her other works include Dykes to Watch out For (2006), her comic strip that ran for twenty-five years, and introduced the Bechdel-Test which “evaluates movies on the basis of gender inequality.” The musical adaptation collected a dozen tony award nominations. Her work Are You My Mother? A Comic Drama (2012), explored the writings of Virginia Woolfe which she connected to her relationship with her mother for which she was awarded the John D. and Catherine T. MacArthur Foundation “genius grant” (Ray).

In an interview for IWL Rutgers Alison speaks about the environment surrounding her growing up, stating that she grew up in the sixties in an incredibly misogynistic environment, where women were portrayed as “idiots.” The representation for women was unfair and didn’t convey anything Bechdel wanted to embody in herself, and were “all generic female people, as opposed to people” (IWL Rutgers). It took her twenty years to share her story in Fun Home, as she knew it would be a hard story to tell but an important one. She identified that her story was interesting; Two gay people growing up in the same small town but having very different experiences. Years later she comments that it was a very different time, “it was [now] no longer so unspeakable to be gay or have a suicide in the family,” (IWL Rutgers) this change in environment helping to provide a more receptive space for her story.

In an interview with YoungVicLondon, Bechdel was asked about her influences. When asked about the Bechdel Test, Alison explained that it was created by a friend of hers who came up with three rules about the movies she chooses to see: One, it must have two women in it, two the women have to talk to one another, and three, their conversation must be about something other than men. At the time she was still working on her comic strip Dykes to Watch Out For and though it wasn’t intended to gain much traction then, in later years when her comic strip found its way onto the internet, it spoke to modern feminists and lesbians and gained attention. She also spoke about how Joan E. Biren’s photography was the first representation of a lesbian that she had seen, and in regards to other representation she simply stated “there was none”. In her words, “it’s so important to be able to see yourself, just to have a mirror of yourself” (YoungVicLondon). Other than representation, her motivation is also intrinsic, she notes “I think anyone pursuing an avenue of creativity is trying to get something they’re missing, or trying to heal ... I make myself vulnerable because I’m looking for sympathy and connection” (IWL Rutgers).

Bechdel introduces major plot points within the first twenty pages of the book, which is necessary to keep the reader interested. She uses the first seventeen to introduce the life she experienced in childhood and to mold a well rounded image of her father as strict but passionate and creative. She also describes her and her mothers relationship with him. Once the main plot, including her father’s death, is resolved, she begins to jump back and forth through the timeline to explore specifics in greater detail, which I found helped to keep interest throughout.

The tone used in Fun Home was significant specifically when used to describe Bechdel’s father and the sense of childlike magic he seemed to possess in her eyes when he was at work restoring their home. Although Bechdel continues to use carefully chosen and meaningful words throughout the memoir, I found that the best examples of the effectiveness of her word choice were used in the beginning. The author recognized the artfulness in his attention to detail, using words like “transfiguration, conjure, flourish, and remarkable,” to convey her awe of his craft. This is then juxtaposed with her choice of words when she displays some resentment towards him, using phrases like “contempt for useless ornament” (Bechdel 16). Her view of her father is described eloquently when she writes “his bursts of kindness were as incandescent as his tantrums were dark,” (Bechdel 21) a very powerful use of words to describe their turbulent relationship.

As a lesbian myself I related to this memoir in multiple ways. I found myself rooting for little lesbian victories throughout the unfolding of her coming out and when Bechdel revisits aspect of her childhood, such as when she moves in with her first girlfriend, and when she convinces her mother to let her go topless and wear swim shorts on vacation by telling her that the “Europeans do it.” I found things like this to be small universal experiences of lesbians and it was nice to see my experiences represented through her. Coming out to her family was also a plot point that I could relate to, as I found that her mother reacted much in the same fashion that mine did, with denial and ideation that being gay is a phase. I think this reaction, or at least in my experience, is related to mothers having expectations or ideas about what their child’s wedding is going to be like or that their daughter will bring home a nice man and have grandchildren. I think challenging that expectation can be hard for a mother to cope with, and it felt empowering to feel homogeneity in that experience. Lastly, I found the author’s search for representation very compelling, as it took her quite a long time to find accurate representation of herself so that she could identify comfortably as a lesbian. This experience is one that is universal for members of the LGBT community and it was comforting to see that expressed by others. I didn’t have any prior knowledge about what this memoir was about or what to expect, so it was a really pleasant discovery that I could relate to this novel so well.

As an artist, I can appreciate the images in this memoir for the detail and perspective that was used by Alison Bechdel. Specifically in the first chapter, where she uses perspective to show her childhood home and technical application of skill to describe ornate details in that home, such as the carpet on page four, the scabrous shingles on page eight and the front porch supports, wallpaper, wall supports and roof trim included in page nine. As well as this, I can also only begin to imagine either the research it took to find reference of the items in her home to draw from or the time it would have taken to pour thorough photos to find those items to draw from.

The action used in this graphic memoir is interesting because there isn’t as much physical action as there is action and intrigue woven into the plot to create a sense of action. However what action there is aids in character building and plot formation. Most of the action starting at the beginning of the book is showing the father’s passion for restoring their home with historical accuracy and is used to emphasize the importance of this to him, which is then contrasted by the action that is used when he lifts his arm to hit his child. An interesting action I noticed is a pose being carried into different scenes throughout the memoir, where the father is carrying a wooden beam over his shoulder and is used again when he is carrying weeds and shrubbery across the road at his time of death. I thought this was a particularly powerful juxtaposition between the beginning of our introduction to the fathers character in comparison to the end of his existence.

The colour was an important factor in that there was no use of colour throughout. All drawings were in black and white line with use of grey tones to separate foreground and background or to add light and shadow. I can assume this was done because she didn’t want colour to distract from the importance of the narrative she is trying to convey, which is very personal to Bechdel. It would make sense that she would want the focus to be on the story since it was hard for her to muster the strength to write it. Alison also included drawings of people she referenced including famous authors, which she depicted using cross hatching. This was used to achieve likeness in a way that just line and one tone of grey could not, without having to forfeit the existing visual theme, or distracting from the narrative.

Annotated Bibliography

IWL Rutgers. "Inked / An Interview with Alison Bechdel." Youtube, uploaded by IWL Rutgers, 06 March 2017, https://youtu.be/g7TWm2CPZCo. Accessed 17 April 2021. This interview, while only eight minutes long, consists of an enlightening description of the atmosphere surrounding Alison’s childhood and what was expected of men and women. Alison describes a sexist environment where women are portrayed poorly and unfairly, often as stupid. She speaks about her own internal misogyny in the way that she was unable to draw women, and could only draw men until she realized she could think of them as lesbians. Only then was she able to draw women. Bechdel also identifies how she believes her story is important and recognizes that the environment had changed, and it is now “acceptable” to be gay, and to have a suicide in the family. Her intrinsic motivation to share her story is also highlighted, when she admits that as well as creating lesbian representation, being able to connect and share her stpry with others are big contributing factors in her willingness to tell her narrative. This source, like the YoungVicLondon interview is also a video interview where Alison gets to speak freely about her motivation, without the risk of being edited through another form such as an article. This interview was particularly relevant to my assignment as it gives a well-rounded understanding of what drove her to write, as well as the conditions of the world she grew up in which directly impacted her need to create for others the representation she had to hunt for.

Ray, Michael. "Alison Bechdel". Encyclopedia Britannica, 6 Sep. 2020, https://www.britannica.com/biography/Alison-Bechdel. Accessed 3 April 2021. This article goes into depth about Alison Bechdel’s life and accomplishments. It summarizes the important events in her life such as her coming out at the age of nineteen, her fathers death and the theory that it was an act of suicide. It gives brief summaries of her best known works as well as her work on the comic strip Dykes to Watch out For which ran for twenty-five years, and the Bechdel Test which is used to evaluate movies based on gender inequality. It gives information about her works and awards. The contributors are Michael Ray, Emily Rodriguez, and Amy Tikkanen. Michael has a B.A. in History from Michigan state University, was a teacher, freelancer and full time copy editor prior to joining Britannica and oversees coverage of european history and Military affairs for them. Emily is an editor and her profile states she is an information architect for Encyclopedia Britannica. Editor and corrections manager who has been employed at britannica for more than twenty years. This source is fact checked by three editors, of which two have prior experience that would be considered reputable enough to give credit to the accuracy of the article, although it does not list it’s sources which is not ideal, it does provide a citation for its article for reader use. It is relevant to my research as it provides basic background knowledge on the author and her works, and allows a better understanding of her accomplishments and upbringing.

