#just looked it up and it's the skrillex remix of Cinema

[pigeon-wizard]

I'm never gonna forget that time Paranatural made the perfect visual representation of that one song 

[boobsaibot]

my very stupid hc for the turtles (mostly bayverse in mind) ((not srs))

raphael

-that one annoying kevin gates listener (time and place? never heard of it.)

-doesn’t care for celebrity gossip unless it’s superrrr juicy, then he spends hours watching tik toks about it then talks about it with mikey (and leo, but he doesn’t really care then he gets mad when he’s not listening)

-i feel like in his 20s his anger isn’t as bad as it used to be,, that being said i bet when he was younger some shit just made him irrationally angry. he had an epiphany when he broke something and cried about it bc he hated minions so much

donatello

-if he had a girlfriend i can guarantee you his chosen song for them is skrillexs remix of cinema. i was gonna joke that he probably listens to fuckin demondice but that’s just too far so pretend i actually did instead

-i think if most people had to guess who would be the stoner they’d say mikey, but mr mike is already high on life. it’s donnie. he’d probably say some shit like “it helps me focus” ok i know ur not fr watching the movie robots for inspiration

-kind of a keyboard warrior. i can see him getting into random fights with people online bc he knows he’s smart and wants to rub it in people’s face a little. but beware, don’t reply with “actually 🤓☝️” or he’s gonna dox you

mikey

-made a complete fool of himself when he was young and posted a selfie on the internet. he turned into an internet mystery and donnie had to spend several years wiping it completely from the internet, and still keeps an eye on it. he currently has no social media.

-does soundcloud count? not really, right? he uploads raps pretty frequently, he gets a good amount of attention, even more so when he’s bad on purpose. people think it’s funny enough to use as a sound for their tik tok trends. would rap to this beat: https://youtu.be/abph2y2eIdQ?si=84QDlAGPnVTfKllb

-excellent painter. incredibly artistically gifted. tried to paint on pants and basically walk around nude all day for the perfect prank, except everyone found out almost immediately and he got his ass beat for sitting on and ruining the furniture with his paint skid marks

leo

-tries to watch shit like poor things with his brothers and expects them to take it seriously. it’s not that they can’t find it tasteful or artistic, but they’re definitely not missing an opportunity to be immature and piss him off

-used to fall for those boomer ai posts. would genuinely ask donnie if a 4 year old made a sculpture of jesus with washboard abs out of plastic coke bottles. (he still does sometimes)

-since i head canon him as the resident tattoo artist im willing to bet he put a hidden dick in raphs intricate tribal tattoo. it probably only vaguely looks like it up close, but the intent was definitely there

[fiftytwotwenty]

Movie Monday - Mar 30th, 2020

"Best Movie Mixtape"

"*aka - BEST SOUNDTRACK*":

**A Top 10 List**:

* Disclaimer - Because the best way to Kick off a Highly Arguable Topic is a Declaration of Disclaims:

EXCLUSIONS:

Soundtracks highlighting Singular Artists: So Sayonara Purple Rain, A Star is Born (2019), and Toy Story 1 and 2 - We all know Prince is King, Gaga is a Unicorn, and Randy Newman looks a Wal-Mart Greeter with Jazzy Windpipes but We are looking for a Perfect Movie Mixtape.

Musicals: Sorry, West Side Story, Grease, and The Greatest Showman - We promise to watch you on VH1 this weekend.

Story Specific Song Soundtracks: LL Cool J can host a Lip Sync Battle between Aladdin and Princess Anna as soon as Disney's copyright expires in about 70years.

Soundtracks Highlighting Musical Groups/Bands: That Thing You Do, Straight Outta Compton, and Bohemian Rhapsody - We will Sing Your Tunes again at the Top of our Lungs when the shades are pulled and we are all alone in our home.

Pure Score Soundtracks: John Williams, We love what you did for Star Wars and Indiana Jones but we need a little more verbal queues.

Instrumental Soundtracks: We are talking to you Kubrick. *

Some Quick History - The First commerical Soundtrack came from Walt Disney's Snow White and the Seven Dwarves (also the first time Disney milked his creation for all they are worth) in 1937. The first Instrumental/Score Soundtrack didn't drop until 1942's Rudyard Kipling's Jungle Book (NOT the Disney version). The first Pop Song Heavy soundtrack was birthed with a Short Experimental Film called Scorpio Rising in 1963 - it had no written dialogue and used music from Elvis, Ray Charles, and more to carry the story. Some reports go on to say the One of the First (but Not the First) Mainstream Full Length Feature film to pair with a Pop Soundtrack was Easy Rider (1969 - starring Jack Nicholson and Dennis Hopper) and ever since cinema has been churning out the Movie Mixtapes like Duckie.

Over the last 3 weeks I have researched, reviewed, heard, and discussed almost 100 different Soundtracks and Boy are my Ears Tired!

