#most annoying commercials 2012

[polyhexian]

I finally sat down and gave "The Great Automatic Grammatizator" a read, per your recommendation. The parallels with AI are apparent, and I did exit the story with some thoughts about the commodification of creativity, but I'm curious how it affected *your* approach to writing and art in general

It's really relevant to AI stuff, but it means something different for me.

I don't usually talk about youtube here because i don't want youtube people coming here nor do i especially want people from here going to my youtube, but its too relevant to leave out, so i'm gonna put this under a cut.

I read "The Great Automatic Grammatizator" in 2012. I'm gonna have to drop a couple fun facts today for anyone thats new; #1 being unfortunately i am a youtuber and #2 being i got human trafficked in 2012 lol. whoops. Anyway. in 2012 I was living in Beijing and I worked at this school where i had a one hour break in the middle of the day ostensibly for lunch but there really wasnt anywhere to go so, i usually just used it to hide in a closet and nap. since i never got enough sleep. and at one point i found a book that was a collection of roald dahl's adult oriented short stories, and it was the first english book id had access to in ages, and it would be like, awhile before i got a vpn and access to most of the english internet again.

So I read it and this is really the story that stuck with me and persisted. I've always been an artist, ever since I was a child. Everyone around me knew I was inevitably going to be one professionally. And when I got back from the US i worked for an on demand t shirt company as a graphic designer working on digital embroidery stuff. and then, of course, later on i'd become a youtube animator.

The difference between what I do now and what I did when I was younger is that art is my job now. Thats my income. Thats whether I eat or not. Art for money always comes before art for arts sake. I can't count the amount of times I've had something I really wanted to invest my time in- like Bruno is Orange, if you've ever seen it, which took me months- and I just can't justify it. I don't have the time for that kind of thing. If I'm making art, it has to prioritize profit. it just does. and that sucks out everything i like about art and leaves behind a shell where i no longer do. It's not just that I can't make whatever I want, its that I always have to edit what I DO want into something thats more palatable, more widely appealing, more tailored to my audience. I can't risk making something that might alienate them. I joke all the time about how my subscribers are begging me to stop posting transformers but. unironically, i DO lose subscribers every single time i post transformers. every time.

theres a difference between being a successful artist and being a successful artist commercially. you're making a product. you're making content.

what all that leads to is that golden contract. it's money for your morals. its taking the easy way out at the expense of your soul. its selling out for safety and what a relief that is, but you will never sleep at night again.

I've joked before about how I've turned down a RAID sponsorship but- i have. i did actually do that. hellofresh literally sends me a daily email about partnership its getting annoying. but i don't... i don't take sponsorships. its not the idea of sponsors i hate, its that every potential sponsor is a golden contract.

i think RAID should be illegal. I think its gambling and selling gambling to kids should be a crime. I think it needs to be under the same restrictions all gambling is. I think selling gambling addictions to children is evil and I've spoken about this at length before. Could I accept money to tell my audience to download it? You're not just playing an ad, you are putting your face on it, its your endorsement. you are telling people to do it. And youtubers joke about how its basically a meme at this point, its not like anyone actually downloads it, but- yes they do? if they didnt they wouldnt keep sponsoring people. They're making a profit. they're getting new users. Can I knowingly promote with my own words and my own mouth something I think is so heinous because im being paid for it?

that goes for basically all of them. fuck audible and amazon, fuck raycons, fuck honey, fuck dollar shave club and nord vpn and that overpriced cereal and the mattresses and all of it. You can look into all of them but theyre rife with cheap garbage sold at jacked up prices no better than dropshipping or predatory marketing practices or deceptive advertising or just straight up being no better than scams. Do you remember the esteemed titles situation recently? huge youtubers were involved with promoting this massive scam that they could have found out was scam with like twenty minutes of googling, but... no one did.

its the golden contract. take the money and bite your tongue. sell out and feel safe again, at the expense of the world around you. let someone else move your hand and place words in your mouth, be a vessel of capitalism with one hand while denouncing it with the other like the hypocrite you have to be.

i cant do it and sleep at night. i had a rough time in beijing. i learned how to be hungry there, and I learned the hard way that everyone will do things they never believed they could or would when theyre hungry. So when I say it, I know what I mean, I know what starving feels like and I know what its like to wear three jackets to bed during a blizzard and shiver all night without heat or electricity, and I know what its like to hike miles in the snow to work, and I know what its like to work on christmas and to work with a fever and to be afraid of people you work with. i know exactly what im saying when i say i'd rather starve than have a full cabinet at the expense of my integrity. ive fucked up a lot in my life and ive done a lot of things i regret, but not on purpose. i wont walk headlong into something i know is wrong on purpose. and i know that im not the only one that suffers. i have friends now. no one is going to let me go hungry this time. no one is going to let me be homeless or starve to death. which means when i cant take care of myself, someone else has to help me. im putting that on everyone around me and im not proud of it.

turning down that golden contract doesnt just impact you. it impacts everyone around you. i could make more money making outrage content on the internet but i won't. its that last line. "Give us strength, oh lord, to let our children starve" that always comes back to me. take the contract, feed your family. go to hell. turn it down and inflict suffering on yourself and those around you but refuse to make the world a worse place to live in. its the "press the button to get a million dollars, but someone somewhere dies" dilemma but on a small scale, death by a thousand cuts.

so thats what its about. thats what it means.

[qwanderer]

The Saga of Me Trying To Watch the Leverage s5 Commentary (Legally) With My Mom

Okay, so for a while my family has owned one copy of “Leverage: The Complete Series” on DVD which I bought new as a present for my sister, as well as individual copies of seasons 1 through 4 which I picked up secondhand at my favorite thrift shop. We discovered pretty early on (before we found the secondhand copies) that The Complete Series disks didn’t like certain DVD players, including my parents’ DVD/BD machine, so I brought my old DVD/BD player over to my parents’ place where we watch TV on Saturdays.

This is a disk player that I bought in maybe 2012 or 2013. And it had been showing signs of its age since, oh, 2017? It sometimes likes to stop working until it can have a rest in a cool place and not be used for a while and then it works again. The last time it stopped working, maybe during s3?, I tried to play The Complete Series disks in my parents’ player again and went “oh right, that doesn’t work” so I tried the secondhand disks and they were fine, so we’ve been using their player since then. It’s also old and has been known to do things like skip, and eat disks, but since we gave it a nice airy heat-conductive muffin tin to sit on, it’s been pretty reliable.

I forgot about this whole thing until we tried to start Season 5 and the Complete Series disk, of course, still did not like that player.

I was like “No biggie, my player has probably had enough of a rest, we can switch back to that!”

That worked for about half an episode, and there were some laggy bits in there, before it stopped playing entirely.

So obviously I was like “well I will get a new disk player,” because the players were old and I thought the chances were good that a new player would have a better chance of being compatible with picky disks.

The new player arrived! I installed it! The Complete Series S5 Disk 1 completely failed to play!

(This is my mom’s second watch-through and my third, but our first with commentary. Usually we spend two weeks on an episode, commentary the first week and regular audio the next, and since we started s5 we have been listening to pirated commentary audio by itself on the first week [I feel zero bad about this, WE OWN THE DISKS] and watching the regular episode on freevee on my laptop the second week. Not getting any visuals with the commentary and getting commercials in the episode is annoying, but it’s a net pleasant experience still.)

My first reaction was, “Okay, I need some new disks,” but my search of Amazon came up with a $57 dollar option, a zone 2 copy, and not much else, so I decided to explore other avenues for a while first.

So I was like “Well if the new player isn’t working, but an older one did, I should use The Oldest Player I Have” which is the DVD drive that I pried out of the premade desktop I bought in 2008 after it died. That drive. Is. Solid. It is the most reliable disk player in my life. Possibly because it lives in a drawer most of the time because it’s annoying to set up and won’t play my blu-rays. But it laughs in the face of scratches. I tested it out with another disk and it worked fine.

Confidently, I brought it over to my parents’ place, set it up with its special powered converter cable, plugged it into my computer, and put the disk in!

Nothing happened! No good!

I considered hulking out, but ultimately thought it was time to cough up the $57 instead.

This time, when I searched, there was a nice friendly $18 option, with nothing in the description about zones, which has bit me in the ass before, but it’s $18, I figured, so I bought them. (I think the S5 search was a little wonky because the cover just says The Final Season, but they fixed it I guess.)

Today they arrived!

The player I have access to right now is my old 2008 DVD drive, so I set it up with my laptop and opened it up. The Complete Series S5 Disk 1 got forgotten in there! I set it aside and put in The Final Season Disk 1.

No good!

I tried the second disk.

Would not open!

SAD.

And then I was like, “okay, if there is something the matter that is not with the drive or the disk, what could it be? It could be a zone issue after all.”

BUT THEN I remembered that when I had done the test run before bringing the old drive to my parents’ place, I had plugged the USB cable into the LEFT USB port on my laptop, and the subsequent attempts, I had plugged it into the RIGHT USB port.

I switched the cable to the other port, and the new disks played!!!!!! YES! THEY LIVE!!!

And then I was like “If this was the problem the entire time, I am going to feel Very Silly about buying the season over again when the problem was my right-hand USB port” but I had The Complete Series S5 Disk 1 right there, because I’d accidentally left it in the drive. So I put it back in the drive!

I have never been so happy to have confirmation that something is broken. The disk did NOT play. The purchase of the new season was worthwhile! There is something more functional about the new set of disks over the old one.

Hopefully the new disks will play in at least one of the two players currently in residence at my parents’ house, but just in case, I will bring my Oldest Drive too.

And I don’t regret buying the new disk player either, because I like personally owning a machine that plays blu-rays and was manufactured this decade. And also Good Omens 2 is coming out soon and we learned with the first season that my parents’ smart TV does not get along perfectly well with Amazon Prime. I’m hoping the new player will prove its worth by doing that job better.

Wish me luck in my technological endeavors!

[whiskeyswifty]

Saw some tweet by a guy who went to a Gracie Abrams (?) concert and called ATW10 a modern classic because all the attendees of the concert sang along to it and knew every word and while I do obviously think the song was an absolute moment in pop culture history I can't help but feel like this is a weak support for this claim because most Gracie A fans likely are TSwift fans as well. This is such a niche thing to get annoyed about ig but I still harbour resentment from that time somebody here got dogpiled for saying "it was more impressive to get a long song to the top 1 billboard spot before the steaming era" or whatever. Like is it really that organic of a hit? If e.g. Paul McCartney decided to cover Shake It Off at a show tomorrow, presumably most people could sing along. Could the same be said for ATW10? Don't think so. Anyway this is me choosing a very small and specific thing to focus my annoyance with the fandom's chart obsession post-streaming era on because we have got to remember what a real hit is and it's not a song that needs 58 remixes to stay at 1 an extra week.

gonna be fully transparent here i don't fully know who gracie abrams is besides being JJ's kid so if there's some significance with her singing ATW10, it's over my head.

But i think we're both getting at the same thing here which is that ATW10 had a massive marketing push behind it. she performed it on SNL. Made a MV for it. and it was a song most people streamed that first day out of curiosity if anything, given she heavily leaned into the lore behind it (of which the song is not really part of but that's neither here nor there). AND folklore ushered a massive influx of people into the fandom who hadn't been around for any of her non commercial previously, for various reasons and not all of them worth vilifying. so the number of fans is larger than it was in 2012. All in all, the song's success cannot be solely attributed to its merit, because marketing is powerful and the numbers of ears tuning in to her music have ballooned in the 10 years since its original release. And you have to ask yourself how much of its success is that marketing? framing and narrative and repeated exposure to something works on everyone, all the time, nobody is immune. it's not a bad song, but is it that good, all on its own, with out all the pomp and circumstance and the coattails of its ancestor to ride on?

one thing we do know is that ATW the original managed to break out of the album with no marketing help from her, amidst marketing for 3 other songs during that era. and has maintained a top spot for most elder fans in their ranking, on average, even as her song volume has doubled. and it still hits the top of most critics lists of songs of all time, often being the only taylor song on their lists out of her entire oeuvre. and it achieved that with no marketing help from her, no video, entirely on the merit alone. that's saying something, if you ask me.

[brn1029]

On this very date in music. This first one last year and the last one from 1957…

November 11th

2021 - Graeme Edge

English musician, songwriter, and poet Graeme Edge died of metastatic cancer age 80. Best known as the co-founder and drummer of the Moody Blues that scored the successful singles ‘Go Now’, ‘Nights in White Satin’, ‘Tuesday Afternoon’, ‘Question’, ‘Gemini Dream’, ‘The Voice’ and ‘Your Wildest Dreams’.

2016 - David Bowie

The first day of an auction of art owned by David Bowie took £24.3m ($30.7m), more than double the pre-sale estimate. The 47 artworks sold at Sotheby's in London, England had been valued at between £8.1m ($10.2m) and £11.7m ($14.8m). The most expensive lot was Jean-Michel Basquiat's Air Power, which went for £7.1m ($9m).

2015 - Phil Taylor

Phil Taylor better known as "Philthy Animal" Taylor and drummer with Motorhead died aged 61. He was in the classic mark IV Motörhead line-up of Lemmy, Taylor, and Fast Eddie Clarke who recorded ten studio albums and the live album No Sleep 'til Hammersmith.

2014 - Big Bank Hank

Big Bank Hank (Henry Lee Jackson), from The Sugarhill Gang died aged 58 from kidney complications due to cancer. The Sugarhill Gang were the first hip hop act to have a hit with the cross-over single 'Rapper's Delight' in the pop charts in 1979.

2011 - Black Sabbath

The four original band members of Black Sabbath announced that they were reuniting and recording a new album followed by a world tour in 2012.

2009 - David Gilmour

David Gilmour received an honorary doctorate from the Anglia Ruskin University, England. Gilmour had attended Cambridgeshire College of Arts and Technology, now part of Anglia Ruskin University, which has campuses in Cambridge, Cambridgeshire and Chelmsford, Essex.

1990 - Ted Albert

Ted Albert the founder of Albert II Productions died from a heart attack aged 53. His Australian based company helped launch the careers of The Easybeats, John Paul Young, The Angels, Rose Tattoo and AC/DC. In recognition of his contribution to the music industry, the Australasian Performing Right Association established the annual "Ted Albert Award for Outstanding Services to Australian Music".

1990 - AC/DC

A 21 year-old AC/DC fan died after being attacked outside the Brendan Byrne Arena in New Jersey where the band were playing a gig that night.

1983 - The Rolling Stones

Mick Jagger appeared on the UK TV show The Tube to defend the video to The Rolling Stones latest single 'Undercover Of The Night' which had been banned by the Independent Broadcasting Authority. The Tube aired the video, minus the scene where Mick was shot through the head. The single peaked at No.8 on the UK chart.

1978 - Cars

The Cars released 'My Best Friend's Girl', the first picture-disc single commercially available, which went on to be a No.3 hit on the UK charts and top 40 in the US.

1973 - Mott The Hoople

Thirty US radio stations broadcasted a 'live' Mott The Hoople concert. In reality it was the band recorded in the studio with the applause dubbed in.