YoungVicLondon. "Pride 2018: In conversation with Alison Bechdel." Youtube, uploaded by YoungVicLondon, 06 July 2018, https://www.youtube.com/watch?v=U1_r8F2ubCo. Accessed 17 April 2021. This is a short interview where members of the LGBT community interview Alison Bechdel hosted by YoungVicLondon before Pride 2018. The interviewers ask her about the Bechdel test, and she explains how it came to be and who influenced it. When they question Alison about her role model or hero, which Bechdel responds by speaking about Joan E. Biren, being her first introduction to queer representation. When asked about other influences on her coming out or self identification as a lesbian, Bechdel states there was none, as there was no representation at the time. She speaks about how important representation is for those in the LGBT community and how her first pride made her feel less alone. Seeing as though this is a video interview, the source for this is straight from the subject which lends to the credibility of the information. Being a video interview, there is a possibility that the video could have been edited to appear differently or convey a different message, although that isn’t likely. This interview is very relevant to my research as it allows me to explain the influence or lack thereof on Alison Bechdel’s work, and emphasises her motivation for representation.

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fred-frederator-studios · 4 years

Photo

Dale Pon, R.I.P.

Pretty much the most famous media advertising campaign in history is “I Want My MTV!” –the May 2020 Google search returns 184,000 results, more than 30 years after the last flight ran– and it was the result of the brain of Dale Pon.*

* As I explain in detail in the pieces below, writer extraordinaire Nancy Podbielniak was the word spark for the campaign; it was George Lois who suggested ripping off “I Want My Maypo!” Dale Pon was the person who took these notions and turned them into brilliance.

Dale persuaded me and the powers that be at MTV that he could make it work, Dale who convinced MTV programmers to recording artists to participate for no fees. It was Dale who took the paltry budget allotted and strategized how to maximize the network’s cable distribution. And finally, it was Dale Pon’s dogged persistence and genius that caused cable operators across America to beg us to please stop running the campaign before all the telephone operators quit in frustration from all the people “demanding their MTV!!!”

My great friend –and better mentor– Dale Pon, passed away from difficulties due to Parkinson’s and Covid19. There’s no way to convey all of the ways people expressed their sadness to me today, but one of them probably encapsulated things best by saying “Complicated but brilliant, creatively inspired, strategic like chess master , we were lucky to have been touched by his talents...” All too true.

Dale could be –to say the least– a challenging personality. Determined to win, he could be a bulldozer crushing an ant. Warm at his core, he could be beyond generous will all he had at his disposal. Unlike many others with talent and raw intelligence, he was quick to share his remarkable thinking, lavish in his ability to elevate the talents of the shy and uncertain, and as bountiful with praises as he could be lacerating with his critical observations. He loved as deeply as he was able, and a constant explorer for the meanings of life.

When it came to the work, there was no one better at understanding media, and getting fans interested in its rewards. I don’t know if it was his methodologies and personality, or the fact that media promotion wasn’t all that well respected in the ad biz, but Dale didn’t have too much of a profile in the advertising world. I think, ultimately, he was much more focused on the work than on the publicity. So, things being what they are, what I’ve collected seems to be the most comprehensive look at his career, at least the parts that I’ve directly touch. By no means is it comprehensive, I know nothing about his radio days in the early 70s, and little about his work after I joined the cartoon industry. But all of what I have is yours, below.

I’ll lead with what a few of his colleagues and friends wrote a few years ago for Dale’s birthday. And then, below that, all the various campaign pieces (written from my perspective, of course) I’ve recalled over the years.

.....

April 2016, on the occasion of Dale’s birthday.

Dale Pon, my mentor and friend. Fucking smart.

Dale Pon’s been on my mind lately, as he is almost every day, because of the ways he taught me to think about …. um,everything. I’ve written about some other important mentors before, but Dale’s influence was so staggering I could never figure out how to sketch it out in anything shorter than book length.

“Dominate the space.” (He was referring to graphic design, but it might have served as a life philosophy).

“Of course, there’s an absolute truth.”

“You remember the first thing you see, but the last thing you hear.”

“The power of three.” (Broke that rule with this list.)

“Advertising is a frequency medium.”

“You make album tracks. I make hit songs.”

I’m not sure that he ever thought of himself as particularly quotable, but as you’ll see below, I wasn’t alone in internalizing. There were hundreds more bon mots, most of which he probably forgot as soon as he said them but stuff I’ve never been able to shake off, to this day.

His resume doesn’t do him justice, but quickly… For 40 years, Dale Pon was at the forefront of media programming and promotion for many of the major media companies, CBS, NBC, Viacom, Storer Broadcasting (where we met). He specialized in radio throughout his career, but when Bob Pittman moved into cable television, he prevailed there too (“I Want My MTV!” is still returns hundreds of thousands of Google search results, 30 years after it went off the air). He was wildly successful in an advertising agency partnership with ad legend George Lois, before setting up a solo shop, Dale Pon Advertising, in New York City.

Dale was brash and loud, very, and he certainly wasn’t to everyone’s taste. The friend who first recommended me for one of his jobs called in a rage when he quit and said if I really needed a gig so badly… I knew Dale’s work from its supremacy of the metropolitan subway system for the New York country music powerhouse (a paradox if there ever was one) WHN Radio, but it hadn’t occurred to me that actual human beings created advertising, or that it took any real brain power. Dale quickly disabused me of that notion, as he sent me to his tailor to buy me my first three piece suit (more appropriate for Park Avenue media than the cut off shorts I wore to our interview).

Most of all, he was really fucking smart. And deeply, articulately, astute about media. He could tell the story of radio stations or television networks better than anyone, and persuade their audiences to fall profoundly in love, by sticking to the basic human emotions like truth, desire, love. (My favorite? “Love songs, nothing but love songs” for WPIX-FM, directly appropriated for an Off-Broadway show). He didn’t end it there, with a creative, strategic and statistical brilliance that combined, to quote Bob Pittman (from another context completely) “math and magic.”

What I appreciated most was his intense, almost overwhelming desire to teach me everything he knew at exactly the moment I was desperate for his knowledge. In fact, as I observed him with myself and others over the years, it would be fair to say that if you wasn’t interested in being taught, Dale Pon wasn’t interested in you. And, not for nothing, it went both ways. He’s was as incisive a questioner and listener as one could want. Curious, intrigued, dying to know anything on almost any subject. In my case, it meant that we generally spent six or seven days together all the years we were together in two different media capitals. Whew!

Difficult? Challenging? Exasperating? You bet. I wouldn’t trade that time for anything.

Dale’s the one who changed the course of my work life, and as Scott Webb says below, “he changed me.” It’s because of Dale that I stumbled on my understanding that I wasn’t a music guy after all, or even a TV baby, but a pop culture sponge. I wouldn’t had the chance to participate in any of the culture shiftings I got to observe first hand. Who knows, maybe I would’ve stumbled through a life of complete dissatisfaction. That’s how profound his influence was on me.

Dale’s birthday recently passed by, and stuck for cogent things to say about him, I reached out to a few friends who’ve crossed his path and might be better at expressing themselves than I ever could. You’ll notice they’re pretty powerful personalities themselves, but Dale made an impression. Boy, did he make an impression. (I left out some of those controversial moments and unproductive comments.)

Well, our friends didn’t let us down. They got to the heart of the matter in ways I never could. Thanks everyone.

…..

Herb Scannell: Mythical.

Dale Pon is mythical.

He’s the man who “wanted his MTV” and got the world to say the same. My friend Fred always claimed that he learned whatever he knew from Dale and whatever I know I learned from Fred so it all comes back to Dale. Or blame them both. Happy Birthday Dale! Forever young!

…..

Bob Pittman: The Mad Scientist.

Dale Pon is the mad scientist of advertising. Full of passion, always with a breakthrough idea and the urgency to get it done quickly with no compromises. He made a huge contribution to my successes at WNBC Radio, MTV and even Six Flags theme parks. One of a kind….happy birthday to him from a big fan!