So, Hop in Your Whip, Roll Down the Tint, and Get Ready to Bop because Here is My Comprehensive List of Best Movie Soundtracks Hits:

#10: Suicide Squad

Mostly Rap and Hip-Hop this Soundtrack totally makes up for the film which was lacking. This album is filled with tasy tunes and collabs from Lil' Wayne, Imagine Dragons, Action Bronson, Logic, Rick Ross, Rick James, Skrillex, Eminem, and even Etta James. One of the Best Things to come out of DC.

#9: Drive

Bust out your White Jacket and Driving Gloves cause we have a Synthesizer worth Cruisin' To.

#8: The Big Chill

WHAT! You haven't seen The Big Chill? Yeah, I believe it. The movie is probably not on many peoples minds but The Big Chill is an appropriate description of the soundtrack- Motown Heavy Hits to Cozy up to. Chill with The Temptations, Marvin Gaye, and Aretha Franklin.

#7: Garden State

Extra! Extra! Pretentious Indie Flick makes Good with Pretentious, Yet Still Enjoyable, Indie Soundtrack! Mellow Out and Brood with The Shins, Cold Play, and Simon and Garfunkel.

#6: (500) Days of Summer

A more upbeat Garden State-esque Soundtrack - (500) Days of Summer experiences the Highs and Lows of being in love. You also fall in love with hits from Regina Spektor, The Smiths, Hall and Oates, and even stylings from the Leading Lady, Zooey Deschanel.

#5: Guardians of the Galaxy

Peter Quill's Mom was not Joking when she dubbed her cassette "Awesome Mix Vol. 1". An oddball movie that makes an odd pairing of music which gleefully works. Bring on the Blues Suede, David Bowie, and The Jackson 5 to name a few.

#4: Dirty Dancing

Oh yeah, this soundtrack will take you back. Flit and Sashay Away your Day with the buzz and hums of Bruce Channel, The Blow Monkeys, and an Original Diddy sung by Patrick Swayze himself.

#3: Dazed and Confused

You know what I like about this Soundtrack, Man? I Get Older, It Stays The Same...This Soundtrack is Your Personal Time Machine to 1976 with (Now Classic) Rock of ZZ Top, Kiss, Ted Nugent, Leonard Skynyrd, The Runaways, Deep Purple, and Black Sabbath.

#2: 50 Shades of Grey

I know! I am shitting my pantaloons with this one - to be honest this was almost my #1 Spot. 50 Shades gives us a Smooth Soundtrack featuring The Weekend, Ellie Goulding, Beyonce, Sia, and even Frank Sinatra - but what's keeping 50 Shades from the Top Spot... It's just a little too chill - Imma gonna need a little more Foreplay for Everyday Play.

AND FOR OUR #1 MOVIE MIXTAPE...

Drum Roll, Please...

#1: Deadpool 2:

Don't Count Out Deadpool. Sure it seems like it would be Rough and Tough Soundtrack, but Deadpool makes it easy for us to get in tuned with our Soft and Vunerable side as well - a Perfect Mix of Dubstep, Rap, Ballads, and Pop.

Full Track List (Red/Italics Tracks are Bonus Tracks from the Deluxe Soundtrack):

Ashes (from "Deadpool 2" Motion Picture Soundtrack) - Celine Dion

Welcome to the Party - Lil Pump, French Montana, Diplo

You Can't Stop This Motherf**ker (Choir Only Mix (from "Deadpool 2")) - Tyler Bates

Deadpool Rap (X-Force Remix (from "Deadpool 2"))

Nobody Speak - Run The Jewels, DJ Shadow

In Your Eyes - Peter Gabriel

Take on Me (MTV Unplugged - Summer Solstice) - A-ha

If I Could Turn Back Time - Cher

9 to 5 - Dolly Parton

All Out of Love - Air Supply

We Belong (Single Version) - Pat Benatar

Tomorrow - Alicia Morton

Mutant Convoy - Tyler Bates

Bangarang - Skrillex, Sirah

Ashes - Jordan Smith

Love Hurts - The Osborne Brothers

Fight Dirty - Guignol

Fly Like an Eagle- The Steve Miller Band

Honorable Mention BONUS SOUNDTRACK:

- #11: Space Jam

[thelonguepuree]

Four spring break seasons have come and gone since the release of Spring Breakers, and in that time the film’s legacy seems to have hardened around that aforementioned gem of contemporary oratory, Alien’s “Look at my sheeyit!” speech. In it, Alien appears as a godson to Gatsby, flaunting his “sheeyit,” hoarding shorts “in every color” and diffusing fragrances – Calvin Klein ‘Escape’; Calvin Klein ‘Be’ – in what may be the first time a film has succinctly spritzed its central tension at its viewers. Alien’s ardor for weapons produces a peculiar synesthesia (he raves about “different flavors” of shurikens) and more garden-variety paranoia (at every window, a sniper rifle is cocked). If the viewer has any doubt that Alien’s affection for firearms is real, in a scene less-shared but to my mind just as important as the speech, the film even lets us in on the consummation of this relationship: two-thirds of the way into Spring Breakers, Alien gives a gun a blowjob.