1972 - Berry Oakley

The Allman Brothers Band bass player Berry Oakley was killed when his motorcycle hit a bus at the same intersection as former band member Duane Allman, who had died a year earlier. Oakley was 24 years old.

1972 - Gilbert O'Sullivan

Gilbert O'Sullivan was at No.1 on the UK singles chart with 'Clair', the singers first of two UK No.1's. The Irish singer songwriter would dress as a 1920s worker in flat cap, braces and baggy trousers.

1969 - Jim Morrison

The FBI in Phoenix, Arizona arrested Jim Morrison for drunk and disorderly conduct aboard a plane. The Doors singer who was on his way to a Rolling Stones concert with actor Tom Baker had been drinking and annoying the stewardesses. The pair spent the night in jail and were released on $2,500 bail.

1965 - The Beatles

The final recording session for The Beatles Rubber Soul album took place, at Abbey Road, London. They needed three new songs to finish the album so an old song ‘Wait’ was pulled off the shelf and the group recorded two new songs from start to finish. Paul's ‘You Won't See Me’ and John's ‘Girl’, the basic tracks for both songs being completed in two takes. Rubber Soul was completed, and finished copies of the album were in the shops by December 3 in the UK and December 6 in the US.

1957 - Elvis Presley

Elvis Presley appeared at Schofield Barracks, Hawaii, this was Presley’s last concert of the 50’s. Presley served in the United States Army between March 1958 and March 1960 and at the time of his draft he was one of the most well-known names in the world of entertainment.

[lasclblast]

How to make a character in c4d mt mograph

How to make a character in c4d mt mograph how to#

How to make a character in c4d mt mograph generator#

How to make a character in c4d mt mograph free#

How to make a character in c4d mt mograph free#

If there are any further questions feel free to hit us up. In this case, we wanted the bubbles to be geometry so that dynamic collisions would happen between surfaces, but we needed a way to emit clones that also followed traits of particles like scale over age and random sizes, utilizing the best of both worlds. Another important feature is understanding how TP and Mograph can work hand in hand to trade off responsibilities and characteristics between each other. The key components to note are the size increment between colliding particles so that they don't go apeshit when they run into each other. The entire group can be slid to simulate the surface level changing. The liquid surface just below, and an invisible plane just above, and a box container surrounding the particles help limit their behaviors. Thinking particles emit from a plane just above the surface of the liquid, which are then converted into mograph clones of bubbles being affected by modynamics. The lighting and rendering is just a quick setup to better see what's going on, but obviously a lot of the beauty and realism in the bubbles has to do with their look versus their actual behavior.

How to make a character in c4d mt mograph how to#

We decided to create an example of how to create the effect in C4D.Ĭasey Hupke and I came up with this workflow, which unfortunately we don't have time at the moment to create a tutorial, but have supplied the project file and a brief explanation of the workflow. This project mimics what was done in Houdini for the Coke - Carmichael Cinemas commercial at a smaller scale. Oh, and he also has a law degree from way back, but don’t hold that against him.Dl./u/2406108/surface_bubbles_emitter.c4d His tool of choice is Cinema 4D, but he also has a secret love for Houdini. He studied computer sciences and character animation, but moved into the motion graphics and vfx business instead. He’s a regular at 908video and also works as a TD for Pixomondo. Michael Auerswald is a freelance 3D artist and TD from Berlin, Germany. As of June 2012, Maxon has released a Student Version of R13 that has most of the Studio version’s features, so it should work just fine for this course as well. Casey Hupke and I came up with this workflow, which unfortunately we dont have time at the moment to create a tutorial, but have. We decided to create an example of how to create the effect in C4D. We will be working with the release, R13 Studio, in this course however, most things will work the same in the previous R12 release. This project mimics what was done in Houdini for the Coke - Carmichael Cinemas commercial at a smaller scale. Plus, since Python is now the de facto standard for scripting languages in the vfx industry, this will definitely be worth the effort. Python itself is a rather easy language to learn so even if you are not familiar with it yet, as long as you have some basic programming knowledge, you should be able to follow along just fine. Of course, since this is a Python based course, it will involve some programming. Once you get used to writing your own scripts, you will be able to build your own tools, automate those annoying repetetive tasks and simply make your work much more productive. We'll also look at more advanced topics like writing your own plugins.

How to make a character in c4d mt mograph generator#

Those that will make use of the Python Generator object, Python effectors, Xpresso nodes and Expression Editor. Professor Michael Auerswald will look at its features from both an artist's and a TD’s point of view, using hands-on examples. In this course we will cover the various ways that Python has been integrated into Cinema 4D since the release of R12 and R13.

[lethal-liability]

Ari's ranking of Imagine Dragon's discography

Here's something literally no one asked for! Anyway rankings are out of 10 and I'll have album stats at the end. Also any songs in the EPs that would later appear on Night Visions are just going under the album. I know that'll screw with their averages but I don't really care.

Imagine Dragons (2009) average rating: 7.2

I Need A Minute: 6/10 A nice fun song I used to like dancing around my room to. The lyrics are completely incomprehensible but I guess that's the point, I like it. The vocals are just a little bit too low

Uptight: 7/10 Funky beat, I really like the synth. I didn't listen to this one much as a kid but I really missed out this song kinda fucks.

Cover Up: 7/10 Some more funky bass and synth, getting into some of the more poetic lyrics that I like from them. Pretty solid.

Curse: 9/10 This 👏 was 👏 my 👏 favorite 👏 song 👏 back 👏 in 👏 the 👏 day 👏 Here's where my bias comes in cause this one gets an extra point purely for that. The lyrics don't really make sense but I would lay up at night coming up with complex amvs in my head to go along with it :) Still holds up to 11 y/o Ari's love.

Drive: 7/10 Again, another one I never really listened to as a kid. It's a pretty good, relaxing song, really different from the rest of the upbeat songs on the EP.

Hell and Silence (2010) average rating: 6.75

All Eyes: 6/10 Another funky song, nothing really special but pretty solid

I Don't Mind: 4/10 Honestly not a fan of this one, the synth is kinda annoying and the lyrics are kinda irritating

Selene: 8/10 Idk what to say I just like this song :)

Emma: 9/10 Honestly pretty much the same as Selene but with a chiller vibe, I like the raspier vocals. Extra points for that nearly yelled bridge HELL AND SILENCE I CAN FIGHT IT

It's Time (2011) average rating: 4.2

Tokyo: 3/10 Look I'm a sucker for funky synth OKAY. I don't speak Japanese but I don't have to to tell you Dan's pronunciation is really cringy. Deducting points for the kinda fetishy lyrics too.

The River: 8/10 This is one of those songs I like to listen to when I'm sad to make myself sadder so I can cry my feelings out. It's got a pretty, soothing melody and nice lyrics.

Leave Me: 2/10 This song used to make the feminism leave my body as a kid but I just can't bring myself to really do that anymore lmao. Come on Dan, that's two kinda gross songs on one album :/

Pantomime: 2/10 I. Really did not like this song as a kid. Like I had a playlist on youtube of all their music except this song. I was right.

Look How Far We've Come: 6/10 Hearing this song for the first time in like nine years was an experience. Not a bad song but dome of the lines are a little clunky.

Night Visions (2012) average rating: 7.33

Radioactive: 9/10 Ya know this is the song that got them famous and for good reason. It's a good song and great amv fodder.

Tiptoe: 8/10 It's gonna be harder to write about these songs going forward because these are ones I listen to regularly so I know I like them but yeah. Good song.

It's Time: 10/10 Radioactive may have been what got them famous but this was their first real big single and it was my favorite. I'm a big sucker for a mandolin and I think this is where they started to lean more into the folky sound than the synthy sound.

Demons: 9/10 Another one of their songs I used to listen to to cry and I don't listen to it much anymore because of that but it's still a good, poetic song that hits me in the feels.

On Top Of The World: 6/10 My mom had this as her alarm when I was in middle school so I couldn't listen to it for a long time. The lyrics are a little heavy handed sometimes and a little incomprehensible at others but it's an alright little tune.

Hear Me: 8/10 This album is a little confusing because they include some of their older synth heavy songs alongside their newer folky songs, but I won't complain with this song. Frustrated 13 year old me loved this song because I, too, felt that no one ever heard me when I talked. Ya know, 13 y/o things.

Amsterdam: 7/10 I have no idea what this song is about but it's pretty good.

Every Night: 5/10 This was their first and last try at what I call a "first dance bait" song. Ya know like Perfect by Ed Sheeren or Marry Me by Train? It's alright, just really heavy handed.

Bleeding Out: 10/10 Oh emo eleven year old me ate this edgy shit up. Is it a grimdark? Yes. But that's a plus for this song. This song makes me wanna scream every time I listen to it I BARE MY SKIN AND I COUNT MY SINS AND I CLOSE MY EYES AND I TAKE IT IN

Underdog: 6/10 Another cute song, not much to say about this one, it's alright.

Nothing Left To Say: 9/10 ANOTHER another song I cry to, this one still hits home for me. It's pretty and soothing but the lyrics are still heart wrenching. The instrumental at the end is nice and I like to fall asleep to it.

Rocks: 8/10 A nice upbeat song that is a little repetative but it's only about a minute long so it doesn't over stay its welcome.

Working Man: 5/10 This song isn't on spotify so I don't get to hear it often and I actually hadn't heard it in a while when I listened to it to do this. It's kinda trying to be a 9 to 5 type song but it doesn't really do it for me.

Fallen: 8/10 Another song I hadn't heard in a while since it's not on spotify but I'm more of a fan of this one. Another amv bait song to me but one with more of a triumphant vibe to it. I really like the vocals in the chorus.

Cha-Ching ('Til We Grow Older): 8/10 The hook of this song, cha-ching x3, has a big potential to become really annoying like some of their later songs (cough cough, Thunder) but they actually somhow make it work. This song hits me a lot harder now than it did as a kid cause god. Yeah. They're so right. We are all living until we grow older.

Smoke + Mirrors (2015) average rating: 9.06

Shots: 9/10 Hell YES my favorite album finally let's get into this shit. Anyway songs that make me wanna lay in a field of wildflowers. Well the music, the lyrics are pretty depressing. But that's what makes a great song ya know.

Gold: 9/10 Songs about the rich losing their humanity? Hell yeah. I fucking love the percussion and the synth in this one too.

Smoke and Mirrors: 10/10 The under appreciated masterpiece of this album in my humble opinion. Everyone always talks about Dream as the best song on the album but I really think it's this one. That yelled OPEN UP MY EYES gets me all the time I just really really love this song.

I'm So Sorry: 9/10 Real sexy bassline on this one. I can't tell what the fuck this song is about but I don't care because it goes pretty hard.

I Bet My Life: 8/10 I like the gospel vibes, especially the backing vocals, some of them out-sing Dan a little bit. This one also hits a little harder now that I'm grown up a bit.

Polaroid: 8/10 Another one with cool percussion, some of the lyrics are lost on me but I get the overall vibe of it.

Friction: 10/10 I have no clue what that string is at the beginning of the song but man does it fuck hard. God actually everything in this song goes pretty hard, I'm especially a fan of the vocals.

It Comes Back To You: 8/10 Nice chill song, I feel like this is one that's gonna hit in a few years. Not much to say about it tbh besides I like it.

Dream: 10/10 This song really does live up to the hype even if I like other songs better. It's really poetic and well composed. You really just have to listen to it to get it tbh.

Trouble: 8/10 The piano at the beginning is a little grating but it gets better. Again not much to say about this one, it's solid, just not one of my favorites.

Summer: 8/10 Another sexy baseline, another set of incomprehensible lyrics. I like it.

Hopeless Opus: 10/10 This one's a little weird but it was my favorite for a while. I like weird. Idk if anyone would agree with me but this one was kind of a self fulfilling prophecy, this really was a hopeless opus since, in my opinion, they've yet to make album as good as this one. Also. Guitar solo.

The Fall: 10/10 I like to put this song on when we get the first cold snap of the year after summer :) It's just really chill and I like the vibes and the vocals

Thief: 10/10 AAAAHHHHHH SONGS THAT MAKE ME WANNA RUN THROUGH THE WOODS IN THE MIDDLE OF THE NIGHT

The Unknown: 9/10 Cool percussion, I like the intermediate piano, it's a nice touch.

Second Chances: 9/10 I like the strings and the vocals. Another nice chill song.

Release: 9/10 I like that this one is completely acoustic, it's a nice send off for a great album, if a little depressing.

Evolve (2017) average rating: 5.5

I Don't Know Why: 10/10 I have wanted to choreograph something to this song for the fucking longest time oh my god. I really love the vocals and the synth in this one.

Whatever It Takes: 5/10 This one's alright. It's not great but it's definitely not the worst. Perfectly average pop song.

Believer: 10/10 I am a little bit biased with this one because I use it for my OCs a lot but like. It's a really good song. And I don't watch TV so I haven't gotten it ruined for me by commercials.

Walking The Wire: 6/10 I hadn't listened to this song in a while and it's really not as bad as I remember. I guess you can really tell that he was having marital issues when they made this album and that didn't really connect with me back then. But I'm kinda into a little bit of it now.

Rise Up: 4/10 Another really average, inspirational pop song. I like the raspiness of Dan's voice in most songs but it sounds so over processed in this song I can't stand it.

I'll Make It Up To You: 3/10 Wow okay never mind the marital issues vibe is coming back real heavily in this one. Idk it's just such Straight People vibes, I don't like it :/

Yesterday: 1/10 I associate this song with someone I don't talk to anymore and really wanna forget so it's kinda running at a deficit already. But. Um. It's not a good song otherwise. It's another weird song but something about this one just doesn't work.

Mouth Of The River: 7/10 I think I liked this one when it came out, idk why I stopped listening to it. It's pretty good. Not great. But I like the river imagery. Well. I like river imagery in general.

Thunder: 2/10 hhhhhhhhhhhh why did they think this was a good idea. Probably their most notorious song, I know a lot of people cite it when they say Imagine Dragons makes shitty music. I just think it's tragic that this is one of the ones that got super popular for some reason. However as someone who teaches children's dance classes, however annoying you think this version is, you haven't heard anything until you have to listen to the KidzBop version twice a week for a year. Not a complete 0 because I do like some of the vocals that aren't. That Part.

Start Over: 6/10 Another one I hadn't heard in a while, but it's pretty groovy. Not as heavy handed as some of the other songs, and that flute in the chorus is pretty cool.

Dancing In The Dark: 8/10 I like this one a lot, the processing on the vocals is a little wonky but I like the vibes.

Next To Me: 4/10 Yeah this was the "please don't divorce me" song. It's. alright. Really heavy handed, they probably should've waited to release this one but you know.

Origins (2018) average rating: 4.8

Natural: 10/10 Another one I'm biased for because I associate it with a beloved OC. But It's still a good song. I like it.

Boomerang: 5/10 Another song that just has an awkward hook with awkward delivery.