……

Scott Webb: “Most people don’t know how to think.”

Dale Pon didn’t just change my life he changed me. He encouraged me to be brave and fearless and never stop solving problems. He is one of the smartest people I have ever met and the teacher I will never forget.

You never know how things are going to happen. After 4 years at Sarah Lawrence, one of the most expensive liberal arts schools, I was clueless about a career. My secret wish was to write comics (mostly because I had no talent to draw). Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC Radio; they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive.

I immediately fell in love with the energy of the radio station. I had to work there.

“You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” asked Buzz Brindle, a WNBC program director. Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pan.

Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I found him brilliant, charismatic and intimidating.

My first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. I wanted to do a great job for him but the truth was that I was terrible at chart making. I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

A lot of people at the station didn’t like Dale mostly because he would raise his voice to make a point or because he was passionate about his beliefs, or would not hold back his opinion when something was mediocre, pedestrian or just plain stupid. Dale expected greatness in people, work and business. His mission was to win and often people found that difficult to embrace. I, on the other hand, found it awesome. I guess he reminded me of the comic book heroes I admired so much - characters who were extraordinary and could do things other people thought were impossible. Most people at the radio station were happy to have a job and get a paycheck and could care less about being #1 but for him that was all that mattered.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly what the problem was – and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways.

“Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.”

Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

…..

Bill Sobel: He yelled at me on the phone…no idea why.

…..

Noreen Morioka: “Good creates things, and Evil destroys it.”

There is no doubt that we all have a great Dale Pon story. Dale never did anything average. He did everything in extremes. Whether you were laughing so hard that you couldn’t breathe or wanting to shake him like a rag doll, Dale is unforgettable.

One of my favorite Dale Pon stories is when he was pitching a new name for a network. Since the channel was going to be all re-runs of a lower level, Dale named it Trash TV. I loved it, but when I presented my designs, he thought what I did wasn’t trashy enough and proceeded to get another designer to put flies swarming around the proposed logomark. When he presented his concept to the network president, he stopped at the building dumpster and pulled out garbage to bring up to presentation. Needless to say, the meeting didn’t go well, and the president was furious that Dale brought garbage into his beautiful office. Stern words were exchanged on both sides and security was called to take Dale and garbage out of the office. He called later to let me know they were going to search for another name. The network changed their name several times since then, and each time Dale would just smile. We all knew his solution was genius.

Like you, Fred, Dale taught me a lot. He taught me never to settle, always come back stronger and most importantly what the difference between good and evil was.

“Good creates things, and Evil destroys it.” Thanks to this simple Dale Pon-ism, I live my life by.

I will always have a deep respect and love for that guy. Happy Birthday, Dale. You are the true original.

…..

Tina Potter: So thoughtful.

Dale is a magnanimous gift-giver. I once told him the Chrysler Building was my favorite building in NY, and the next time I saw him, he brought me a beautiful framed B&W print of the building! So thoughtful. I still have it!

……

Judith Bookbinder: ANYTHING IS POSSIBLE.

I learned a lot from Dale in a very short time.

Dale taught me that ANYTHING IS POSSIBLE.

If you want to make something happen, figure it out or find someone who can do it for you.

This simple wisdom is something that has served me throughout my professional life.

…..

Ed Salamon: Directness and Simplicity.

I always appreciate the opportunity to say something nice about Dale, but the stories that first came to mind involved women, drugs, and fistfights. Or were otherwise too self-incriminating. Here’s what I’ve come up with:

The genius of Dale’s creativity is its directness and simplicity (like “I Want My MTV!”). Unfortunately that sometimes resulted in it being underappreciated.

When we worked together at WHN Radio I once heard our boss say to Dale at the end of the day “We need a new ad campaign slogan for the station by tomorrow. Take twenty minutes tonight, walk around the Village and come up with something.”

When I later started The United Stations Radio Network with Dick Clark and others, we hired Dale to create the logo, which he agreed to do out of friendship for only a nominal fee. The logo was a distinctive type face, with the letters stuck together (“united”). Some in the company commented that it was too simple; others appreciated its genius.

……

Tom Freston: A great bunch of guys.

Dale is a great bunch of guys. Argumentative, persistent, a perfectionist, fun, difficult, and smart as hell….winning, ultimately, most of his arguments. Happy birthday.

…..

Therese Gamba: “Work smarter, not harder.”

Long before there was “Better Call Saul” it was “Better Call Dale” when you were faced with a creative challenge. Dale had a long term relationship with MTV Networks having been part of the launch team for that iconic channel. So when The Nashville Network had to be relaunched as the new home of the WWE (then the WWF), oh and it had to be done in three months, there was only one person to call.

My first meeting with Dale was over lunch at the Mercer Kitchen. Fred had prepped me that Dale liked metrics and to be ready for a lot of questions. But as anyone who’s met with Dale will tell you, you can never be fully prepared for the hurricane of creative energy that is Dale Pon.

I was prepared with my Venn diagram of the overlap between TNN’s current viewers and the WWE’s viewers (no surprise, not a big cross section). Then the questions started in what felt like a ping pong match at warp speed.

Two hours into the lunch I had held my own and received the nod from Dale that I was on the right track. I was exhausted, relieved and thrilled to have passed the test. I learned that once you’ve basked in the glow of Dale’s approval, you were hooked. I also learned that I had become a member of an exclusive club, “Dale’s World.” My fellow club members all know the stories, share the memories and still live by what he taught us.

Dale always said “work smarter, not harder.” That mantra has never failed me just as Dale never failed to be supportive, inquisitive and completely one of a kind!

Happy Birthday dear Dale!

(From left): Dale Pon, Anne Grassi, Scott Webb at WNBC Radio, circa 1980.

Alan Goodman: “I’ll give you 50 bucks to fuck up this guy’s haircut.”

Two stories about Dale Pon –

1. I was in Paris with Dale (who ran our advertising agency – my mentor was now my supplier) and MTV’s VP of Programming, Les Garland. Dale and Les weren’t pals. How tense was it? We had dinner together one night in Paris and Les bought us all expensive Cuban cigars. Outside, Dale waited until Les split off to go to his hotel. The first second Les was out of sight, Dale pitched his cigar in the gutter.

We had flown on 10 hours notice so we could shoot Mick Jagger saying “I Want My MTV!” Dale had already shot a number of other MTV generation stars shouting the line, and some were even biggish. But Jagger was THE “get.” We knew that once Jagger blessed our campaign by participating, we’d get anyone else we would ever want. (We did).

We waited around the hotel a couple of days until we got the bat signal that Mick was ready, and raced over to his hotel to set up. Very quickly, what was supposed to be Dale’s shoot had become Les’ shoot. Dale was pissed, rigid with anger, sequestered with me in the adjoining room forced to watch the proceedings on a monitor. I went over to him to try to diffuse the situation. I can’t remember what I told him. But I remember his response, word for word:

“Do you think I need to hear any of this right now?”

I realized why I was in Paris. I was there, as the client, to witness who threw the first punch.

I had spent every single day of the past four months in the office trying to figure out how to do a job I had no idea how to do. I was exhausted. I had zero interest in the kind of politics and shenanigans that network executives pull, and I didn’t want to be there. That’s it, I decided. I’ve had enough. I’m a writer. I have a talent. I can make a living. I will get back home and I will immediately quit.

I said nothing. I smiled through the rest of the shoot. We stopped at a bistro after we wrapped, and had a lovely dinner and wine with the crew. It was a celebration. For good reason. We had Jagger. I stayed quiet. Silent, even. No one knew of my plans.

When we reached the hotel, Dale drew me aside and sat me down.

“You’re not going to quit,” he said. What?! Huh?! How did he know? On top of everything, the man can read minds??!

“You’re not going to quit. You are at the very beginning of something that will change the world, and you will have a great career. You have to stay there and be a part of that and do what you do really well. You cannot leave. Do you understand? You cannot quit.”

He went up to bed. I went home the next day, and didn’t quit. Instead, I stayed and helped make the thing that changed the world. And it was the beginning of a great career.

2. I went to get my hair cut at Astor Place one day. I walked up to my guy, and there in the chair was Dale. I didn’t know Dale used my guy. Dale looked up at me, looked at the barber, and told him, “I’ll give you 50 bucks to fuck up this guy’s haircut.”