[…]

There’s a parallel act in French writer Jean Genet’s short (and only) film Un Chant d’Amour (1950). There’s other gun fetishism in cinema and popular culture, too – from the gun-embracing revolutionaries in Bruce LaBruce’s Raspberry Reich (2004) to photos by Helmut Newton to the countless action heroes who conflate their guns and dicks – but because it is Genet’s scene that Korine is so clearly citing, it is Genet’s scene that I wish to unpack here. Set in a French colonial prison, Un Chant d’Amour centers on two prisoners (Lucien Senemaud, Java) and the voyeuristic guard (André Reybaz) who keeps watch over them. It turns on a series of turnings-on: to cope, the cooped-up prisoners create escape tunnels for their breath, poking small airholes in the wall with a reed and blowing smoke back and forth. This in turn draws the attention of the guard, who shoves his gun in one prisoner’s mouth and forces him to fellate it.

The scene is shot close, the prisoner’s face illuminated, darkness behind him. As the gun intrudes from the right and enters his mouth, he maintains eye contact with the guard for a few seconds, then stops. His face is slowly pushed out of the frame by the pressure of the guard’s rocking. We cut to an extended shot of the guard’s face, seizing up with pleasure. We watch the guard beat another prisoner, who retreats into fantasy: he and his fellow prisoner alone together, romping and reclining in a forest and then a field. The film is a paean to fantasy’s power, and we close with the guard watching the two prisoners from an open courtyard, despondent in his knowledge that his gun cannot rupture their private spaces, as they swing a bundle of wildflowers from one cell’s window to the next.

Korine’s gun fellatio is framed just like Genet’s, but unlike in Un Chant d’Amour – where the prisoner looks away from the guard, and then inward, as the camera flicks its gaze over to the guard’s face – here we remain with Alien, whose eyes are locked with the girls’. And if Genet illuminates his prisoner’s face against a stark background, the better for fantasy sequences to bloom against, Korine hangs a tessellation of weapons behind his. In other words, if Un Chant d’Amour’s scene of gun fellatio describes a love that circumvents and looks beyond violence – a love that circumvents the gun fellatio itself – Spring Breakers posits the act as catalysing a love that could not exist prior to the gun.

From the gun’s structuring of interpersonal space in these two scenes, both films deploy theses about guns and the navigation of space more generally. Spring Breakers and Un Chant d’Amour depict serious constraint: Genet’s prison cells are rendered stifling by their lack of light, color, and sound; Korine’s Florida achieves the same effect through sensory overload: the sun’s glare, the neon hues of its characters’ tank tops and Vespas and koozies, and the never-ending reverberations of its Skrillex-scored soundtrack. But if the rub of Genet’s film relies on the contrast between the violence and claustrophobia of jail cells and the light, airy openness of the bucolic spaces in which fantasy takes place, Korine’s film calls into question the very existence of such fantasy spaces – of the validity of a broad swath of discourse that conflates the conquest of outer space with inner ease. This discourse of conquest fuels Alien’s drug empire, and also the ritual of spring break.

[…]

The optimism of Un Chant d’Amour is that the gun is ultimately no match for fantasy. The paradox of Spring Breakers is this: guns can open up spaces of prosperity and fantasy and communion and love, but also close them off. There are some people who seem to reside at this paradox’s most dangerous junction, and that precarity makes them hard to look at. Not looking, in Korine’s view, is worse. It means we never consider the possibility of entanglement. Yet mere looking does not guarantee anything either.

As in Un Chant d’Amour, where gay love exists in opposition to the colonial prison, it’s not clear what forms or institutions Spring Breakers’ ambiguous and often oppositional gestures of care – the gun fellatio among three soulmates, the revenge killings between best friends, the homecomings promised to invisible mothers – could congeal into. It seems to be a mark of Korine’s own optimism that this film still scans its Floridian vistas for something that might, like Genet’s bouquet, have once grown, something that might grow still. What Korine seems to propose is akin to the act of assembling a bouquet from whatever’s at hand – or, as he has described the film, an act of remixing. Take the things of which some viewers are most fatigued: gun violence, James Franco, consumerism, Britney Spears, Scarface, Skrillex, Calvin Klein Escape, Calvin Klein Be, and recombine them such that they are seen anew, in a light that is more tender if not especially flattering.

Spring Breakers hinges on the gun not fired – the rifles propped against the window joints, forestalling disaster; swung by Alien’s sides, like ski poles slowing his fall; thrust in his mouth as he falls in love. These moments evoke the razor-thin edge of the word “guarded,” which means to be safe, which means to be closed off.

Right now, there are about the same number of guns as people in the US (far more if we count the military ones). A few are going off; some are stashed away; some are loaded, gripped or otherwise gripping. Spring Breakers calls for us to pay attention: not only to the staccato of gunfire, but to the ways guns and us more quietly click. In forcing us to reckon with gun love’s most and least nourishing aspects, the way it helps someone like Alien “take off” even as it facilitates a whole cycle of taking and offing, Spring Breakers offers a rejoinder to those who would simply take guns away, or call their proliferation madness: some offering is needed in their place.

from Lilia Kilburn, “Blow Guns: Escapist Erotics in Spring Breakers”

ok might be revising my stance on Spring Breakers