Machine: 9/10 I like this song a lot more now that I know the band is really outspoken about their experiences with mormanism and escaping it. But the irony of a song with a nonconformist message from a pop band is not lost on me.

Cool Out: 5/10 Idk I don't have much to say about this one. It's alright.

Bad Liar: 4/10 Oh boy more divorced dad energy. Hhhhhh I'm getting burnt out on this. For the record I have no problem with people going through things like this, I'm just not into these vibes in my music, especially when they're super desperate like this.

West Coast: 3/10 East coast supremacy. Also why are you trying to be Mumford and Sons.

Zero: 4/10 You know, the Ralph Breaks the internet song? God. That sure was a movie. The song is better, but not by much. It is fun and bouncy but I don't like listening to it too often.

Bullet In A Gun: 5/10 I used to really like this song but now I just associate it with an embarrassing character I used to stan so :/ I do still like the lyrics even if I don't listen to it anymore.

Digital: 3/10 I can't tell if this song is pro or anti technology??? And the electronic melody is annoying.

Only: 4/10 Hhhhhh I'm so tired. I don't like this one.

Stuck: 2/10 idk man. bad.

Love: 3/10 Really trying hard to be the Beatles here. :/ That's really not a compliment.

Birds: 5/10 This one's kinda nice, a little more original but like. I'm so burned out on this theme. hhhhhhhh

Burn Out: 10/10 Speaking of burn out. lmao, no I actually really like this one. I just recently listened to it kinda intently for the first time and I just. Wow. The second verse really gets to me. I feel like this song has a lot of the poeticness I liked from Smoke + Mirrors.

Real Life: 0/10 Hhhhhhhhhhhhhhhh obligatory "PHONES BAD" song from the folk pop band. At least when Bastille does it they don't literally say "turn your phone off!" in the song. I'm so tired. I'm gonna take a nap before I listen to the next album.

Mercury - Act 1 (2021) average rating: 7.46

Okay I'm still tired but let's do this. Also I've only heard this album like three times so far so this ranking is most definitely gonna change as I listen to it more.

My Life: 9/10 Holy shit this song is fucking heart wrenching and I first listened to it at like just the perfect time for me to ball like a baby listening to it. Literally my only gripe is I wish the tempo would've picked up a little bit earlier.

Lonely: 9/10 This song is equally fucking depressing but it's upbeat and I eat that shit up. The vocals are a little weird sometimes but I really like the pre-chorus a lot.

Wrecked: 8/10 Okay so this album is just gonna be gut punch after gut punch huh? Look, I was really going through some shit when they dropped this album so I like really connected with a lot of it. But yeah I like this song.

Monday: 4/10 Alright. Not a fan of this one. The metaphor is kinda cute I guess, even if it implies that like literally everyone else things your sweetheart is fucking insufferable. Actually. Who tf thinks monday is the best day of the week? Like what kind of person? But, uh, musically, it's kinda annoying.

#1: 7/10 Self-care babie!!!!!!! Okay but this is a nice song. Yes we all need to learn self love it's a fucking journey babe.

Easy Come Easy Go: 9/10 I really like this one, it might be my favorite on the album. My only gripe is the bridge/3rd verse/whatever it's called is a little bit clunky

Giants: 8/10 god DAMN those vocals. This is another kinda weird song but I'm into this one like I am with Hopeless Opus.

It's Okay: 7/10 Honestly I'm kinda tired of hearing "it's okay to be not okay" Like yeah I've been depressed for most of my life now I think I got that at this point. But I am a fan of "I don't want this body, I don't want this voice, I don't wanna be here but I guess I have no choice." Like damn even my gender crisis? Y'all are really just hitting all my nails from the past year right on the head huh?

Dull Knives: 9/10 OKAY ROCK RIFF I HEAR YOU, I just wish it would've lasted through the song instead of going slow again during the second chorus. But yeah, songs that make me wanna scream in the woods in the middle of the night.

Follow You: 8/10 ME AND WHO???????

Cutthroat: 9/10 HELLO AMV BAIT I MISSED YOU I wish it was longer. Also, love Dan's screamo debut I wish he'd just fucking scream his throat raw more often.

No Time For Toxic People: 4/10 okay I think we've established that I'm not a fan of completely unsubtle songs so I don't think it should be a shock that I'm not a fan of this one. The music doesn't really save it either.

One Day: 6/10 M E A N D W H O ? ? ? Not as much of a fan of this one as Follow You though.

Additional Singles but only one's I've already heard because fuck you there are so many of these

Battle Cry: 6/10 I thought this one was from some soundtrack but idk. A transformers movie I think? I can't find anything on it. Anyway, okay song. I like the line stars are only visible in darkness. The rest of the song is kinda repetitive

Born To Be Yours: 8/10 I like this song a lot. I have no idea who Kygo is but I'm a fan of this beat. For the record, this is more something I would use for my first dance.

Destination: 6/10 Another song I haven't hear in a while. I enjoy the vocals from the other band members. But it is an itunes sessions song so it's a little messy, probably could have been better if they'd recorded it as a regular song.

I Was Me: 7/10 A nice sad acoustic song, not much to say, I like it

Levitate: 6/10 This one is from that Jennifer Lawrence Crisp Rat movie no one saw. It's okay. I like the sci-fi vibes.

Lost Cause: 4/10 This one is from the Frankenweenie soundtrack of all things. This is another grimdark edgy song, but it just doesn't have the staying power to me that Bleeding Out did.

Monster: 8/10 This song was my fucking jam as a kid and was the song that got me into Nightcore in middle school so you know it's important to me. Still a big fan of it.

Not Today: 7/10 I actually saw the movie this was from, Me Before You. I would say this is another first dance bait song but I think they were just trying to match the vibes of the movie. The song is better than the movie though. In case you were wondering.

Ready! Aim! Fire!: 7/10 continuing the trend of songs from soundtracks, apparently this song is from Iron Man 3? Seems kinda weird to put a song about rebellion and revolution in a movie about a billionaire 🤔🤔🤔. Anyway it has a more electronic, industrial sound than most of their stuff which i appreciate. Still have to deduct points for being from a marvel movie though oops.

Roots: 10/10 Aaaaaaaaaaaahhhhhh I love this song. Another another biased one because I associate it with one of my OCs but like. It's a good song.

Sucker For Pain: 5/10 Ya know that song from the Suicide Squad soundtrack? The masochist anthem? It's alright, I mean Dan's part is probably the best, the rap is okay I guess, I'm not a huge rap fan so I don't really know what constitutes a good rap. I guess the appeal of this song was all the big names but it just gets tiresome that there's a new voice every 30 seconds. Really gimmicky but Lil Wayne's part is kinda funny so I'll give it that.

Warriors: 8/10 More amv bait, another one I could've sworn this was from some soundtrack but I can't find anything on it. Pretty solid song.

Who We Are: 6/10 This sing is from one of the Hunger Games Movies, I can't remember which one though. Anyway it's fucking incomprehensible but I like it.

Conclusion

Okay so in order from Highest to Lowest ranked the albums and EPs are

Smoke + Mirrors: 9.06

Mercury - Act 1: 7.46

Night Visions: 7.33

Self Titled: 7.2

Hell and Silence: 6.75

Evolve: 5.5

Origins: 4.8

It's Time: 4.2

See and this is completly objective because if you had asked me to rank my favorite albums I would've put Night Visions above Mercury 😠 I did have a good time going back and listening to a lot of old songs I hadn't heard in forever

anyway I'm tired and this post no one asked for is over 3k words so I am going to bed good fucking night

[oh-dylan]

The premise of Such Beautiful Things (famous series) is this: our main girl, we call her famous y/n, she is an A-list celebrity who was a childhood star from the beginning of her life. Did commercials as a toddler/child, and then worked her way into childhood modeling, and around the age fourteen she started acting professionally. She got into music around sixteen, and that’s how she really started making a big name for herself. Many, many hits. Many, many awards. Think of her as big as Taylor Swift or Selena Gomez. Like massive to the point that it’s almost annoying.

She meets Dylan on June 3, 2012 at the MTV Movie Awards, and by a month later they are official. They split a little over a year later, and there are no hard feelings. He was an ex that she remained friends with, with no bad blood. By November of 2013, famous y/n attends a party with Harry in attendance, and the fuck on a couch, and that is the start to their relationship. They don’t become official until May of 2014.

The retelling is *what if* her and Dylan never broke up and remain together to this day? Harry was a fan of famous y/n and was in love with her since he was fourteen, and they created many memories together, and many of his and her songs were inspired by each other, so now what will take its place?

Their daughter River would cease to exist. Would Dylan and famous y/n have a child together? Marriage? Would Harry still try to shoot his shot at her?

I’ll be starting to write the first part here soon, and most chapters aren’t written in any order. If you have any hypotheticals or ideas, feel free to send them in!

If you want to read the Such Beautiful Thing series, you can so here. (Sorry, there’s not a lot. Most of this story is hypotheticals and talk.)

The famous series talk and hypotheticals are here.

[dogsliampaynedoesntinstagram]

About yesterday’s leak, I know you’re not talking about it but I think about this while reading one of your asks. So, what yesterday’s makes clear is that leaks come from people in the industry. It’s not a fan that hacked something, or whose parent work with someone who knows someone... blahblahblah. I’m saying this bc (and here I leave out hoe fandom ancient I am, lol) of that Harry song that was leaked like in 2012, Don’t let me go. I’ve always thought it was leaked to boost him as a soloist, bc it was clearly the final intention of... Sony/Syco/Simon (whatever) to have Harry for the long run. I know this doesn’t matter to anyone, but, it just annoys me when people compare each boy's solo careers and how “successful” they are, when they didn’t have the same opportunies and support since the beginning. (Sorry if I’m making assumptions/expressing thoughts wrong, but I don’t want to extend more, and English is not my first language).

Oh anon - I disagree with what you say in so many ways, but that’s not because you’re expressing your thoughts wrong, it’s just that we disagree.

There are lots of problems with using commercial metrics to measure the success of 1D members solo careers.  The biggest is that it’s accepting and promoting a capitalist idea of what is valuable and important. I think that to celebrate and venerate capitalist achievement as a way of engaging with art is sad and hollow.

It is true that 1D members were not in the same positions at the end of 2015 (and even less so by mid-2016), but 1D aren’t somehow an exception to an otherwise equal society.  

To me, bringing up a 2012 leak of a song that Harry co-wrote, is fundamentally trivialising of the actual differences in their circumstances.  The most important differences between 1D members in 2015 was how being 1D, and other life experiences, had affected them, their wellbeing and their ability to act in the world.  Zayn doesn’t do publicity, which has had a huge impact on his career. Liam has no sense of self, which has a huge impact on his career.  Harry would not have had the career that he has had if his personal life in 2016 looked anything like Louis’.

But the main thing I get from this anon is that the comparisons make you really anxious and I’m really sorry about that.  My recommendation is to go big picture rather than little picture.  Rather than worrying about a song that leaked in 2012, reject the idea that capitalism is the best measure of art.

[gayathreya]

leftist suriya characters appreciation post

since soorarai pottru, been thinking more about all the explicit leftist characters suriya has played in his career. and i actually mean explicit - characters that are supported by the narrative framing and structure and not just my own headcanons and stuff or a throwaway generic goody-shoe typical hero line. i have been itching to talk about this cos it’s obviously in my field of interests

suriya has played 4 openly various brands of leftist now, and that’s pretty cool! i love that none of them are cookie cutter personalities of each other, they all have their own select trait. this post is a toast to them;

michael vasanth (ayutha ezhuthu, 2004)

vimalan (maattraan, 2012)

iniyan (thaanaa serndha koottam, 2018)

maara (soorarai pottru, 2020)

[small write up on each character with pics behind the cut]

*****

1. michael vasanth (ayutha ezhuthu, 2004)

so michael was his first, said to be inspired by an actual university popular marxist student leader, george reddy. michael is very obviously somewhere along these lines - he himself is within the film known as the leftist student leader on campus with a huge following, much to the chagrin of his professors who want to stamp that out of him. he’s openly engaged in campus politics as well as politics outside, and he’s most definitely no weak willed liberal because he has no problems with violence or direct action, which he organises. he organises villagers to stand against others on their own feet, never once preaches about lying down and taking it easy or playing polite. which was nice to see lol i hate liberals who have morals about property damage but in ayutha ezhuthu, michael clearly doesn’t give a fuck. he and his group break things and smash cars and lorries on their way and threaten physical violence on their opponents too which is the way it should be because to him human lives are worth more than any property or vehicular damage. he never shies away from that. hell yes to violence and structural damage!

probably the most definite trait of michael compared to other suriya leftist characters is that michael still believes in the establishment and electoral politics, which u don’t particularly see his other leftist ones talk about. but here, michael works within the system, and trusts it to bring change if u put in the effort into that. though, it’s not as frustrating as it sounds cos michael’s work is not geared towards other liberals, but in villages and rural districts where he goes to spread word, and makes them choose their own leadership to represent. it’s way more marxist aligned and ~rise of the proletariat~ here instead cos he bypasses liberal bougie nonsense and never once is his voice used for that, but used towards and for the working class directly to both take up arms and resist violently themselves + hold ranks for themselves and choose their own leaders to influence their local politics/protect their environment.  

michael is fundamentally very marxist, with a dose of direct action plus violent resistance if need be, and supports organised proletariat uprising within an established political system playing towards electoral politics

(of course, a point to note in why this isn’t as frustrating as it sounds as mentioned above is cos this film was released in 2004. would michael still believe in the establishment and electoral politics now? things in 2020 are very different with all of us more aware of things around us and globally, it’s definitely a debate to be held. i doubt he will, since he’s not a pacifist or liberal. he’d say fuck electoral politics, all my homies hate electoral politics)

2. vimalan (maattraan, 2012)

second very openly communist character he played. prob gone a bit forgotten for others since he does die halfway through the film (which itself isn’t a favourite of anyone either, fans or neutrals) rip but can’t go by without mentioning cos i remember liking this character a lot and i teared up in the cinema first watch when he died. i was mad they killed the suriya i loved instead of the other one whom i found annoying lmao

vimal supports workers’ strikes and unions against bosses, even when that boss is their own shitty father. this automatically makes him stand out instantly considering he is sympathetic to the working class despite at the cost of his father’s annoyance with him. he’s also the first character suriya plays who’s explicitly anti-capitalist with line(s) about it, since michael had no canon lines regarding capitalism from what i recall. vimal outright does.

the leftist imagery tied to vimal the most is che, which is a nice touch. his room has at least one poster of him, and his phone’s wallpaper is also him. u can also see bhagat singh and ho chi minh books on his shelf. so.. safe to claim where vimal’s political ideologies are. it’s both tied in pictures and him siding with workers for their rights against corporations, since he obviously likes revolutionaries. vimalan was a class traitor and a supporter of the working class poor bb tragically gone too soon. ilu u didn’t deserve your terrible fate, sweet commie good boi :(

3. iniyan (thaanaa serndha koottam, 2018)

iniyannnnnn i love him and i think it’s a suriya char with one of the best character arcs in his whole career. mostly cos he had a very distinct ‘’yes i want to work for the government and change things from within’’ phase which gets squashed over the course of the film. we see him start off obviously in a very blatantly communist neighbourhood in a song that is also very specifically anti-establishment/politicians with a lot of hard resistance vibes. the entirety of sodakku is a very good introduction to him and what he stands for - in general the film promises upon wealth disparity, useless bougie politicians, and the rest of us being crushed under them.

what happens to him at the end of the movie is FANTASTIC because he no longer gels with what he wanted at the start of the movie. iniyan’s key leftist trait to me is that he’s the most anarchist of suriya characters, varying from other leftist suriya characters. he refuses to work with government powers and authorities, he looks down on their entire establishment and institutions (he does not at the start of the film, which is vital cos again, he wanted to work alongside them at first), and depends more on the good will of individual people over job titles, while clearly engaging in mutual aid and distributing wealth. these are very distinct anarchist ideals. i’d still peg him as anarcho-communist but would say he leans more towards anarchy and progressing on mutual aid over official state resources or state people for any kind of positive change since his faith in them has pretty much diminished by the climax. he does not give a shit about politicians, cops, or any kind of authorities at all, leaving them in the dust to raise his black flag and do his own anarchist hot shit.

iniyan is a good example of an anarchist arc for me in tamil cinema in simple commercial terms without heading too deep into actual words and phrases in a big hero movie, cos it’s also very easy to explain to anyone the shift in his ideas and his eroding faith in institutions with power. good for him!