…..

Scott Webb (unedited): “He didn’t just change my life he changed me.”

You never know how things are going to happen.

I was a few short months away from graduating from Sarah Lawrence College with no idea what I would do for a job. I was a kid who had grown up reading and loving comic books. After 4 years at one of the most expensive liberal arts schools I was clueless about a career. My secret wish remained to write comics (mostly because I had no talent to draw). Sarah Lawrence was a great place for me. It was there that I understood how to learn. I was naturally curious and SLC exposed me to a world of ideas and brilliant people (students and teachers). But Sarah Lawrence was not a place where I could start a career path. 5 months from graduating I felt the looming pressure of finding a job and making money. Unlike most of my class at SLC my parents were basically working class folks with a yankee work ethic who expected me to not move back home after graduation.

One January evening, I was talking with my friend Betsy K who had just graduated. She had just returned home from job hunting in the city. She had an interview at WNBC radio with a guy named Buzz Brindle. She said they weren’t hiring but were looking for interns. “What’s an intern?” I asked. I was so naive. She explained that an internship is where you work for free - for experience and to get your foot in the door. WNBC was part of NBC - one of only 3 existing TV networks at the time and my eyes lit up at the idea of of doing anything with a big media company. So I lined up a meeting with Buzz to see if I was intern material.

Buzz was sweet and avuncular and I immediately fell in love with the energy of the radio station. I had to work there. “We’re looking for interns in the promotion department” Buzz explained and I just nodded as affirmatively as possible. “You’ll be working for Dale Pon. He’s very demanding. Do you think you can handle that?” Me? Of course! I’ve got my Yankee work ethic and my Sarah Lawrence education. I thought I was ready for anything. But I was not ready for Dale Pon.

I interned at the station 2 days a week and It appeared I was the only male in Dale’s promotion team. I reported to a woman named Anne Grassi but Dale was the boss. Dale was bigger than life, louder than anyone else in the company and frequently slammed the door to his tiny office. I had never worked in an office before. I found him brilliant, charismatic and intimidating. The other interns and I would huddle in the conference room where we did our work and wait for our next assignment.

I did many things as an intern but my first big assignment for Dale was to create a chart of all the radio stations in New York and rank them by ratings performance over the past 2 years. This was no small task - this was way before computers in offices - and required me to go to the NBC research department to collect dozens of Arbitron ratings books and laboriously extract the data he wanted and lay it out graphically. I wanted to do a great job for him but the truth was that I was terrible at chart making.

I was a liberal arts comic book kid and he had me doing statistical analysis and I knew if I did a bad job I would probably face his famous wrath behind a slammed closed door. But despite my inept chart building, Dale painstakingly taught me how to read the Arbitron reports and methodically went through my work and instructed me how to correct it. I learned more from him over that 5 month internship than I had in my last 2 years of college. But my lesson wasn’t in statistical analysis or radio promotion. Dale had high expectations of me, he believed in me and he was demanding in the pursuit of excellence.

The chart was part of his battle plan to make WNBC #1 in the NYC market and when I understood the big picture of what he was doing I felt even more inspired and willing to do anything in the service of that cause.

It didn’t hurt that he was so smart and insightful. He had the uncanny super power of understand exactly wha the problem was - and he taught me that creativity was the ability to solve problems in fresh, innovative and smart ways. “Do you know why I hired you?” he asked me at the end of my internship. “I didn’t want to hire one of those kids who studied advertising or media in college. Those kids have been ruined. They show up thinking they already know everything - and they haven’t even had a job yet. You didn’t know anything but you were willing to learn and think. Most people don’t know how to think.” Those were some of the most important words I ever heard. They lit a fire of confidence and trust in myself that did not exist before and served me throughout my life, not just in work but in life.

.....

Susan Kantor and David Hyman were on the opposite side of their relationships with him, Susan as a long time account executive in Dale’s agencies, and David as a client. Drew Takahashi, a trusted friend and wonderful creative partner.

I’m particularly fond of the pull quote from David’s recollections. Having had hundreds of restaurant meals with DP over the years, waitress confusion was probably my overriding remembrance.

Susan Kantor has traveled to the upper heights of television since her time with Dale Pon in the 1980s. But when you read her memoir below he prepared her well, as he did with all of us.

Drew Takahashi is a director who co-founded (Colossal) Pictures, San Francisco, one of the most creative production companies of the 1980s and 90s, and one of the key creative suppliers to the first decades of MTV.

David Hyman became my head of marketing at the MTVi Group when the company purchased Sonicnet.com, one of David’s early digital music endeavors (he’s gone on as founder of MOG, one of the seminal digital music streamers).

…..

Susan Kantor: “Lead, don’t follow”. Love, Dale”

Hands down, Dale Pon was my most influential career mentor. Ridiculously smart, enormously passionate, admirably courageous and truthfully a little scary.

We would all brace ourselves for the moment the elevator doors opened and the sound of his fiercely determined walk in his trademarked cowboy boots could be heard. With the first, “good morning” would come a rapid fire interrogation of where we were at on all the “to do’s” he had just given us an hour ago. “Why isn’t it done yet?”

Leslie Fenn-Gershon and I used to joke about putting a Valium in his Perrier so we could get through the day.

When I got to the office in the morning there would often be a “note”, on my chair written with red Sharpie marker on yellow pad lined paper (pre-email), from Dale. His handwriting, had as much conviction as his spoken word. These encouraging notes were meant to guide, remind, teach, mentor or simply, to show his appreciation - often complimentary, occasionally piercing. I still have them.

“Lead, don’t follow”. Love, Dale

“Let’s make things happen!” Love Dale “

“There are children and there are parents. Be a parent.” Love, Dale “

“Everyone wants to be told what to do. Tell them.” Love, Dale “

“We had a good day today. Thank you for your help.” Love, Dale

As we chased rock stars around the globe helping MTV and VH1 revolutionize the music industry, and traversed across the county to position many TV and radio stations in their market, Dale always imparted the importance of what we were doing and demanded we do our very best, every day.

He recognized my innate work ethic, enthusiasm and willingness to do whatever it took to learn and succeed – he also knew how young and naïve I was. Ripe for mentorship and direction. I got both, and then some. The Dale Pon “boot camp” was not always pretty, but it was always colorful, impactful, memorable and most importantly, meaningful.

Not only did he teach me all about advertising and the importance of finding the unique selling proposition and saying it as simply as possible so people would remember it, he showed me the world and how not to be intimidated by it. He made me self-aware of my talents and my shortcomings. He also taught me there was no substitute for doing the work.

To this day, I love you Dale and I thank you for believing in me and giving me the chance of a lifetime.

Belated birthday wishes and hope to see you again soon!

…..

Drew Takahashi: “…he gleefully pushed me to do stuff I hated.“

After seeing you and the MTV crew took me back to good/bad old days. I realized I missed Dale Pon.

Back in the day I didn’t know he was a mentor. I only knew he gleefully pushed me to do stuff I hated. In the end I realized you and he knew what was better for me than what I knew. Someday I’ll learn my lesson.

Steve Linden and I went to shoot with Dale for WNBC [AM]. He asked us to meet him at Windows on the World bar for drinks and dinner. He showed up two hours later and Steve and I were suitably toasted. Then he insisted we join him in a very alcoholic dinner. I was so hungover the morning of the shoot I didn’t know how I could direct the talent, Don Imus. Dale apologized for needing to shoot something first so we didn’t roll my spot until the afternoon. Saved my ass.

Many more memories. The weirdest was him in the Colossal bathroom cleaning crabs of their guts for a surprise picnic in the middle of our animation camera shoot.

…..

David Hyman: “[He] always confused the waitresses.”

Here’s mine:

Dale came up with the name of my company, Gracenote. I think that just came really easy to him.

For a while he was a really great teacher to me. I stubbornly couldn’t take the occasional abuse that went with it, even though it was probably good for me. I was honored to be asked as the voice over for a $30 million tv ad campaign by Dale and encouraged to do voice over work. Thrilling to be informed I had career chops outside of sales & marketing.

Dale is the only person i know that would always order two margaritas for himself (at the same time). It always confused the waitresses.

.....