4. maara (soorarai pottru, 2020)

this should be fresh in everyone’s memory, but yes, a character who is obviously in your face about it since he has an actual line - ‘’you’re a socialite, i’m a socialist’’ which caused all of us with good taste to whoop and cheer. plus he was very sexy in this whole scene, so what a bonus. it’s the most explicit thing said by him in the film, but there are also other little things peppered into his speech and background imagery showing u the kind of person maara is.

he gets married to bommi in a self-respect wedding ceremony. no priests or any kind of traditional hindu iyers/chants involved. u see it clearly with a periyar pic hanging behind him explaining who he is. he wears black a lot in the film, which fits him being a periyarist so i’d label him as such and consider it his standout trait from other leftist characters suriya has played previously because this is the only character with explicit periyar symbolism (i kid u not i saw multiple sanghis being very angry suriya dressed in black in this movie and were harassing him on twitter constantly since sp released. die mad, uglies). obviously, this also fuses well with the little things we see of him implying he’s ~lower caste~ like his in-laws being embarrassed about him on behalf of their own caste, and paresh sanitising his hands after shaking hands with maara on the plane, which is not subtle at all and trademark casteist behaviour about touching someone ‘’lesser’’ than you and u view them as ‘’dirty’’ or beneath you. as well as maara’s remark about breaking the class and caste barrier during his radio interview. being a periyarist fits seamlessly.

there’s also a bts vid of suriya on his bike where you can see an ambedkar pic pasted onto the side. i can’t remember any scene in the film where u can see his bike from this angle but it doesn’t matter, cos u can definitely tell the kind of person maara is and how he was envisioned as a character - an explicit socialist and periyarist, with a natural fondness for ambedkar too since ofc they overlap as many do irl as well. it is very in tune with his background in the film and i liked seeing the tiny aspects of these things seeded within the movie throughout from beginning to end. it’s explicit in a way that isn’t jarring or artificial, and a nice layer to him and feel endeared to since maara is a great character. u support him all the way with him being unquestionable in his stance and ideology. the sexiest leftist suriya character, if i say so myself, ahem.

/////

5. ngk (ngk, 2019)

bonus: THIS IS IT. THE BIGGEST SIKE. THE BIGGEST WHIPLASH. THE BIGGEST BASTARD.

it’s here cos damn, when they released that first look, i completely lost my shit cos that poster was sooo heavily che inspired and very, very obviously marxist. cue me thinking that holy shit suriya is openly playing some kind of marxist guerilla revolutionary in ngk and he’s gonna be some brand of violent radical leftist i’m gonna fall in love with. the beret, the raised fists, the red.. i was ready to be head over heels for this guy.

except of course, none of this was true, cos once the film released, u know that poster was only meant to signify how his village looked up to him before he sold them all out. it’s literally just a mural on the wall where a kid stares up at him in a larger extended poster. he COULD have been that character, but ngk’s character arc was a negative character arc and his moral downfall from the start to the end of the film, sacrificing all he stood for to arrive at his end point which was just dragging his village and all the youngsters who believed in him to the pits before jumping party to the winning group and abandoning all of them after manipulating them to act in his favour to gain sympathy. not to mention, also selling out to corporate tools to harness their power and influence in order to rise to the top himself, something he very openly states at the beginning of the film to his mum and wife that working like that is no way to live. he has a full reverse by this point, compared to how ngk was introduced to us as an audience with that first look of him.

the marxist poster was a complete 180 to how ngk falls on the spectrum at the end, but it was a great ride nevertheless and at least one thing was still true - i still fell in love with him cos he was such an asshole bastard but still so hot i had to give in. biiiicchh. i love u, non-leftist regressive jerk. u may have pulled the biggest sike on me, but.. my heart is yours, slut <3

*****

ok that’s really it and all i wanted to say so hopefully at least a few people read this lmafooo. i do think these characters and time have sort of seeped into suriya over the years as evident by his shifting left in the last couple of years, and openly also saying he has had a lot of perspective changes on things around him. he has been noted in recent interviews saying stuff like how he’s in favour of a cashless society, talking about a whole new level of poverty class being created during this pandemic. his written articles/statements/agaram related speeches takes jibes at india’s education system being brahministic/casteist in nature and how it creates barriers for the lowest strata of society while also being very sensitive about student suicides, showing understanding of it as a systematic failure and not an individual one, courts not functioning for justice, not demonising protests as it’s the only act left for the voiceless, etc. it’s nice. i wouldn’t go as far as to call him a leftist until he proves that to me (suriya is still very much in that liberal zone of appreciating the police and military institutions so i will never consider him one of us until he sheds these allegiances and rethinks his stance on them in society), but i’d say he’s definitely the furthest left of all prominent actors in tamil cinema as no one else really has said or written the things that he has, for which i’m very proud of him.

so keep up the good work and hot shit comments and ballsy articles, suriya, i look forward to u shifting further left and pissing off everyone from right wing patriotic assholes, to centrist bootlickers, and even cowardly liberal pacifists. i believe in u and i hope he crosses that steep liberal curve soon since we were all there at some point as well.

that’s all goodbye i love suriya thanks for reading 

[strangledeggs]

Strange Nostalgia For The Future – or: Death By A Thousand Taylor Swifts – or: This Is Pop?

Holy shit, when did this article get to be over 8 pages? Sorry everyone, Tumblr isn’t letting me do a cut, so this is just going to clog your feed for a while.

This began as a long-form review of Dua Lipa’s album “Future Nostalgia” with comparisons to the styles of a variety of other pop artists, but has since turned into something much broader and more nebulous. Call it my (incredibly subjective) attempt at defining a current “state of pop music” as it stands in the year 2020.

I’ll admit, I have a bias here, so I’ll lay that on the table: I didn’t particularly care for Dua Lipa prior to the release of “Future Nostalgia”. Actually, if I’m being completely honest, she didn’t really register on my radar until the album’s release, and so I didn’t hear any of her earlier songs until I spent a few minutes on Youtube scrambling to remember who she was and why this release was supposed to be such a big deal. I came up relatively empty-handed, with “New Rules” having more interesting production than anything in the way of a vocal hook and “Be The One” sounding blandly forgettable.

But music journalists were spinning this narrative that “Future Nostalgia” was Dua Lipa’s big moment, her “disco” album, her album full of “bangers” (yes, I know, that’s an archaism at this point, but what am I going to do, call them “vibes”?). We’ve seen hype like this before (at least I have), so we should always take some time when an album arrives with this much fanfare to ask that crucial question: is it justified? Does it live up to expectations?

I’m going to answer that question, but before I do, I want to take a step back and place that music journalism narrative within a broader music journalism meta-narrative that has been slowly gaining traction over the last decade. About 7 years ago (so around 2013), I wrote a guest article for the (what I assume is now defunct) blog Hitsville UK on another meta-narrative called “rockism”, by which older listeners and journalists tended to use to justify their dismissal modern pop music through the glorification of (and comparison to) the canon of rock music. This was not a unique article – many music journalists were writing about this same phenomenon that year; it will likely mark some sort of watershed moment in music journalism. Frequently contrasted with the meta-narrative of “rockism” (not so much in my own article, but definitely in others’) was a countering meta-narrative named as “poptimism”. It’s basically what it sounds like: an optimism that current pop music could be just as good as music of the past, or even better. This was, of course, already known in a lot of mainstream music journalism circles, but it did cause a bit of a stir in independent music journalism, especially since it seemed awfully hard to deny; then-recent examples of indie stars like The Weeknd and Frank Ocean* aspiring to make genuinely great pop music seemed like they were making a pretty good case for the poptimist outlook. Plus, as a new generation of music journalists raised on hip-hop began to cover the genre more seriously, it soon became clear that, given the crossover-laden history of rap, they would have to take pop music seriously too.

Needless to say, poptimism gained a lot of traction as a new paradigm, until it became the default outlook of music journalism by the middle of the decade. It has, as far as I can see, yet to relinquish its grip, and that’s not such a bad thing; arguably, a lot more women, queer people and people of colour have had their music taken more seriously since the shift. Before we get back to “Future Nostalgia”, however, there’s one more piece of this puzzle I want to put in place: coinciding with those early years of poptimism, pop itself hit a bit of a turning point in the year 2014. This was, of course, the release of Taylor Swift’s album “1989”.

What was so special about “1989”? It’s still a bit hard to answer that completely coherently, but it clearly changed the pop music landscape in meaningful ways. For one, it demonstrated that the overcoding of global pop music made at the hands of big-name producers was not just an approach reserved for the “born pop star” figures of Britney Spears or Christina Aguilera. Taylor Swift, formerly a country singer with pop leanings, now went headlong into Max Martin-penned chart-topping smashes, and just like that, she had become deterritorialized. It was a huge success, and, interestingly, one of the first albums that got a lot of independent music journalists (and me) to take her seriously despite being her most overtly commercially-driven. I think this speaks to the power of poptimism in 2014 from two angles: for the journalists, the lesson seemed to be that if someone is already doing something near-enough to mainstream pop and then breaks through with a mass-appeal hit, why not see this as a kind of fulfillment of artistic intent? And for Swift, if you’re already doing something near-enough to what’s playing on pop radio, why not go all the way with it and sacrifice your country “credibility” for the ability to have hits beyond the genre-specific? “1989” marked a turning point at which pop music, formerly seen as something people “sell out” to make, became something you “sell into”, erasing a specific, localized identity that could be exposed as a construction anyway and replacing it with the ambition to conquer the ears of the masses.

I should clarify here, however: there are two possible conclusions one can draw from poptimism. The one I just documented, that pop music as a global/commercial phenomenon can be great and should taken seriously by music journalism, is the more frequently-taken interpretation, but it’s not my preferred one. I would rather the alternative view, which is that most music that people have tended to hear the last several decades, whether marked by the seal of “pop” or not, has been pop music. Rock is a form of pop. So is country, so is hip-hop, so is jazz, folk, metal, etc. We can distinguish between, say, the commercial radio pop – which I’ll from this point on designate as “Pop” with a capital “P” – and the pop tradition, but everything descends from pop tradition in the end, and Pop is just one more subgenre among many, albeit by definition the most popular at its given moment. Seeing that this is pretty indisputably true (and if you don’t believe me, you a) haven’t been reading my blog for long enough and b) have some serious research to do), we might as well take Pop as seriously as any other form of pop and subject it to the same criticisms, while simultaneously adjusting our criticisms of other pop subgenres in relation to our new appreciation of Pop. Who created the texture of this Pop song? Does this metal song have a hook? Is the phrasing in this hip-hop song conducive to its overall rhythmic feel? And so on, and so on.

I prefer this approach because it doesn’t necessarily assume a supremacy of one genre so much as level the playing field to allow for a more robust and less prejudiced criticism. It also doesn’t let listeners off the hook, as many (non-critics/journalists, most likely), given the opportunity raised by the previously-detailed interpretation of poptimism, would lazily slip back into listening to Top 40 radio without attempting to seek things beyond the charts; this alternative interpretation challenges us to try and hear the similarities between Led Zeppelin, Rihanna, Young Thug and The Clash while recognizing what each do uniquely. Unfortunately, it seems like the former interpretation has won out, at least for most audiences, and we now have a listener-base that, instead of keeping their ears peeled for next-big-thing indie groups like Arcade Fire as they might have circa 2008-2012, is content to wait for an already-famous star to drop the next “1989” crossover smash**.

This brings us back to “Future Nostalgia”, the latest in a line of Pop albums that seem primed to vy for that coveted position. There is, however, a bit of a gulf between “1989” and “Future Nostalgia”, and it’s not just because the moment of “1989” and poptimism has already happened. It’s also not because Dua Lipa isn’t “crossing over” from any outsider genre like Swift did with her move away from country – if anything, Dua Lipa is doubling down on her Pop ambitions here by putting them up-front and trying to make this album as blockbuster-signalling as possible. The biggest gulf is the musical one: compared to “1989” (and, I should add, a slew of other blockbuster Pop albums from the last decade, which I’ll get to discussing soon enough), “Future Nostalgia”’s songs are oddly lackluster.

Let’s start with the good, though. On my first listen to the album, I wasn’t completely baffled that critics were hearing something momentous in it. There are absolutely (again, sorry) bangers on this. Ironically, the two that stood out to me immediately were two that I later learned weren’t even released as singles, which might speak to the marketing team’s inability to judge the quality of the music they were handling here. “Cool”, easily the best thing on “Future Nostalgia”, rides a sort of bouncy warping of the riff from Cyndi Lauper’s “Time After Time” as Dua Lipa gushes about how she just can’t control herself in front of her lover; it’s sweet, both lyrically and musically. “Love Again” (no relation to the Run The Jewels song) is perhaps the album’s most explicitly “disco” song with swelling strings and everything, and expresses a similar sentiment to “Cool”, though perhaps from a more reluctant angle: “God damn,” Dua Lipa sighs in the chorus, sounding simultaneously annoyed and amused, “you got me in love again”.

The songwriting on “Cool” and “Love Again” also happens to be some of the most basic on “Future Nostalgia”; the beat loops, albeit with some nice flourishes and rhythmic quirks, and Dua Lipa cycles through a few simple melodies, the catchiest always winding up in the chorus. “Love Again” is practically a blues song with its AAAB-repeat phrasing. I highlight the virtues of this simplicity because it throws much of the rest of the album into a stark contrast and exposes its greatest weakness: many of the other songs on “Future Nostalgia” feel fussed-over and patched together out of pieces that don’t always fit, as if the several writers*** involved in these songs weren’t in the same room when the track was finally put together. The album seems to be a case study in throwing everything at the wall and not bothering to consider whether it will stick. And yet it seems to have a small army of critics defending it, even going so far as to call it the pop (or at least Pop) “album of the year” – which has me wondering exactly what all the hype is about.

“1989” has something that a lot of other blockbuster Pop albums since its release do not: a personal touch. Taylor Swift worked hard prior to that album at building her brand as a confessional singer-songwriter, and even with the big-name productions and radio-primed hits, she maintains that image: one of her biggest “1989” hits, “Blank Space”, explicitly addresses her (supposed) romantic history and relationship to the media. Elsewhere, she does some fantasizing about classic movie archetypes and the impulse to drop everything and run away from it all, strongly reminiscent of her past work. It’s not as easy as it might sound to pull off this kind of thing, and I think Swift deserves credit not just for the excellent musicality of the songs she put her voice to, but the consistency of the strong personality she built across her career (with misstep “Reputation” sticking out as the glaring crack in the portrait).

So I won’t compare “Future Nostalgia” to “1989” beyond the initial poptimism narrative it bolsters. No, “Future Nostalgia” isn’t particularly personal – its mode seems to be more in line with what Robyn was already doing a few years before Swift, anticipating a poptimism that would effectively result in her deification over the course of the 2010s. Similar to Robyn in her “Body Talk” series, Dua Lipa seems to approach “Future Nostalgia” with a kind of assumed confidence as a dancefloor queen – more celebratory than confessional.

The celebration, however, proves to be pre-emptive; “Future Nostalgia” lacks two crucial things that “Body Talk” had in spades. The first is a general willingness to experiment. Robyn’s albums were packed with silly throwaways, but some of them stuck, and the best are featured on the collected version of the album, from the Snoop Dogg collaboration “You Should Know Better” to the cybernetic-pop-anticipating “Fembots” to the sassy “Don’t Fucking Tell Me What To Do”. The title track of Dua Lipa’s album demonstrates a little bit of adventurousness, but it unfortunately flops, arriving in the form of awkward half-rapped verses that aren’t fun enough to leave a lasting impression. The only other potential outliers are the aforementioned “Cool” (which just happens to sound less disco than the rest but is otherwise a fairly standard, if well-written, pop song) and the album’s absolute nadirs, “Good In Bed” and the closing ballad “Boys Will Be Boys” (we’ll get to that in a bit). Otherwise, the album carries its aesthetic pretty consistently between tracks, giving little impression of any desire to experiment.

The second missing element is the consistency of the songs themselves. When Robyn’s songwriters toss her, say, a pseudo-dancehall song, they commit to it, making sure there are no weird melodic/harmonic/rhythmic hiccups and that the pieces fit together. And unfortunately, the majority of “Future Nostalgia”’s songs are full of exactly those kinds of hiccups and disjointed structural assemblages that leave me scratching my head. A lot of it’s subtle to the point that I can almost understand other critics missing these details, but I pick up on this stuff fast, and once I hear it, I can’t unhear it.

A lot of it’s in the phrasing; too often, Dua Lipa will go for a quick succession of staccato notes in a chorus when a simpler, slower phrase, or maybe just silence would have worked better (see “Break My Heart”, or the post-chorus of “Future Nostalgia”, in which she sings the 100% non-credible line “I know you ain’t used to a female alpha” – side note, has she even listened to top 40 radio in the last decade?). “Physical” is almost fun until you realize that the phrasing, melody and harmonic structure of the chorus would fit perfectly into any godawful Nickelback song.

Actually, “almost fun” is one of the phrases that I feel best describes so many songs on this album. Too many of the tracks set up something great only to follow through with some baffling songwriting choices. The second track in, “Don’t Start Now”, disrupts an excellently-phrased verse and infectious bassline with a chorus awkwardly parachuted in from what sounds like a 90s house song. The more in-character post-chorus that follows can’t help the song recover once you realize that it’s nowhere near as endearing as the original verse melody. That half-assed rapping makes a re-appearance in the bridge of “Levitating”, which is otherwise perfectly acceptable. If not for that moment, “Levitating” would come close to being the third pick of my favourite songs here, although you can’t fool me, Dua Lipa: I know that chorus is just a sped-up re-hash of the Jacksons’ “Blame It On The Boogie”. “Pretty Please” is also fine, funky and subtle, displaying some restraint on part of the songwriters and producers for once – though there’s also nothing about it that jumps out and grabs me. Besides the two standouts, is that the best I can hope for on this album, a song where nothing goes horribly wrong? At any rate, it’s better than the bland, shameless Lily Allen rip “Good In Bed”, which also features an utterly confounding “pop” sound effect in the chorus replacing one of the mind-numbingly repeated words.

There are some exceptions with regard to singers that can make use of this kind of disjointedness. Ariana Grande’s “Sweetener” walks a thin line, but it often pays off. See, Grande is a singer’s singer, at least by Pop standards; she’s known for crooning, for belting, for singing her lungs out. But she also wants to be a Pop icon to young people right now, and that means staying up-to-date in her production and songwriting. The trouble is, one of the most popular genres with the kids these days happens to be trap, which doesn’t exactly lend itself to Grande’s showboating vocals, favouring short, choppy phrasings and half-mumbled half-singing mixed almost low enough to blend with the music. So she compromises: some of the songs on “Sweetener”, such as the title track, have verses and choruses that feel as though they’re pulling in opposite directions, with Grande getting an opportunity to flaunt the long high notes in a percussionless section before dropping into those staccato bursts that suit the heavy 808s of trap. Despite it being more drum’n’bass/R&B throwback than trap, a similar dynamic is at play in Grande’s biggest hit from that album, “No Tears Left To Cry”. Unlike Dua Lipa’s lurching song structures, Grande’s feel intentional and thematic; the songs aren’t always bulletproof, but I feel like I learn something about her by hearing the tension of styles she’s struggling to stretch herself between. All I feel like I learn about Dua Lipa from the messiness of her songs is that either her, her songwriting team, or both are very confused about what goes into an effective pop song.

Of course, Ariana Grande is also operating in a slightly different mode than Dua Lipa in the first place: whereas Dua Lipa is engaging Pop radio in the recent tradition of satisfying formulaic hits like those of “1989”, Grande has one foot (or maybe even one and a half?) in the parallel tradition of R&B. While the two traditions frequently mix and crossover on the radio, they represent very different approaches to music whose distinction might provide some insight into why some of what Dua Lipa is trying to do isn’t working.

To put it simply, the basic unit of what we’ll call traditional pop is the song, and the performer of the song is meant to convey the essence of that song as a relatively unwavering whole – the performer is effectively the conduit for the song, which reaches the listener through the medium of the performer. The singer has some room to “interpret”, but once a given interpretation is found to be effective in its “hook” potential, it’s typically kept as part of the formalized song, written in stone, more or less.

R&B, true to its roots in “rhythm and blues” and, before that, jazz, essentially reverses this. Songs are present in R&B and not necessarily unimportant, but they typically become conduits for the performer’s own expressiveness. In this setting, the performer’s “interpretation” is actually the most important ingredient, as the performer’s style is effectively the product, the listener’s focus. This places greater emphasis on experimentation with phrasing, melody and other aspects of a song, as well as the potential differences between multiple recordings and performances of that song.

These two paradigms have consequential implications for singers of songs operating in a given mode. A traditional pop singer, for example, is going to be more likely to defer to the song as-written in their performance of it for a recording. An R&B singer, by contrast, is more likely to improvise, often delving into explorations of how to make their voice a more expressive instrument – in many cases, actually, it can be a matter of making their voice more like an instrument, full stop. The notes aren’t sung to express words so much as they are sung to express pure sound. Vocals can vary wildly in rhythm, giving off phrasings that might normally be considered unnatural, but, if placed artfully enough, can re-shape our expectations of pop music in the first place. These aren’t ironclad rules, by the way – the genres cross over frequently and the lines are often ambiguous. But I think defining the differences here can at least help us understand the split in the approaches of, say, Taylor Swift vs. Janet Jackson.

Arguably, the biggest R&B star in the world at the time of writing this remains Beyonce, and with fairly good reason: her powerful voice brings a lot to what are often already well-written songs. Take note here: something like “Formation” (which I have previously written about in my article on hip-hop’s inheritance of the post-punk legacy) or even “Drunk In Love” probably wouldn’t fly in the realm of Pop. Tracks like these are mainly embellished not necessarily with flashy songwriting or production flourishes (although they can have those too), but with Beyonce’s vocal interpretations of them, sometimes approaching something more like rapping than singing****. Note also: vocalizations in this context are given a certain freedom, a license to be weird within a certain range of acceptability. Need I remind you of “surfboard, surfboard, / Grainin’ on that wood”?

My point here is that R&B singers are playing by different rules than Dua Lipa. This isn’t just me arbitrarily deciding that what she’s doing isn’t “R&B enough” – you can here it in her approach. My criticism of her awkward phrasing is based largely on the fact that it doesn’t sound like she’s doing it to “experiment” with the songs she’s given. She repeats these phrases exactly the same way each time, as in the chorus of “Break My Heart”, just so you know it’s intentional. If she is, in fact, improvising, the songs aren’t very suited to it and her attempts are mostly unsuccessful; they become hooks that highlight their own weaknesses rather than bold forays into new rhythmic territory.

The most interesting part of “Future Nostalgia” is, by far, the backing music. Even when Dua Lipa’s singing and hooks fail, the production shines through (even here, though, there’s a caveat with regard to the last two tracks). Consider the sublimely gauzy vocal(?) loop at the beginning of “Levitating”; the sweeping disco violins of “Love Again”; the finger-popping funk bassline of “Don’t Start Now”; even the Justice-lite bass synths in the chorus of the otherwise by-the-numbers “Hallucinate”. “Physical”’s best aspect is, in fact, a small countermelody running in the background of the obnoxiously bland chorus.

This is where I can most understand what got music critics hyped up on this album in the first place: superficially, at least, it sounds pretty damn good. But I suspect the willingness to overlook its other obvious faults stems from a tendency among “poptimistic” critics to treat singers as interchangeable in a system they perceive to be dominated more by “sounds” than by music proper. In fact, the singer is a real make-or-break point in much of modern pop music (Pop or otherwise), likely due to the focal point they occupy; a great singer can occasionally salvage a terrible song, while a bad (or even just mediocre) singer can easily bring down the most well-constructed powerhouse hit.

A case against valuing “Future Nostalgia” solely on the basis of its production: the last Pop album I remember listening to where the production outshined the songwriting was Billie Eilish’s “WHEN WE ALL FALL ASLEEP WHERE DO WE GO?” Eilish’s songs aren’t bad, and are frequently even good – but I was surprised at how conventional, or even “traditional”, most of them were. “Bad Guy” and “All The Good Girls Go To Hell” are basically jazz songs. “Xanny” and “Wish You Were Gay” (the most lyrically immature, it must be acknowledged) are pretty standard singer-songwriter fare. Others tend to play to a type: either sleepy ballads (“When The Party’s Over”) or, the most interesting songs on the album, the hip-hop influenced minimalist pieces (“Bury A Friend”, “You Should See Me In A Crown”).

But of course almost all of these songs are transformed in part by some rather astonishing production. No one who’s heard “Bad Guy”’s synth-squiggle chorus would mistake it for jazz, and the chorus of “Xanny” squirms in a shroud of distorted bass that pull back when you least expect it – hardly typical sonic territory for most singer-songwriters. Even the already-powerful “Bury A Friend” hits harder than it might have without the surging crunches it’s afforded in the production.

My point, however, is not that the production is what makes this album – it doesn’t, at least not entirely. The production is roughly half of what’s interesting here. The other half is comprised by two things: the fact that most of the songs are fairly strong already (though I think Eilish could lose a few of the ballads and come out better from it), and the fact that Billie Eilish also happens to have a very distinct vocal style. Actually, that last part alone is probably the selling point for most people: Eilish’s eerie half-whispered delivery plays more of a role in constructing her album’s overall dark mood than the production. It has its limitations, and I wonder what her future will bring in terms of her ability to move beyond the role she’s effectively typecast herself in, but it has something on Dua Lipa: it has personality.

So vocal style is important, but that’s not all: as I mentioned, Eilish’s songs are also consistently  stronger than Dua Lipa’s, even when both are at their lyrical worst. Sure, “Wish You Were Gay”’s self-absorbed whining about unrequited love and sexuality sounds exactly like what you’d expect to come from a undeveloped teenage singer. But the lyrics are the only thing wrong with that song; take those away, and the melodies and instrumentation sound pretty damn great. The same cannot be said for the overblown dollar-store balladry of Dua Lipa’s execrable “Boys Will Be Boys”, which, despite projecting an ostensibly more “progressive” outlook than “Wish You Were Gay”, falls flat on its face anyway. And I’ll take an Eilish ballad over “Good In Bed”, which sports an obnoxiously repetitive chorus – static, plastic, it sounds like a strained smile looks, desperately trying to convince you that this is fun, right?

“But wait,” you might say, “pop music is supposed to be fun! And isn’t that what most of ‘Future Nostalgia’ aspires to? Shouldn’t we forgive Dua Lipa for some of her mediocre songwriting if her goal in making us dance is at least a defensible one?”

And the answer is no, because Pop is already full of music more fun than this. The way I see it, there are several ways in which one could make music more fun than “Future Nostalgia” (better songwriting being one I’ve already discussed to death here), but I’ll wager that a fairly reliable method is that frequently employed by Lady Gaga: do something musically outlandish and downright weird.

“Bad Romance” is the obvious lodestar here, but Gaga’s career is full of the absurd: just take pretty much any song off of “Born This Way”. Even the “normal” songs like “Yoü and I” (at least pre-“Joanne”) come across as weird by virtue of being placed next to something like “Electric Chapel”. And all this is done in the service not only of raising eyebrows, but in the name of fun. Even some of Gaga’s weaker efforts like “Venus” (or many others on “Artpop”) have a winking slyness to them that lets you laugh along with her. It rarely feels like she’s “serious” when she’s singing about love, sex, or dancing all night, but she gets you dancing anyway.

“Future Nostalgia”, by contrast, has few attempts at any kind of weirdness, and those it does have fall flat. I’ve already mentioned the cringe-y pseudo-rapping, but the spoken-sung pre-chorus of “Physical” is just as embarrassing, bringing the song’s momentum (its second-greatest virtue) to a screeching halt with an awkward phrase that feels totally unnecessary. And then there’s that sound effect on “Good In Bed”. These moments detract from the album because they feel half-assed, like Dua Lipa never bothered to commit to the bit she tacked on. And aside from this, “Future Nostalgia” remains pretty conventional Pop – she’s not exactly reinventing disco here, just emulating it for a new generation with mixed results. If only she could pull a “Heartbeat” or “Love Hangover” out of her bag, but the album is so radio-oriented that the songs rarely reach the 4-minute mark even when they find a groove worth hanging on to. It’s as if she mistook the law M.I.A. ironically lays down at the end of her biggest hit for sage advice: “Remember: no funny business!”