With Dale Pon @WHN Radio. 1977, New York City.

It was against all odds, but my late 70s stint in country music radio hooked me up with a mentor who made the difference.

Before I got to New York’s 1050 WHN, I was aware of the station. Well aware. Sometime in 1976, my friend/future partner/father of my beloved nephew and niece, Alan Goodman, asked me whether I’d seen some giant subway posters (the top photo above). Of course, I’d noticed them, with large portraits of Johnny Cash, Elvis Presley, The Eagles, Charlie Pride, Loretta Lynn, Kenny Rogers, Olivia Newton-John, Linda Ronstadt and seemingly dozens of other traditional and contemporary stars of the era. There were so many, they seemed to be everywhere. And, they were gorgeous, well designed, in a sea of drop-dead-New York graffiti, hum drum posters, homeless campers and mess, standing out like nothing we’d ever seen down there before. Too bad it was for music we couldn’t stand.

After I got the job with the station’s creative director and ad man, Dale Pon (another story for another time), I found out a bit about the thinking at the station and the advertising campaign. How did a city that was the home of the most sophisticated popular music of all time –to the likes of Duke Ellington, George Gershwin, Irving Berlin, Frank Sinatra– welcome the shitkickers in and become the second most popular radio station in the United States (or the world, for that matter)?

Dale was the supremely gifted Vice President of Creative Services, and he introduced me to Ed Salamon, the station’s innovative program director (Neil Rockoff was the General Manager who brought them together), who used a Top 40 radio approach* to country radio, upending the entire (typical New Yorker’s) notion that country music hadn’t evolved since Hank Williams.

No ordinary radio promotion guy, Dale had been a media buyer at Ogilvy, a radio upstart (a mild description) when the world switched from AM to “progressive” FM, and run radio ad sales teams. In the 80s, he would go on to successfully run his own advertising agency, and together we started one of the most famous media campaigns of all time, “I Want My MTV!”).

Dale Pon wasn’t going to promote the station as cowboy boots and hats, like the last team did. He wanted big ratings for WHN, big ratings. They all did.

* If you’re interested, Ed’s written a book that details his contrarian, and wildly successful, methods called WHN: When New York Went Country.

WHN Radio illustrations from top to bottom, all creative direction by Dale Pon 1977: New York City subway station double truck posters (L-R) Olivia Newton-John (obscured), Linda Ronstadt, Elvis Presley; Olivia Newton-John; Kenny Rogers; Television/Radio Age cover ads; Linda Ronstadt double truck subway poster.

.....

I Want My MTV! Early 1980s, New York City.

MTV had been on the air for six months and we’d fired the storied Ogilvy & Mather and hired Dale Pon’s LPG/Pon (a joint venture with George Lois) at my insistence. Now they were presenting their first trade campaign for advertisers and cable operators and my first big decision was being called into question. America is fast becoming a land of Cable Brats! “It’s audacious! Outrageous! Just like you guys.” George Lois was a big talker, a big seller, and a bit of a smart ass, loudmouth. He was also smart. Even though I knew he designed the “cable brats” thing, it was my brilliant mentor Dale, who’d never steered me wrong creatively or strategically, who was behind the whole thing. His ex-girlfriend, and now one of my best friends, Nancy Podbielniak, had written the copy. Besides, I agreed with Dale that generally trade advertising was a waste of time and bigger waste of money. Consumers were where it’s at, and weren’t all the tradesmen we were hopping to reach consumers too? If we had a knockout punch of consumer advertising our job would be done. I knew he was keeping his powder dry for the big show.

America is fast becoming a land of Cable Brats! There’s an incorrigible new generation out there. They grew up with music. They grew up with television. So we put ‘em both together – for the Cable Brats, and they’re taking over America! They’re men and women in the 18 to 34 age range advertisers want most – plus the increasingly important 12 to 17 segement. The Cable Brats buy all the high volume, high ticket, high tech, high profit products of modern America. They’re strong-willed, cunning, crazily impulsive – an advertiser’s peerless audience. They look and listen and they want their MTV. And they buy, buy, buy. Rock'n'Roll wasn’t enough for them – now they want their MTV. (The exploding 24-hour Video Music Cable Network (and it’s Stereo!)

George was certainly right. It was audacious, and it was a touch outrageous. Somehow, the tone wasn’t quite right, but after the crap Ogilvy had done for us, it was way better. Besides, hidden in there was the sand grain that was going to lead us to our pearl.

.....

I Want My MTV! 1982, New York City.

vimeo

I WANT MY MTV! took the phenomenon that had taken over the imaginations of young America and supercharged it into a famous brand with just about everyone in the country. I just googled [in 2010] “I Want My MTV” and it popped up almost 4,760,000 results. Pretty amazing for an advertising campaign that ceased to exist 22 years ago.* Pretty potent. The whole thing was the work of my mentor and friend Dale Pon. He’d been my first boss in the commercial media, at WHN Radio in New York when it was a country music station. He’d recommended me for my job at Warner Amex Satellite Entertainment Company, as the production director of The Movie Channel, and eventually as the first Creative Director of MTV: Music Television. We’d fallen in and out over the years, but in late 1981, when it came time for us to hire an advertising agency again –at first, the top dog had vetoed Dale as not heavy enough for a company like ours– with a lot of help from my immediate boss Bob Pittman, I was able to convince everyone that Dale understood media promotion better than anyone else in America. Anyone. Besides, didn’t he have “insurance” with his partner, legendary adman George Lois?

Dale Pon (via MTV: The Making of a Revolution)

No one had ever encountered an ad executive like Dale, because he had the unique ability to be completely and analytically strategic –”math and magic” Pittman might call it– and be wildly, and intelligently, creative at the same time. An almost unheard of combination, especially in media advertising. Sure, he had a volatile nature, in advertising that was often a given (look at his partner). But it was his strategic, creative abilities that really set him apart.

We’d already done our first trade campaign, the “Cable Brats,“ to the discomfort of most of the suits in the corporate marketing group (Bob and his team, me included, were in programming). But Dale didn’t buy into the efficacy of trade ads anyhow, so now were onto the big show, television advertising. The only problem was that we all recognized that an effective campaign would cost about $10,000,000. Our budget only had $2,000,000, and if we didn’t spend it quickly the corporate gods would probably take it away in the fall.

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"I want my Maypo” commercials, created by John Hubley

Looking back, the core creative ended up being the most straightforward part. Dale’s closest friend and creative partner, Nancy Podbielniak had written the cable brats copy and had a tag line “Rock'n'roll wasn’t enough for them – now they want their MTV!” That rung a bell in George Lois, someone who never missed a chance to abscond with someone else’s good idea, and decided to rip off his own knock off of a Maypo campaign from the 1950s and 60s (animator John Hubley originated it as a set famous animated spots, and George had unsuccessfully knocked it off using sports stars) and presented a storyboard that completely duplicated his version. Rock stars like Mick Jagger were saying “I Want My MTV” and crying like babies, implying they were spoiled children being denied. No one was buying it until Dale let me know that there was no way he’d ask Pete Townshend or Mick to cry for us. “Pride! They need to show their pride in rock'n'roll! They’ll be shouting!” After a little corporate fuss we were able to sell it in.

AMERICA! DEMAND YOUR MTV!

Now, it was the next part that was completely and utterly brilliant. Because Dale came from the school that great creative was all well and good, but unless it could move the business needle, what good was it? In this case, the needle wasn’t ratings (cable TV didn’t have ratings in 1981), but active households, distribution for MTV. Cable operators were all relatively old guys who thought The Weather Channel was a better idea; they’d turned a deaf ear to their younger employees who were clamoring for us instead.

To dramatically simplify the strategy Dale organized, he decided to only advertise in markets where:

• There was enough penetration to justify a modest ad spend.

• But where there were critically large cable operators on the fence about taking MTV.

• And that we could afford a 300 gross rating point buy (three times heavier as any consumer products agency would suggest) for at least four weeks in a row (the traditional media spend would call for pulsing 10 days on and 10 days off).

The “G” in LPG/Pon was Dick Gershon. Along with data from our affiliate group, he crunched and crunched and crunched until he came up with a list of markets and dates we could afford. It was 20% of what we needed, but everyone figured if we could really start to knock off a bunch of cable systems, get them actually launch our network, the domino effect would solidify MTV’s hold on the market forever.