There is one more aspect of the poptimism that helped propel this album in the eyes of critics I have yet to discuss: the paradigm’s coinciding with the recent wave (is it the fourth? I’ve lost count) of popular feminism. This was significant for Taylor Swift at the moment of “1989” because it allowed for interpretations of songs such as “Blank Space” to reach beyond a simple commentary on her stardom and discomfort with media coverage, branching out into a more expansive reading of the song as representative of the ways in which women in general are demonized for their past relationships. Feminism, as a cultural framing device, was crucial in shaping listener perceptions not just of “Blank Space”, but of many other songs on the album. It also helped to launch a whole wave of emerging and returning Pop artists’ albums and singles that traded in similar (vaguely) politically-charged lyrics.***** In the years that followed, a veritable opening of the floodgates would happen with regard to public feminist consciousness-raising, culminating in specific incidents such as the #metoo movement.

For the record, I think this was largely good. I’m under no illusion that “1989” is in any way a politically radical album, but I think the return of pop feminism has generally had a net positive influence in getting pop artists of all kinds of re-think their music’s relationship to gender politics. That being said, there are two things I resent about its lasting impact. The first is the kind of forced extrapolation of songs that bring up gender in any way into “feminist” anthems when they’re largely about relations that have little to do with the matter. One case in point might be Dua Lipa’s pre-”Future Nostalgia” hit “New Rules”; inexplicably, I often see fans trying to make the song’s lyrics out to be some kind of political diatribe about the cruelty of men to women or something like that, when in fact it sounds more like a typical “bad relationship” song, the kind that have been on the charts for decades by now.

But the other thing I’ve come to dread from pop-feminist Pop is the inevitable half-assed “message songs” that seem designed to cash in on using feminism as a signifier that an otherwise apolitical artist is still hip and knows what’s up. Whether through “New Rules” fan encouragement or her own hubris, Dua Lipa has regrettably chosen to end “Future Nostalgia” with such a song: “Boys Will Be Boys” (no relation to the significantly better-written song of the same name by Stella Donnelly). I don’t really want to write a lot about this song because part of the problem with it is that it’s bad in a lot of boring ways, but I do think it’s significant that it was singled out by several other critics (even those who liked the album) as the album’s worst song by miles. I’m hoping this shows a change in perspective here, as critics get harsher about flops like this one, and hopefully the eventual end result from this pushback is that Pop stars will stop trying to convince us they’re “real feminists” with empty songs like “Boys Will Be Boys” that are tacked on to the end of their “bangers” album as a kind of placating afterthought.

So a number of critics have indeed placed too much stock in this album: contrary to the feeling you may have gotten from my relentless criticisms here, “Future Nostalgia” isn’t necessarily bad, but I wouldn’t call it “good” either. It sits in a mid-tier of Pop albums over-enthusiastically pushed out during this era of high poptimism. It’s not the next “1989”, or “Lemonade”, or “Body Talk”, or “WHEN WE ALL ETC.” It’s just a mediocre album with a few great songs that were somehow never released as singles.

Is the inflation of “Future Nostalgia”’s reputation a sign of poptimism’s imminent bust? Are we entering a period of critical groupthink and gradual decay? These questions are too big to answer here, or perhaps at all for now (likely we’ll know the answer for sure in another decade). But I want to end this on a positive note by singling out a singer I haven’t mentioned yet as perhaps the greatest Pop artist of the last 20 years: in all these comparisons, I never got around to bringing up Rihanna.

On one hand, much of the poptimist revolution in criticism has involved taking the studio albums of Pop artists as seriously as their counterparts in other genres. On the other, Pop has never really stopped being a singles genre, and few have demonstrated this better than Rihanna. This is not to deny that she’s released some totally listenable, or even great, albums in her own right: “Talk That Talk” and especially “ANTI” stand as excellent records that came along relatively late in her career. But, well, raise your hand if you’ve actually listened to, say, “Good Girl Gone Bad”. Now raise your hand if you know “Shut Up And Drive”, “Don’t Stop The Music”, “Disturbia”, and, of course, “Umbrella”. See what I mean?

Perhaps I could blame “1989” again in part for this shift in focus from Pop singles to Pop albums. It’s pretty remarkable, after all, that the album is as consistent as it is, and I think that might have caught a lot of critics who were expecting otherwise off-guard. I think another problem, however, resides in the dominant mindset among critics in the first place, the idea that albums are the more valuable art form, the standard by which greatness is measured. Even I find myself incapable of breaking free of that format of evaluation – I’m much less likely to seek out more of an artist’s stuff based on a few great singles of theirs compared to if I hear an entire album from them that I like.

This might be slightly unfair of us critics, but there are workarounds to help correct this bias. One of those workarounds is the compilation. If an artist can make an album’s worth of great songs, but they happen to be spread across a number of their otherwise-mediocre albums, they can still win favour by collecting all (or most) of those gems in the same place, a “greatest hits” collection being the most common******. This seems like a pretty reasonable way of enjoying singles-oriented artists for those of us who are still stuck on the old album format.

But compilations have also never been as popular to review among critics as studio albums (I don’t know, maybe many feel like it’s cheating to collect the best stuff in one place?) and, as stated, it seems like poptimism’s paradigm shift has only reified the bias towards albums by putting more weight on Pop artists’ studio albums than before. Further, as compilations have started to die out (since anyone in the streaming age can assemble their own “greatest hits” playlist that will have all their own personal favourites on it), recent Pop artists often aren’t even given the chance to be evaluated at their best in a compilation format. I wonder if this is also a contributing factor in the hype surrounding “Future Nostalgia”; though it would probably be better remembered for its singles which could be collected on a later “Best Of Dua Lipa”, the fact that such a collection is unlikely to materialize pushes critics towards trying to sell listeners (and themselves) on this being Dua Lipa’s “definitive statement” and reason to take her seriously as an artist simply because it’s the most consistent thing she’s released so far.

Regardless, Rihanna is a model artist in terms of being a singles-oriented Pop singer deserving of a great compilation. If someone were to put it together, I’m fairly certain it could rival Madonna’s “The Immaculate Collection”, the former (basically archetypal) gold standard for a Pop artist’s greatest hits. Imagine hearing “Umbrella”, “Work”, and “We Found Love” all in the same place, uninterrupted by the inevitable string of lesser artists’ hits you’d inevitably hear if that place was the radio or some poorly algorithmically-generated playlist. My concern is that with the death of the compilation and shift in the expectation for the Pop artist’s studio albums to be their defining moments, such an album will only ever exist in an unofficial capacity. Which is fine, I guess – if you hate pop canon. But I don’t, so I patiently await the return of a collective memory for singles that extends beyond the radio and the playlist.

*Interesting to see how these examples have aged.

**Don’t get me wrong, I like “1989”! But its potentially negative influence will be detailed further as I continue.

***This isn’t a criticism of songwriting teams in general – certainly great songs have come out of the modern collaborative approach to pop songwriting, and I’ll get to those soon.

****And of course there’s a whole other conversation to be had about the ways in which hip-hop and R&B, formerly more separate genres, have been in the process of merging for the last two decades as performers in each have realized how much their interpretive approaches have in common.

*****It should be noted that this trend started several years earlier in “underground” and “indie” scenes and only just made its way into the Pop mainstream around 2014, but that’s a discussion for another article.

******Actually, even if an artist has only one great song, multi-artist compilations can step in to help. But since I’m focusing mainly on the respective cults of personality of specific Pop artists here, I won’t get into those. I should also add that Pop is by no means the only genre in which this happens: there are definitely so-called “classic rock” artists who I wouldn’t bother listening to outside of a compilation of their best stuff (Queen, for example).

[rachellevic]

As I sit here, thinking about the end of supernatural, reading all the beautiful tributes and articles, I feel a very great sense of loss. Not because I believe this is the end, the real end, that’s not possible with the Winchesters, but there is something much deeper going on and I can’t quite put it into words, so maybe that’s why I’m writing it down.

Maybe it’s a little bit selfish, maybe I’m just not ready to watch to ‘the end’. Rarely has a show done this to me, and believe me, I have a ‘brand’ of television that I get into. Confession, I only started watching supernatural because someone told me that Kim Manners was a producer on it and I was a huge, I MEAN HUGE, fan of the X-files, and I didn’t feel this way when that show ended. It was also several season in before I started watching supernatural because, truth be told, I very strongly dislike ‘vampires and werewolves’ stories and what media has done to lore and historical context; I’m looking at you Bram Stoker, you started this and opened the door to things like sparkles and Stockholm Syndrome and that’s not okay. But Supernatural had something that I had been missing in TV, in life, and I very quickly became a fan...thank you for fixing vampires and werewolves by the way.

I like endings. I like beginnings. I love the journey to get from beginning to end. Maybe I am feeling something more than a loss of a show, but a loss of a way of life, a path, the road...I don’t know. To be honest Supernatural is one of the last shows that I have tuned in to on the regular, week after week, to watch because the way we watch TV has changed. The way people experience a serial show has changed. I don’t know if Supernatural would have been what it was if it had found a life on a streaming service to begin with. But they didn’t exist, or were just in their infancy when supernatural started. What I will miss the most, I think is the episodes in between. Rarely do you find a show that can start a plot episode one and carry it over many season, reinventing itself, playing off its past and building a future. It has built such a future that regardless of how it end, whether they die or they live, they will always live, they will always live in the stories that we know and the stories that we will tell. Jared and Jensen will go on to do other things, as they had done other things before this, but they will always be Sam and Dean and whenever you see their faces, your first thought will be Sam and Dean. Like Anthony Hopkins will always be Dr. Hannibal Lector (so will Mads Mikkelsen, just saying) and Colin Firth will always be My Mr. Darcy. Misha, though an antagonist to us all, is literally an angel in real life. I said what I said, change my mind.

This thing we call Gish has it’s own life now, and will continue to do great things, but we are deeply bound to our Supernatural roots. Looking back on 15 seasons, the good the bad and the ugly, (*cough* Bugs *cough*), what would the show have been if it were a max of 9 or 12 episodes a season? I mean, honesty, if you are a fan of Lucifer, who has watched it on Fox and now on Netflix, it just isn’t ringing the same. It’s good, but there is something missing and I think what that is, is the passage of time. The episodes in between the big plots, the monsters of the week, and the goofy playful, ‘I killed Hitler’ And ‘Sam hit a dog’ moments. We know a milk run is never just a milk run, that life is big and bold and in your face, even though it seems a little slow right now, and that sometimes, staring a books and computers too long is going to force you out into the world to just look for some trouble. Supernatural has taught me a lot about life and what is out there in the world, the good, the bad, the people, this planet we live on and some of our fundamental flaws as humans. Nothing is ever going to be perfect, but if we work at it, we can touch perfection. It’s the moments and the anticipations, it may also be the glimpses of joy when the world is crashing in around us.

It has been a long time, 15 seasons, 320 plus episodes, and yes it does feel like an end, but not for Supernatural, for the way we watched TV. I like a mini series as much as the next person but I don’t think you can do what supernatural did in a handful of episodes even if you can keep yourself going for as long. I don’t think a community like this will ever happen again in the same capacity because the interactions on episode night wont be the same if they just throw everything up onto a streaming service. We have been so lucky with this show and the cast’s willingness to interact with us as much as they do and recognize the power of the fandom as a force for good. Networks were always just looking for viewership, but seemed to forget that the viewers make or break a show and I feel like Supernatural found a way to take views and unite them, to appreciate the fans and see the power that people can have when hey get behind something. That wasn’t the networks doing, it was the cast, it was the fans, I think that is very obvious. So, maybe this is where my feeling come from, maybe I just don’t see how a show doing as well, doing so much good outside of the show, making money, bringing in viewers, being the longest running show of its kind, could just be cut off when there could have been so much more to be done...Do I blame the network for the fall of TV and that they are grasping at straws for an old way of viewership? Yes, yes I do. I believe that they see the streaming services have been a mighty blow to their structure, that it has made TV so much more accessible and frankly so much less annoying with no commercials, but what I think the streaming services of the world have wrong is the limited number of episode and the anticipation of a new episode week after week. Sure, I hate a hiatus as much as the next person, and when I want to watch 15 season of supernatural all in one shot, I do have the DVDs so F you Netflix for taking it down and putting it back up and taking it down again only to put it back up, I have the collection and I can watch it any time I want! But, where is my live viewing party, the gasps and shock you can literally hear over twitter. The standing and singing Carry On when you know it’s going to play. You don’t get that binge watching a show on Netflix...Supernatural is so much bigger than the money maker it was for the networks.

Truth be told, I’m kind of over TV. I rarely turn the thing on in the off season. I didn’t watch anything new this whole pandemic, but instead went back to the familiar, the comfortable. I marathoned all of the X-files in order from beginning to end with two movies, two event series, and cried over their Kim Manners tribute. (Word to the wise, it may not be the best show to watch in a pandemic with all it’s government conspiracies and alien viruses...but the 90’s fashion in the early seasons, and so many actors who we know and love from supernatural were just babies back then, and yes almost everyone is in it. Baby Crowley, Baby Lucifer, Baby Meg (First Meg not Second Meg...sorry Rachel!)) And when I was finished with The X-files I jumped right back into season one of Supernatural.

Supernatural has kept me coming back every week, and it’s been around for almost half of my life (do we even count the years you can’t remember?). I’m about as old as Sam, I was in university when I started watching supernatural but I’m also an older child and I grew up on my dad’s music, and he had a classic car that I remember but my brother doesn’t and my dad isn’t with us anymore (2012). I found so much to connect with in Supernatural, like I relate to Dean on a level that I can’t even explain; from having a little brother to pie is the superior celebratory dessert - also pie for breakfast is totally okay not because there is fruit in it but because I’m an adult and I’ll do what I want! Go team free will! Does that make me a Dean girl? I don’t think so, because You can’t have one without the other. This whole time, it has been about family, more specifically siblings. Dean isn’t Dean without Sam and Sam isn’t Sam without Dean. But yes I’m a Dean girl for other reasons.

I don’t know, maybe it’s just me, I doubt it, but supernatural hits the family feels, it came into my life at a time of transition, it was there when my dad died, and has been there for 15 years. Thinking back to the ‘where do you see yourself in 10 years’ question, and not being at all where I’d thought I’d be, there has been something very constant in the inconsistencies of the road so far. Remember back in season one when we didn’t even know demons were a thing and now our biggest issue is literally Chuck? What a metaphor for adult life. For dealing with this crazy world and society and all the weird that seems to be oozing out of the pours of humanity. We’ve grown with this show. I’m not going to say grown up, because I sure didn’t get any taller in 15 year, but I did evolve, and maybe in some ways I have also digressed, but we keep pressing forward because no one else is going to save my world but me.