Strategy in place, the creative was back on the front burner. The basic campaign was a great way to get famous rock stars endorsing our channel, but where was the close? What would actually make the 'ka-ching’ we needed? Luckily, back in the day there was only one way to for a homeowner get anything from your reluctant jerk of a cable operator (they figure they held all the cards, why should they do anything to make life better for their consumers?). And what was it that young adults loved to do? Dale knew immediately.

No one alive in front of a television set in the summer of 1982 could ever forget

Pete Townshend, with the wackiest haircut of his career, shouting at the video camera:

“America! DEMAND your MTV! Call your cable operator and say, "I WANT MY MTV!!”

We shot the spots wherever the rock stars would have us for 20 minutes (they still weren’t really sure this MTV: Music Television thing was going to be good for them). Our director and producer, Tommy Schlamme and Buzz Potamkin, got together with some puppeteers to choreograph the 'dancing’ stereo television. I asked my partner to go into the studio to edit the music sections when they weren’t rocking enough, and –poof!– famous advertising.

Nothing to it, yes?

* For comparison, “I Want My Maypo” posts 112,000 results on Google. Or “Where’s the beef?”, another famous 1980’s campaign for Wendy’s returns 176,000 (or if you only use that phrase, which has been appropriated for all sorts of uses, you get 2,640,000).

.....

“Mee, mee, me, meeee!” MTV Networks Online, 1999/2000 New York City

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MTV got Sonicnet in the middle of another transaction they thought would be more important. But as the internet heated up in the business world’s consciousness, Sonicnet.com became something they thought to pay attention to. Which meant that, as president of MTV Networks Online, I was trying to help make the thing successful.

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MTV had also acquired a then-unique personalized radio application. Coupled with Sonicnet, we decided an ad campaign would supercharge the site, something large media folks like us thought was necessary. (It wasn’t.*)

Over a few objections, I hired my brilliant, challenging mentor Dale Pon to create our campaign. Dale had done our the iconic “I Want My MTV” for me in the early 1980s and constantly proved himself to be the most creative and effective media ad man in America. The stunningly talented and perfectly musical film director Tim Newman was already on our online staff (after turning his back on a career that included some of the greatest music videos of all time), so he was really the only person who we thought could direct the spots. Dale hustled our head of marketing, David Hyman, into his one and only –and perfect– voice acting job. (And, I should put in a word for the Sonicnet logo. Designed by AdamsMorioka, from a concept developed by Fred Graver.

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You can see for yourself that Dale knew how conceive big ideas to bring out the best from stars. With Tim in the director’s chair, the results were pretty stunning. And, to cap it, Dale really knew how to use MTVi’s clout to reach for the stars (like Isaac Hayes, James Brown, Joshua Bell, Jewel, Pat Metheny, Sheryl Crow, Beenie Man, Gang Starr, Faith Hill, Lindsey Buckingham, Don Henley, Al Jarreau, Alice Cooper, Blink 182, Kenny Wayne Shephard, Bon Jovi, Buck Cherry, Charlotte Church, Christina Acquilera, Dwight Yoakam, The Ruff Ryders, Eve, Johnny Resnick (The Goo Goo Dolls), kd lang, Buck Cherry, Kelis, Lindsey Buckingham, Melissa Etheridge, Moby, Seal, Sisqo, Static X, SheDaisy, Hillary Hahn, Charlotte Church, Yo Yo Ma, and Sting.)

This campaign, like every other one I’d worked on with Dale over the decades, was a hoot. One of the best things to come out of my one year in the early corporate internet.

…..

* IMHO, one of the great mistakes media companies made during Web 1.0, was thinking that their traditional audience reach would give them huge advantage in building web destinations. They’d made the exact same mistake in the transition from broadcast to cable. It didn’t occur to them in either era that a basic misunderstanding of the newest medium –not knowing what the audience wanted from the upstarts– would not attract anyone to their websites.

And, by the by, the same mistake has been made from popular websites bungling the transition to mobile. And, so it goes.

#Dale Pon

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welanabananaworld · 4 years

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Us and the voice of dystopia

Jordan Peele’s latest film, Us, is as uncanny and disturbing as his first movie Get Out which proved itself to be a cinematic feat at the time of its release in 2017. Rightly considered as one of the fathers of the horror film renaissance (see also Ari Aster), Jordan Peele has been succeeding not only in addressing societal issues and in adopting a critical stance toward his home country but also in injecting an artistic vision in what is unfairly and generally regarded as second-class films.

In Us, Jordan Peele’s strong sense of composition and framing reveals the main theme of the film : the duality of human nature through the evil self. Nothing revolutionary so far. Many films of the genre have explored the mythology surrounding the figure of the doppelgänger from multiple angles. For example, Alfred Hitchcock’s and Darren Aronofsky’s use of the double has a psychological bent; to dig through Scotty’s perverse psyche in the haunting Vertigo (1958) and to explore a mental illness in Black Swan (2011), whereas in The Great Dictator (1940), Charlie Chaplin chose to play both Hynkel and the Jewish barber for satirical purpose. In Us, nothing of the sort. Remember what we said about Jordan Peele’s films? About how the horror genre disguises social subtexts? But before aiming at the true meaning of this human mirror, one should focus more on the narrative use of the voice which proves to be of utter importance to understand what is at stake, because if you really listen to the voice, you understand the whole film.

Us tells the story of Adelaïde Wilson’s family who goes on holiday at the seaside in Santa Cruz. A series of strange coincidences reminds her of the trauma she experienced there when she was a little girl while vacationing with her parents. She made a disturbing encounter in the hall of mirrors of a funhouse. She came face to face with a little girl who looked just like her. After this event, she could no longer speak for a while because of, it seems, a post-traumatic stress disorder. At present day, overwhelmed with fear, she confides in her husband about her past. The same evening, they discover four people standing outside their house, their doppelgängers. Ruthlessly hunted, the Wilson family will have to look inward in order to counter their own selves.

What strikes first when they all meet is that Red, Adelaïde’s double, is the only one who is able to speak, or rather utter words. She is struggling with very word she says, as if her speech production was failing her somehow. When she starts speaking, her voice happens to be hoarse, cavernous, husky, strained, even choked. Her disorder of phonation makes her voice otherworldly such as of a creature’s coming straight out of hell. It feels like she is not used to talk, actually that this is the first time she tries to pronounce and articulate words to create sentences. In this perspective, it is worth stressing Lupita Nyong’o’s astonishing work to produce Red’s chilling croaky and guttural voice. She used spasmodic dysphonia to make a creepy voice, that is a neurological disorder that causes involuntary breaks or interruptions in the voice due to an irregular flow of air. This language impairment, however, does not prevent Red from telling her story; the story of a dystopian world.

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Red and Adelaïde are two sides of the same mirror. One learns that everything Adelaïde does is mirrored and has an impact on Red’s life, only the other way around. Everything that is happening in Red’s life is a pale copy of Adelaïde’s achievements and takes on a nightmarish dimension. Red’s husband, Abraham, is rough and dumb; her daughter, Umbrae, is born laughing and her son, Pluto, is a dangerous arsonist. The ideal family meets the poor and sad version of themselves who now claims justice through revenge, hence the imagery of the good and evil self.

Throughout the film, the mise-en-scène keeps referring to the double as a warning or rather a prophecy as to the coming of those doppelgängers clad in red jumpsuits, which strangely resemble the clothing of prisoners. The clues left by the director are the following ones : the twin sisters of the superficial WASP family friends, the shadow of each member of the Wilson family projected on the sand while they are walking on the beach, the recurring number « 11:11 » featured here and there (an extract from the Bible, Jeremiah 11:11), Jason wearing a mask (maybe a reference to the iconic masked murderer of Friday the 13th whose name is Jason?), Jason’s drawing showing a kid who looks just like him, a toy plastic spider behind which a true spider appears crawling across the low table of the living room, and of course the daze of mirrors.

All those elements evoke duplicity and foresee a parallel world unknown so far. Red’s voice, alone, embraces all that imagery and embodies the punitive prophecy hidden behind the verse from the Old Testament book, the Book of Jeremiah, whose verse alludes to God’s wrath : « Therefore thus saith the Lord, Behold, I will bring evil upon them, which they shall not be able to escape; and though they shall cry unto me, I will not hearken unto them. » The invasion of the doppelgängers across the world is a divine plague orchestrated by Red from the underworld to take revenge.

In fact, what the film tends to reveal all along is the existence of an underworld located inside « the thousands miles of tunnels beneath the continental United States », which are « abandoned subways systems », as stated at the very beginning of the film as an introduction. Those subways are inhabited by people who are the product of a failed governmental scientific experiment designed to replicate the bodies of those above to manipulate them. However, they discovered that the « soul » could not be duplicated, hence the repudiation and neglect of that population now doomed to survive below the Earth’s surface, with raw rabbits as sole source of nourishment, and to « act out grim recreations of their respective partners’ above ground actions like sad little marionettes. »1 The scientific dimension of this governmental conspiracy is foretold in the opening credits by the camera progressively zooming out the caged rabbits. This shot conveys the idea of a sanitized laboratory. The existence of two opposite worlds is also mentioned by the shot which shows the funhouse twice, by night and day (darkness and daylight).

The organised overthrow, which takes as an example the Hand Across America charity campaign of 1986 (giant human chain), can be interpreted in many ways : an uprising against social inequalities, such as racial, gender and salary based discrimination, which undermine the U.S (or Us); a country where climbing in the social ladder is more and more unattainable for under-represented ethnic minorities. It can also be seen as a denunciation of what America has become, unfair, poor and divided; a denunciation of the famous ideology of American exceptionalism through the ostentatious display of American symbols distorted by the horror genre. The « tethered » are done being downtrodden and ostracized. They want to embrace the American myth that had been promised to them by taking their rights back and by building a new world, hence Red’s assertive reply to Gabe’s question « Who are you, people? » : « We are Americans. » They claim themselves as being true Americans (to be connected to the Native American reference of the original funhouse’s sign), free from all materialistic concerns.

Only, this does not constitute the twist ending of the film. Like all self-respecting horror films, Us is no exception in the matter and does offer a shocking one. And this is the voice which hints at it all along and that turns upside down the government’s theory about their human experiments.

Red’s whistling while walking up the alley of the Wilson’s family with a pair of scissors in her hand in the dark is where the truth really lies. If one has well paid attention to the details, one would have noticed that Adelaïde whistled the same way when she was trapped in the hall of mirrors when she was a young girl, as if to ward off the coming threat. Do you see my point? Why is Adelaïde so reluctant and does have trouble engaging in a conversation with Kitty on the beach? Why would Red be the only tethered to be provided with the ability to speak? Why this eager for revenge? Because Red actually is the true Adelaïde. Back to the funhouse in 1986, young Adelaïde’s clone, Red, was lured to go to the surface as Adelaïde progressively approached to her tragic destiny.

What the film did not show is that Red strangled Adelaïde until she fainted, dragged her down the tunnel, attached her to her bed in the dormitory and switched place with her among Adelaïde’s family, hence her early language deficiency. While Red grew up like a normal little girl and learned how to speak, Adelaïde lost progressively her language abilities growing up among zombie-like human beings, which proves that the government’s theory is wrong. The soul cannot be duplicated but this does not mean that the tethered are « soulless creatures ». If given the chance, as Red has had, the tethered would have turned out perfectly okay. They would have followed the regular human evolution process called « hominisation » or « anthropogenesis », the process of becoming human. Indeed, the doppelgängers all look like primitive animals. Pluto, by his gesture, reminds of a monkey-like primate’s attitude and Abraham’s moans, groans and grunts are those of Cro-Magnon man. Their names evoke ancient times, something rough yet to evolve, and the mythology of the doppelgänger, Pluto being the god of the underworld, Umbrae the latin word for shadow. Abraham is the « Father of the nations » which can be connected to the human chain the tethered seek to initiate to rise up and find they own humanity. Red’s name could refer to the color of the tethered’ garments, and thus evoke the state of imprisonment which they have been reduced to until now.

In this perspective, Red’s voice is not only the voice of dystopia but goes far beyond this sole and somewhat manichean opposition which is the driving force behind the narrative of the film. Red’s voice, by also being the voice of anthropological evolution, mainly serves to establish a connection between the latter subject and the current state of American society. With no equality of opportunity, people cannot equally seek higher social and intellectual status and end up being the slaves of the system. America has now no other choice but to drop her delusions and take her mask off.

1 Bojalad, A., (2019, March 22). Us, Hands Across America, and the failed American experiment. Retrieved from https://www.denofgeek.com/movies/us-jordan-peele-hands-across-america/

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daresplaining · 5 years

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not sure if you have been asked this before but how would you rate the daredevil runs from miller to soule, and why?

It has taken literally a thousand years to answer this, and I apologize– it’s just a huge question, even skipping all of the pre-Frank Miller runs (thank you for that, by the way– maybe I’ll rank them in a separate post, because I love a lot of the pre-Miller stuff!). Every reread brings with it new insight, and so my preferences are ever-evolving. That said, here’s how I would rank the main Daredevil runs from Miller onward (I’m not including annuals, mini-series, or novels, and I’m skipping the really tiny one-or-two-issue runs for the sake of brevity):

1. Mark Waid Daredevil volumes 3 and 4 are, for me, a perfect encapsulation of everything that makes Daredevil great. It’s all there! Smirking, swashbuckly Matt pulling off badass feats to save the day? Check! Dark, emotionally turbulent Matt trying to cope as the world falls apart around him? Check! An excellent supporting cast? Check! Fantastic hypersensory moments? Check! Great stories? Stunning art? Stilt-Man? Check! Everyone needs to read this run. It’s pretty much perfect.

2. Brian Michael Bendis I’ve learned that my Daredevil preferences tend to lean light(er…), but dang, Bendis writes a heck of a noir comic. He balances intense crime drama with striking character moments, changes the status quo over and over again (in a good way), and gives Matt some of the best zingers he’s ever had. (Seriously. Bendis’s Matt is really funny.) He also gave us Milla Donovan and Angela Del Toro, and for that I am eternally grateful. And whooo, that Alex Maleev/Matt Hollingsworth art… This is a classic, enduring run for a very good reason.

3. Karl Kesel/Joe Kelly Okay, I’m cheating here. These are two separate runs. But they happened back-to-back, had the exact same tone, and were great for all of the same reasons, so I usually squash them together. If Karl Kesel and Joe Kelly have a problem with this, they can take it up with me (preferably in person– I have a lot of comics for them to sign.) These runs are fun. The Daredevil pendulum swings from light to dark and back again, and these guys landed on the upswing, after Matt had reconnected with his quippy, swashbuckly past. They feel old-fashioned, nostalgic in the best possible way, not afraid to be a little silly while still delivering solid, character-rooted stories. And it helps that the cast of characters is top-notch. Karen is around, trying to re-start her life while juggling humorous relationship issues with Matt. Foggy’s family drama is on full-force as Rosalind Sharpe and Candace come to town. Misty Knight stops by, as does Natasha Romanov. Kathy Malpher, one of my favorite minor DD characters ever, has lots of panel time. Deuce the Devil Dog is there. And it all ends with the breathtaking DD #375, which has got to be one of my top five favorite issues of all time. If you haven’t read these runs yet, go do that and thank me later.

4. Frank Miller Darkness is only effective when interspersed with some light, and lightness is only effective when injected with some darkness, and Frank Miller (pre-”Born Again”) hit that perfect balance. It’s noir. It’s deep. It’s intense. It’s also some of the funniest Daredevil material ever written. Please go back and read “Guts”, or “Hunters”, or the Power Man and Iron Fist crossover. Let me say it louder, because I feel like I’m alone here: I love Frank Miller’s Daredevil because it is FREAKING HILARIOUS! And it goes without saying that “Born Again” is also stunning– definitely one of my favorite DD stories. And he gave us Stick and the peerless Elektra Natchios (three different versions of her, in fact) and the world has never been the same.