Supernatural reminds me of so many part of my life. I saw so much of the X-Files in there, the show that formed my younger years, and was devastated when Kim Manners passed away. There was a familiarity in Supernatural. The idea of seeing Sam and Dean come back, in event series (like the x-files) gives me hope, because we know that death isn’t really death for the Winchesters, but there will be something very profoundly missing from the world going forward. Maybe it’s the last of the magic, something that I’m holding onto in my adult life from time before, the spark that has managed to light up a really strange time, and I don’t just mean 2020. Maybe its a Millennial thing, I am an elder Millennial, right on the edge of two generations and I’m not even 40 yet. I’ve lived in the 80s, 90s, 2000s, 10s and here were are almost through the first year of the 20s (its going to be a very different kind of roaring 20s but um...very similar. History repeating itself a little too literally at times)

I don’t think the Supernatural Family is going anywhere any time soon, I don’t feel like I’m losing that, but this is an end for us. Maybe it’s the end of one book and the beginning of the next. Maybe it’s now our time to carry the legend of the Winchesters forward. I can only hope that somewhere, somehow we’ll see the world expand, the characters lives on; this isn’t the end of the road, but I guess the road can only go so far. I don’t want it to be over. I feel the loss, the lump in my throat, the tears in my eyes that I am fighting back even though no one is going to see them. It’s all good. All good things come to an end, or do they? Regardless, we’ll always have Tuesdays.

Carry on, everyone. I hope that you’ll be okay. Sorry for the long rambling journal entry that didn’t actually come to any real conclusions...thanks John! (Oh yeah, my dad’s name was John too...)

#supernatural #SPNFamilyForever #theroadsofar #lastdaysofSPN #theend

[somethingusefulfromflorida]

Pixar Films

I dislike Disney as an entity; it is an evil corporate conglomerate that makes focus-grouped schlock to appeal to as wide an audience as possible at the detriment of story.  That said, Pixar was once the greatest animation studio on the planet.

Keep in mind, these are movies for kids, so anything negative I say will almost certainly be rebutted with “you’re just old and you don’t like Disney because it’s popular and you’re a hipster and you’re not even the target audience anyway so shut up.”  I’m just giving my two cents, whatever that’s worth.

I’m not gonna rate them on a number scale, I’ll just tell you how much I would or would not recommend watching them.  Some are must-see-cinema, others are bland and skippable affairs that you should not feel obligated to watch just because it has the Pixar brand on it.

Let’s start from the very beginning (a very good place to start)

Toy Story (1995) Groundbreaking, the first feature length 3D animated movie, spectacular cast, great story, though a little wonky by today’s standards both in the visuals (though that’s just a product of the times) and in the characterization (Woody is kinda of a jerk in this one; he was worse during pre-production, so this is the tame version).  Pixar started off on the right foot.  Would Recommend

A Bug’s Life (1998) This has some flaws, but is still a really fun movie.  Not as good as Toy Story, but infinitely better than Dreamworks’ knockoff Antz.  Great ensemble, memorable characters and set pieces, really funny.  Would Probably Recommend

Toy Story 2 (1999) An excellent sequel, they knocked it out of the park with this one.  It’s surprisingly deep, exploring concepts like the inevitability of change; nothing lasts forever, you can’t keep kicking the can down the road forever.  The journey is finite, but that doesn’t make it worthless.  Would Definitely Recommend.

Monsters, Inc. (2001) To date, their best original movie, maybe even better than Toy Story 2.  Everything about it is perfect; John Goodman and Billy Crystal have great chemistry, Steve Buscemi plays the perfect sleaze, Boo is just adorable, it’s an excellent movie.  Would Definitely Recommend.

Finding Nemo (2003) This is a beautiful movie; they had to invent new animation techniques to make it look this good, new ways for light to bounce and diffuse through the fishy medium.  Amazing story, absolutely heart wrenching at points, hilarious at others, without feeling tonally dissonant.  Would Definitely Recommend.

The Incredibles (2004) Another home run, they’re just showing off at this point.  This is a much deeper and arguably darker story than any of their previous films.  It doesn’t pull any punches and explores adult concepts like mid-life crises, extramarital affairs, death (oh, so much death; red shirt mooks and civilians alike).  This may be my favorite (definitely top 3; I’ll expand the list below).  Would Definitely Recommend.

Cars (2006) A competent movie, though by Pixar standards it’s not quite up to snuff.  Not bad, by any means, but this one is the most blatant cash grab of them all, just a commercial for hot wheels and die-cast toys.  I have a soft spot for it because this is the one I’ve seen the most; my mom would turn on this DVD to keep my baby sisters occupied, so it was literally always playing in our house.  That said, I’m not nostalgia blind; it has good parts, but it’s not great.  Would Probably Not Recommend.

Ratatouille (2007) C’est Magnifique!  Patton Oswalt does a fantastic job, I identify with Linguini on a spiritual level, the human characters are all perfectly demented and the rats are equally so.  I love this moral; anyone can be successful, it’s about who you are not where you come from.  Funny and relatable, an all around feel-good movie.  Would Definitely Recommend.

WALL-E (2008) Top 3, hands down, this is a true work of art, a modern masterpiece.  A film mostly devoid of dialogue, it expresses so much emotion from how the characters carry themselves and react physically to their surroundings.  The body language, the color choices, the camera work (especially in the space dance sequence), just how RAW everything is, how grounded it feels, how fleshed out these little robots are..  I Cannot Recommend This Enough, Watch it Right Now. Now. Why Are You Still Reading This?  Now! Go Watch it Then Come Back.  Even if You’ve Already Seen it, Go Watch it Again.

Up (2009) Another near perfect installment under Pixar’s belt.  They’ve really nailed the art of opening scenes; Carl and Ellie’s love story moves me to tears, it is so beautifully portrayed.  Some of the characters can be a tad annoying and overly cutesy to sell merchandise, but the story never suffers from it.  The villain actually feels like a threat, there are stakes, and the image of a house sitting by a waterfall and the story connotations thereof are indescribably bittersweet.  Would Definitely Recommend

Toy Story 3 (2010) This is is sort of hit or miss.  It’s a very well made movie, and an excellent CONCLUSION to the Toy Story franchise (Conclusion: noun, the end or finish of an event or process).  I liked it, felt it really wrapped things up in a satisfactory way, but it’s not better than Toy Story 2 in my mind.  I feel like this was a turning point for Pixar; after this, they were never quite the same, never really bounced back.  May or May Not Recommend, I’m on the Fence

Cars 2 (2011) You don’t give the comedy relief their own movie.  That’s storytelling 101; the comic relief bit-character can rarely stand on their own and meaningfully carry a story, though corporations are laughing all the way to the bank as I say this because these types of movies keep making boatloads of money even if they suck.  Minions made bookoo bucks, the Pirates of the Caribbean series is still ongoing despite the loss of Bloom and Knightly (and bringing them back for the last one doesn’t really count because Depp is still the main character), Cars 2 is a corporate cash grab, and devoid of artistic merit; this is my first hard no.  Would NOT Recommend.

Brave (2012) This is not a Pixar film, it is a Disney film that they decided to make under Pixar’s name instead because they knew Pixar had enough good will and positive connotations to get people into seats regardless of story.  It’s not terrible, but it’s not great.  That’s the story of modern Disney; not terrible, not great, just okay because that’s all it needs to be.  People will watch it no matter what, so they put in the bare minimum amount of effort so nobody can say they suck at making movies again (because for the longest time in the early 2000s, they did suck; Dinosaurs, Home on the Range, Chicken Little).  Would Not Recommend.

Monsters University (2013)  Why did you do this, Pixar?  Why did you take one of your best movies and do this specifically to it? Nobody asked for this, nobody wanted this.  I can only applaud them for having integrity enough to NOT give people what they wanted; people wanted a sequel, and that would have bee terrible.  You can’t follow up on Monsters, Inc, it had a perfect ending, it was hopeful and heart warming and definitive.  A prequel is the only thing they could have made without messing up the ending of the original, so I’ll give them some credit for that.  It’s not good.  Would Not Recommend.

Inside Out (2015) Their best one since Toy Story 3.  Not terrible, I actually liked a lot of things about this one.  I like it when Pixar takes on more serious subject matter, and I thought they did a good job exploring how a kid would react to such a drastic lifestyle change.  The cast was good, the animation was fun (inside Riley’s head; outside was generic and samey).  Not bad Pixar, not bad at all.  Would Probably Recommend.

The Good Dinosaur (2015) It doesn’t matter what i think because this movie still made hundreds of millions of dollars.  Disney is losing no sleep over this.  Would NOT Recommend.

Finding Dory (2016) Again with the continuations!  This was better than Monsters University, but the original was still such a hard act to follow.  It had potential, and I liked how it respectably handled mental illness in a way that was easy for kids to understand without dumbing it down and underplaying its significance in the lives of those who it effects.  I think Marlin kinda regressed, having to relearn what he already learned in the first one. The hardest I laughed was during the climax, the truck chase scene, “It’s a Wonderful World,” just amazing.  Would Probably Not Recommend

Cars 3 (2017) I hope Disney was happy with this end product.  I hope the producers really enjoyed cashing their toy checks for this one.  I thought it was worse than Cars 2, but I can see why some people might like it more.  Either way, it’s worse than Cars 1, which wasn’t particularly great anyway.  Would NOT Recommend.

Coco (2017) I’m on the fence with this one.  It was beautifully made, and the songs made me cry, but it’s hard for me to look at this movie without judging it as a product made by a focus group of mostly white people.  By itself it’s a good movie, but when you know how the Disney sausage is made it feels disingenuous and calculated.  Might Recommend, But it Had Some Baggage

The Incredibles 2 (2018)  I am Boo Boo the Fool, Pixar suckered me and I fell for it.  I was legitimately enthusiastic for this one because the original is one of their best, and unlike Monsters, Inc it actually left room for a sequel.  It had so much potential, and big shoes to fill, and it did so in the most generic Disney way it could.  Like Brave it wasn’t terrible, but it wasn’t great either.  Middle of the road, some things were fun, others made little sense, it was “appealing” in that it literally appealed to as wide an audience as it could without alienating anyone by doing anything particularly risky.  I liked Voyd, I liked how Helen became the main character, I liked the villain twist; I did not like how easy it was to make superheroes legal again.  It felt like it was tacked on at the end, like he just says “and there we have it, they’re legal again, congratulations,” like he was announcing the winner of the Price is Right.  Would Probably Not Recommend

Toy Story 4 (2019) I want to be clear that I made a point not to pay money to see many of the previous films on this list.  If I thought they were going to suck, I waited until a friend bought it and saw it with them for free.  This one, though, I was forced to pay for because my mom insisted on seeing it in theaters as a family.  It wasn’t terrible.  Wasn’t great.  Wash, rinse, repeat.  It was the same villain again; Stinky Pete, Lotso, Gabby-Gabby... I can’t wait for the fifth one where the villain is an old toy who is mad because they weren’t played with.  Buzz was made much dumber for this one, and I felt they didn’t do enough with Forky.  I was excited to see how they handled the existential aspects of the series; what makes a toy? How are toys sentient? Why are toys sentient? In the first movie Woody implied that there were rules that toys were honor bound to follow, so what is stopping Forky from blowing their cover on accident?  None of these questions were answered.  I liked Keanu Reeves, I didn’t like Key and Peele.  Would Probably Not Recommend.

The mighty have fallen.  It’s just sad. 

”Onward” looks kinda dumb, like a kiddy version of the flop Will Smith movie “Bright.”  I have no faith in this production company anymore, but I’m sure it will make hundreds of millions of dollars; the cast are fan favorites, including Disney’s favorite topical pet celebrities (because let’s be honest, Disney basically owns Tom Holland at this point.  Whether they own Spider-Man or not, they own Tom Holland, he is theirs, his soul contractually belongs to them).

Speaking of souls, ”Soul” will probably go over well with critics, though I can’t help but notice that their main character of color is transformed into a non-human for most of the movie.  Again.  I’m also not a fan of this one-word naming convention Disney has fallen into in the last decade.  “Brave” was originally titled “the Bear and the Bow,” but one-word titles seem to test well with kids.  Hopefully this will pass, but I’m not holding my breath.

I’m swearing off Disney movies, firsthand.  I might catch them second hand, through friends or other means, but I refuse to give this corporate conglomerate one more penny.  They basically own Hollywood, so my money will eventually make my way into their pockets, I just want to put as much distance between them and myself as possible.  No more Pixar, no more Star Wars, no more Marvel, no more Disney.  I am one drop in the bucket, I will not be missed, and they will not be affected in the slightest by my absence, but I need to prove to myself that I have integrity enough not to keep funneling my hard earned cash into a trillion dollar snack company.

Disney movies are snacks, not meals.  And I’m going on a diet.

Anyway, here’s my top three:

Monsters, Inc

The Incredibles

WALL-E

[ts1989fanatic]

Taylor Swift And The End Of An Era

Love her or hate her, Taylor Swift embodied the contradictions of the decade in pop music

“I’m so sick of running as fast as I can,” Taylor Swift sings in the chorus of “The Man,” a song from her latest album, Lover. She chose the up-tempo tune to open her “Artist of the Decade” medley at the AMAs last month, and it’s a return to familiar Swiftian themes; she claps back at unspecified, sexist critics who fail to acknowledge her “good ideas and power moves.”

Whatever one might think of Swift’s underdog complex, it’s not surprising that the end of the 2010s finds her exhausted. Her transformation from tween country sensation to tabloid-friendly pop star to polarizing Twitter talking point and, finally, to celebrity supernova, required — at the very least — plenty of stamina.

There’s no question that straight white femininity still occupies a privileged place in the cultural landscape, which helped pave the way for Swift’s rise and decade-long pop dominance — even as she became a zeitgeisty symbol of that privilege and a target for those seeking to contest it. Yet as many of her similarly situated peers have faltered, she has endured as one of the last pop behemoths of her kind.

Time and again Swift strategically read and rode the decade’s cultural waves, deciding not just which trends and genres to jump on but, perhaps more importantly, what to pass on. As pop music became feud-centric reality television, there was Taylor; as stan culture transformed the way listeners interacted with performers (and each other), there was Taylor; as artists’ rights in the streaming era entered the conversation, there was Taylor; as politics infiltrated music, there was (sort of, eventually) Taylor.

There are definitely plenty of other contenders for Artist of the Decade (a title both the AMAs and Billboard recently bestowed on Swift) — artists who have hugely impacted pop music over the past 10 years and managed to ride out the seismic, industry-wide shifts they’ve contained, from Beyoncé to Lady Gaga to Kanye West. But you don’t have to think Swift was the “best” or even most significant artist of the decade to acknowledge that her cultural domination, and her ability to pivot and reinvent herself, captured many of the defining tensions of pop music over the last decade.

It’s hard to remember (in internet years) that before 2010, Swift was just a teen pop star and not yet a cultural lightning rod. She was already taken seriously as a musician and had plenty of cultural capital coming into the decade; in 2009, having already won Artist of the Year at the AMAs, she was about to accept a Video Music Award for Female Video of the Year when Kanye infamously interrupted her speech. In early 2010, she won Album of the Year for Fearless at the Grammy Awards, beating out Beyoncé and Lady Gaga.