5. Denny O’Neil Denny O’Neil had the misfortune of getting sandwiched between Frank Miller’s two runs, and I feel like that’s the reason he doesn’t get the attention he deserves for some truly fantastic comics. Uh… weird comics, in a lot of cases, but heck, I like well-done weirdness. O’Neil added an international angle to the comic. He sent Matt to Japan and Italy (and even- gasp- New Jersey) and brought in Glori O’Breen, a great character even with her slightly over-the-top accent. He reconnected Matt with Natasha Romanov for a few beautiful one-shot team-ups. He killed off Heather Glenn in a horrible way, but did it with such grace and style that it didn’t feel entirely gratuitous. And he’s responsible for “The Price”– one of my favorite stand-alone issues. Plus, the fact that he was working with David Mazzucchelli didn’t hurt either.

6. Ann Nocenti Superhero comics– superhero comics writing in particular– has been a white male-dominated profession for far too long, and there are far too few women who have written Daredevil. I hate to start a discussion of Nocenti’s run with “Look! A woman!” but it’s worth pointing out because look at this list. Seriously. (And for anyone unfamiliar with the pre-Miller runs, I assure you, it’s more of the same.) Ann Nocenti’s run is fantastic for the ways it really digs into the heart of the material. She took the post-“Born Again” landscape and ran with it. This was the period that tied Matt to Hell’s Kitchen, and Nocenti made that plot point stick by showing us the fabric of the neighborhood, bringing in characters like the Fat Boys, placing Matt and Karen within the community with the founding of Karen’s free clinic, and turning the Hell’s Kitchen of the Marvel universe into a living, breathing place. In contrast, she also took Matt out of the city, and in doing so, wrote some of my favorite Daredevil stories. She wasn’t afraid to address pressing social issues. She wasn’t afraid to tell stories that were just plain weird. And her run is utterly unique and complex as a result.

7. Ed Brubaker/D.G. Chichester Yeah, okay, this is really cheating. These are two completely different runs, but they are nevertheless tied because of the same factor: I adore some parts, and dislike other parts. “The Devil in Cell Block D” (the first arc of Brubaker’s run) is phenomenal. I re-read it a lot. So is “Last Rites” (by Chichester). Chichester wrote two of my favorite stand-alone issues: “34 Hours” (vol. 1 #304) and “Just One Good Story” (vol. 1 #380). Brubaker gifted us with the awesomeness that is Maki Matsumoto (A.K.A. Lady Bullseye), and Master Izo! Chichester gave us D.A. Kathy Malpher, one of my favorite DD characters ever (bring her back, Marvel! Where did she go?)! Also, his hypersensory writing is visceral verging on gross– which, for me, is ideal. However, Brubaker’s run went downhill a bit after the first arc. I mentioned the light/dark balance in regards to Frank Miller’s run, and Brubaker went all dark. (I consider it the darkest DD run yet.) It’s great storytelling, but not my style. And while I love his shorter arcs, Chichester’s longer work– “Fall From Grace” and “Tree of Knowledge” in particular– don’t do it for me. I find them overly convoluted and lacking substance. Also, while Scott McDaniel draws my favorite rendition of the radar sense, he’s my least favorite DD artist. D.G. Chichester + Lee Weeks 4ever.

8. David Mack I like “Vision Quest” a lot more than “Parts of a Hole”, though that’s somewhat due to the artist switch partway through the latter. “Parts of a Hole” did an excellent job of introducing Maya Lopez, and has a lot of great moments, but “Vision Quest” is practically a piece of fine art. It’s stunning, both narratively and visually. I consider it more of an Echo comic than a DD comic, but it still belongs on this list.

9. Charles Soule I haven’t had a chance to reread this run in its entirety, since it just ended, and I really need to do so because I’m having a hard time figuring out my feelings on it. There are aspects of Soule’s characterization of Matt that I disagree with. The sensory writing varied in quality, and we clearly have different perceptions of the radar sense. There was a distinct shortage of female characters– and, in fact, of side characters in general. And the mind wipe was a huge misstep, since it erased so many of Matt’s long-held friendships. In a comic that has traditionally drawn much of its power from its strong supporting casts and Matt’s dynamics with them, that decision has caused serious lasting damage. However, there’s also a lot I loved. Sam Chung, though (I feel) underused, is a great character in his own right, and he also provided the chance for us to see Matt in a long-term mentorship role– something I’ve wanted for a while now. Muse was a fascinating and terrifying antagonist. And Soule’s perspective as an actual lawyer added extra zip to many of his stories, whether it was putting Matt in the mayor’s office (finally!) or sending him to the Supreme Court in what may be my favorite law-centered DD story ever. But the real reason Soule’s name is this far up this list is because of the “Double Vision” arc (or, as I call it, “Mike Murdock Must Die 2.0″) which is sheer brilliance, and to my mind, one of the greatest Daredevil stories ever told.

10. Bob Gale “Playing to the Camera” does not get nearly as much credit as it deserves for being a genuinely hilarious superhero law-based comedy of errors, and a bright spot amid the angst-fest that is Daredevil volume 2. My major complaints are that it’s too short and I dislike the art.

11. Andy Diggle I don’t dislike “Shadowland”. I don’t love it, but it’s a cool story concept that suffered– as events often do– from storytelling spread too thin, across too many characters, in too short a timespan. (Though I need to know if he came up with the “Matt Murdock dared evil… and lost” tagline, because if so, that wordplay would rocket him right to the top of this list.) I prefer the lead-up to “Shadowland” to the event itself. But I love DD: Reborn (yes, I said I wasn’t going to cover mini-series, but it’s essentially part of the main comic because it bridges the gap between two volumes. I say it counts). I’ve always enjoyed stories that take Matt out of NYC, and Reborn is a fun adventure story that gets back to basics and serves as a great bookend for volume 2.

12. Scott Lobdell I like “Flying Blind”. It’s quirky and unusual (which I appreciate), and Matt is written very well. I just don’t love it. It’s one of those arcs that slides right to the back of the memory and only returns to the forefront when you’re reflecting on the first time Matt ever saw Foggy, or wondering if Matt’s bad French in Brubaker’s run is left over from his SHIELD-implanted fluency. It’s a neat idea, but could have been executed in a more engaging, lasting way.

13. Gregory Wright This short run went right out of my head the instant I finished it the first time, and upon rereading it has remained fairly unmemorable. The art is hit-and-miss, and the story– while perfectly fine– isn’t anything exciting or innovative. There are some great hypersensory moments, it’s worth reading, but I don’t have much to say about it beyond that.

14. Alan Smithee “Alan Smithee” is a pseudonym used in the entertainment industry by writers who don’t want to be associated with a certain project. The commentary on manwithoutfear.com states that this run was actually written by Chichester, who used the pen name as a way of protesting his abrupt firing from the comic. I treat it as a separate run, since that’s clearly what he wanted. I always tend to group the Wright and Smithee runs together in my mind because they take place one after the other, are both very short (only 5 issues each), and are very similar in both tone and quality. I like the art in Smithee’s run more, and the writing is solid. However, the whole thing is colored for me by the horrific and unnecessary death of Glorianna O’Breen, a character I love. I’m perfectly fine with characters dying if their deaths are well-written and impactful (heck, I’ll be honest– I love a good death), but Glori’s demise just seems gratuitous, and is therefore not appealing to me.

15. J.M. DeMatteis This run is super weird, but not in an interesting way. It leans toward the religious, which is not my thing, and it relies on the dead sex worker storyline from Man Without Fear, which is really not my thing and should have stayed out of the main continuity. It’s good to read, because it’s a major shift in Matt’s life and sets up the fabulous Kesel/Kelly runs, but… eh. That said, Matt battling his different identities in a graveyard while getting heckled by Stick, and yellow suit DD running around creating mayhem, are 100% my things… so credit where’s it’s due.

16. Kevin Smith You may have noticed that “Guardian Devil”, the first arc of Daredevil volume 2, the run that rescued the series after its cancellation and brought Matt Murdock to the forefront of the Marvel street-level universe once more…! …is rarely ever mentioned on this blog. That’s because I really don’t like it. At all. I’m grateful to Smith for bringing readers back to DD, but would be happy if he never wrote these characters again. His run is poorly paced, out-of-character, and covers themes/topics/etc. that I personally don’t enjoy. I forced myself through it because I’m a Daredevil completist, but I haven’t read it again. I probably will someday, just to make sure I remember all of the key plot points, but… not yet.

#Daredevil #Asks #Commentary #Recommendations List

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