Her early stardom revolved mostly around the fact that she was a precocious young country artist who wrote her own songs, without the risqué edge or sexy-but-wholesome cognitive dissonance of someone like an early Britney Spears to worry white parents and inspire pearl-clutching tabloid magazine covers. And it wasn’t really until Speak Now — when Swift was already a mainstream star but still categorized as country — that she began teasing the media and her fans about the ways her autobiographical lyrics mapped onto her real life, especially regarding the men she was dating.

People are still wondering whether Alanis Morissette’s “You Oughta Know” is about Uncle Joey, so it was startling for a young woman songwriter and musical celebrity of her commercial reach to use her songs to consistently craft such intimate stories about such equally public men, including Joe Jonas, Taylor Lautner, and John Mayer. And there was something uniquely bold about the way Swift started using her confessional songwriting and melodic sensibility to “get the last word” on her relationships, as People magazine framed it in her first cover story.

People hardly batted an eye in 2018 when Ariana Grande’s first No. 1 hit, “Thank U, Next,” literally name-checked her list of ex-boyfriends, and that’s in no small part because of Swift. Because even as reality TV stars like the Kardashians and Real Housewives were figuring out how to create multiplatform storytelling through social media, Swift was already pioneering the strategy in the big pop machine. Yes, she opportunistically used this to shame exes, create fodder for talk shows, and garner magazine covers; and even then, it raised some hackles about the way she was using her power. But it was undeniably compelling theater, and even nonfans were watching.

That multiplatform mixture of music and drama wouldn’t have succeeded without the undeniably catchy earworms Swift’s diary entries were wrapped in, or without the devoted fanbase of Swifties that she cultivated online. This all helped her break chart records with her most explicitly pop albums, including 2012’s Red and 2014’s ’80s-inspired 1989. The latter garnered the biggest first-week sales for a pop album since Britney Spears in 2002, helping Swift keep the tradition of the monocultural pop star alive.

But as Swift’s music saturated airwaves, and her willingness to tease behind-the-scenes details of her life in her songs moved beyond ex-boyfriends like Harry Styles (“Style”) into swatting at other pop stars like Katy Perry (“Bad Blood”) the public began to sour on Swift’s strategic use of her personal life in her music. (To Swift’s credit as a performer, no other pop star could sing the lyrics “Band-Aids don’t fix bullet holes” about a dispute over a backup dancer with a straight face.)

Juxtaposed with Swift’s self-celebrating “girl squad” feminism, her opportunism — and seeming hypocrisy — started to rankle. By 2015, even racist sympathizer and critic Camille Paglia came out of the woodwork to anoint Swift a “Nazi barbie,” calling out her tendency to treat friends as props. And all these contradictions of Swift’s persona would come to a head when Swift’s seemingly buried feud with Kanye came roaring back the following year.

It makes sense that her clash with Kanye and Kim Kardashian West became the first time she experienced a real backlash. Unlike the drama around her dating life or with Perry, it was the first time Swift was up against equally savvy adversaries — celebrities who, like her, were professionals at merging their public and private lives.

The fight was a meta moment by design, inspired by West’s song “Famous,” where he raps: “I made that bitch famous.” In retrospect, it seems clear that West, as much a publicity-seeking pop diva as Swift, was trying to get the last word after going on an apology tour about the interruption heard round the world. Swift claimed to be annoyed over what she saw as the song’s credit-taking message, and she tried to make it part of her own narrative. “I want to say to all the young women out there,” she intoned in her speech accepting a Grammy for Album of the Year in February 2016, “there are going to be people along the way who will try to undercut your success or take credit for your accomplishments or your fame.”

In another era, Swift’s storyline might have won the day. Her publicist denied that she had approved the line in the song, despite Kanye’s claim that he had checked with her before releasing it. But celebrity narratives, to some degree, were no longer being decided just by white-dominated mainstream media. Black publications were the first to tease out the racial undertones of Swift’s lie in the ensuing “he said, she said,” specifically as a white woman playing on the ingrained sympathy and benefit of the doubt that white women are given in US culture.

Still, it wasn’t until Kim’s Snapchat leak that July — where Swift could be heard approving the song — that the Swift-as-victim narrative became a framework for understanding her entire career. Contemporary white pop stars like Grande and Miley Cyrus had faced musical appropriation backlashes, but this time it was Swift’s entire persona — not just her music — that were under scrutiny.

Swift’s memeable response to the leak — “I would very much like to be excluded from this narrative” — was followed by her own disappearance from the media landscape. By the time the 2016 election happened — amid the chatter about white women’s complicity in electing Trump — Swift’s refusal to take a political stand solidly cast her as a cultural villain, and her symbolism as an icon of toxic white womanhood was sealed.

If the clamor of social media (especially Twitter) was central to the Swift backlash, it was also central to her eventual resurgence. Over the past decade, social media (especially Instagram) has tipped the scales in celebrity coverage and helped celebrities tell their stories on their own terms, almost without intermediaries. Swift knew how to use that to her advantage and decided to play the long game.

By refusing interviews for 18 months, wiping her social media clean, and focusing on cultivating her Tumblr fanbase, Swift removed herself from the cultural conversation for a beat. This kind of brand management helped her keep an ear to the ground while in a self-imposed exile. But it’s as if the culture couldn’t stop conjuring her; rumors about her absence spread, including that she had traveled around inside a suitcase.

In August 2017, she wiped her social media clean and reappeared with a snake video — reclaiming the serpent emojis — in what was ultimately the announcement for her Reputation album, and which remains one of the most iconic social media rollouts ever. “Look What You Made Me Do,” the lead single, was endlessly memed — Swift couldn’t come to the phone, a perfect metaphor for her cultural disappearance and, perhaps, a kind of ghostly remake of the Kanye call. The album succeeded because it seemed as though Swift was finally open to owning her melodrama and messiness. She subsequently broke records with the tour and album sales.

Still, her political silence was affecting her image and music. By 2018, insipid corporate wokeness had become the order of the day, and Swift Inc. again pivoted musically and culturally. Swift came out for the Democratic candidates in the 2018 midterms, framing her support in terms of LGBTQ rights and racial justice. And this year, the second single from her latest album, Lover — “You Need to Calm Down” — was a perfect encapsulation of her politics of messiness, conflating anti-gay prejudice with Twitter drama. (And somehow turning the video into a celebration of pop queens supporting each other). This fall, she has made sure to include über-stan–turned–pop star (and video coproducer) Todrick Hall at her awards show moments, attempting to expand the range of racial and sexual identities included in what used to be her mostly straight white “girl squad” feminism.

For all of Swift’s success at updating her persona, she’s never quite regained her massive radio dominance — but no pop star can depend on the success of singles for over a decade. In fact, Swift is one of the most interesting figures of the decade because her stardom is caught between the old-school era of album buying and our current streaming moment.

And, inevitably, Swift has turned her own industry issues around streaming and artistic ownership into a wider commentary on artists’ rights — which happens to work as a canny form of further brand management. She framed herself as an ethical businesswoman when she called out Apple for not paying artists, and she battled with Spotify over streaming royalties but without really pushing for wider systemic industry change.

Earlier this year, Swift started a new artist-versus-industry fight about her music masters being bought out from under her by nemesis Scooter Braun. It’s a complicated story, one that Swift has framed as being about “toxic male privilege,” and the fact that Braun mocked her during the Kanye era — once again blurring, in her trademark mode, the personal with the public and the systemic with the individual.

Instead of being seen as opportunistic, Swift seems to have succeeded in framing her campaign as a fight for unsigned and less powerful artists’ rights, which has resonated at a moment where content creators are all pitted against the 1% of the tech and corporate worlds. This time, even Rep. Alexandria Ocasio-Cortez — a squad member any star would envy — backed her up.

Swift’s response to being anointed Artist of the Decade by the AMAs and Billboard provides interesting insight into how she sees herself now and where she thinks the next decade is going. She chose Carole King, one of the preeminent symbols of pop music authenticity, to present her AMA, squarely placing herself in a genealogy of great women singer-songwriters. She also enlisted shiny next-gen pop stars Camila Cabello and Halsey to join her during her performance of old hits.

In her Billboard speech, Swift name-checked newer stars like Lizzo, Becky G, and Billie Eilish as the future of the industry. Tellingly, they are women who, so far, have not played into the tabloidy pop dramas that dominated the 2010s. If this decade has shown us anything, it’s that blurring public and private through music can reap big rewards, but it also opens up stars — especially the women of pop — to more intense scrutiny and a higher degree of personal accountability.

In a Billboard interview looking back on the decade, Swift spoke about her relationship to fame and learning to hold things back. “I didn’t quite know what exactly to ... share and what to protect. I think a lot of people go through that, especially in the last decade,” she said. “There was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music.”

Like Lana Del Rey denying she ever had a persona, or Lady Gaga stripping down with Joanne, there seems to come a point when white pop divas need to declare themselves authentic and all about the music — as if their ongoing narratives aren’t part of the show. But the way Swift used her image and the never-ending soap opera that swirled around her to make space for her music in an increasingly saturated attention economy was itself a kind of art. ●

[scifigeneration]

California is living America's dystopian future

by Stephanie LeMenager

The Maria Fire billows above Santa Paula, California on Oct. 31. AP/Noah Berger

The Golden State is on fire, which means that an idea of American utopia is on fire, too.

Utopias are the good places of our imagination, while dystopias are the places where everything goes terribly wrong, where evil triumphs and nature destroys her own. Frequently utopias and dystopias are the same place, because perfection may not be possible without someone suffering.

Ursula LeGuin writes about this paradox in “The Ones Who Walk Away from Omelas,” a story about the moral dilemma of living in a city called Omelas whose prosperity is made possible by one child’s pain. As the story’s title makes clear, most people don’t walk away from the beautiful place, even when its secret is known.

California often finds itself the Omelas of the American imagination. For some, it’s the beautiful place where having it all means shafting someone else, as in Roman Polanski’s “Chinatown,” about Los Angeles’ theft of water from the Owens Valley. Or as in the magical theme park, Disneyland, which substantially underpays some of its workers.

The novelists Octavia Butler, Edan Lepucki, Karl Taro Greenfeld, Paolo Bacigalupi and Claire Vaye Watkins are among the many who have imagined the Golden State as a dystopian novel. In their novels, California is either on fire, in extreme drought or both. They all picture California’s descent as a combination of climate crisis and social unrest.

For these authors, climate change hints at the dark secret of the perfect place, of bad decisions that all America shares. Their novels suggest that if California looks like a dystopia before other American places, that’s because it’s often in the lead.

“California is America fast-forward,” sociologist Manuel Pastor says.

Building next to – and in – wildlands increases the risks of a fire. Here, smoke engulfs the Ronald Reagan Library during the Easy Fire, Wednesday, Oct. 30, 2019, in Simi Valley, California. AP/Christian Monterossa

‘Ecology of fear’

The wildfires that ravage California light up America’s screens with terror. Suburban homes are stripped to their foundations; Samaritans lead horses from burning barns.

The historian Mike Davis reminds us that California has long seemed an “ecology of fear” for Euro-Americans. Settlers from Northern Europe and the East Coast did not understand Southern California’s climate, which is prone to unpredictability and drought.

“It is Walden Pond on LSD,” Davis writes, meaning that it is a psychedelic version of American nature spots like Walden Pond, in New England.

The unfamiliarity of California’s climate led to poor decisions about where to build from the start. Now Californians, like most western Americans, live too close to their wildlands, which are drying into tinderboxes.

“In the United States, there are now more than 46 million single family homes, several hundred thousand businesses, and 120 million people living and working in and around the country’s forests,” writes the journalist Edward Struzik, in “Firestorm,” his book about “how wildfire will shape our future.”

America has created the combustible environment called intermix, where residential and commercial uses spill into wildlands. America craves inexpensive electricity, too, which means that overhead power lines run through forests and chaparral.

Overhead lines have sparked some of the worst recent fires in California and other American places like New Mexico and Tennessee.

California utility company PG&E estimates the cost for converting overhead to underground lines at US$3 million per mile. While cost estimates vary, such a project surely will be expensive and might take a century to complete.

Overhead infrastructure wasn’t made for extreme weather, like the estimated 80 mph winds that inspired a rare “extreme red flag” warning in Southern California.

Pleasure in the state’s demise

On fire, California is a dystopian novel that the rest of America reads avidly, and at times with schadenfreude, that feeling of joy that a person may take in another’s suffering.

California ranks as one of the happiest states in the U.S., at number 13. But California came in last in a 2012 poll on which states Americans like.

Maybe it’s the happiness that annoys others, which some perceive as phony (“tofu,” “silicone” and “dyed hair,” said Sen. Ted Cruz in 2018, about what is wrong with California).

When California was on fire in 2018, with thousands missing and dozens dead, President Donald Trump tweeted that the state mismanaged its forests. He tweeted the same thing during the recent fires, with more force. Schadenfreude? Arguably, the nation is struggling to address the fire challenges of the intermix, and California is ahead of the rest.

California supposedly is most hated by conservatives. But it nurtured the careers of conservative icons Ronald Reagan and Rush Limbaugh, plus a pair of conservative ballot measures, Prop 13 and Prop 187, that cut taxes as well as services to immigrants.

It is also the birthplace of modern progressive movements, from the United Farm Workers to environmentalism. California has been a seedbed of American political passions, to the Right and Left. Perhaps that’s why it arouses passion – and envy.

Confronting the secret

Dystopian thought criticizes what it loves in an attempt to make it better.

If California is living a dystopian novel, it is also a first responder to the fires of a changing planet.

Some of the state’s utility companies are getting smarter about infrastructure fixes. Evacuations are going better in the places where evacuations happened before. Californians voted in a landmark cap-and-trade bill to curb greenhouse gas emissions, and now they are trying to improve on it.

The state’s climate policy and renewed support for investment in public education signal that it is getting past the nation’s racial generation gap, where older white voters don’t see themselves in a demographically browner youth and resist funding them.

Living in Omelas means either compromising with injustice or learning how to make the world better before others even know that it’s broken.

Stay tuned.

About The Author:

Stephanie LeMenager is a Professor of English Literature at the University of Oregon

This article is republished from The Conversation under a Creative Commons license.

[butwhyduh]

I have so many opinions on Endgame.

Spoiler

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Seriously spoilers

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(It’s long)

I liked that they destroyed the stones so they couldn’t just fight thanos to get them back. That was smart.

The fact that the dusted came back to fight was amazing. The women (and Peter p) fighting as carol had the glove made me cry happily. I literally cheered.

I literally wrote a fanfic on my fanfic .net account where Hawkeyes family dusts at a softball game and fact that his sons did while playing catch was weird. Him becoming a mass murderer was not something I expected.

I was so relieved that antmans daughter lived. Coming back by a rat accident by pushing the exact call back sequence was a push of believability even in marvel.

Natasha I cried. A lot. The second we knew who was going for the soul stone I knew. Clint has a family to get back. Natasha has the avengers. But I felt on one hand it was a bit of a redemption arch because she had only cared for herself for so long and was able to save the universe.

Thor. Sigh. Mixed feelings. I got his depression and alcoholism but the fat suit?? Why?? He can be depressed and alcoholic and still Thor. I was glad he talked to his mother though. Lack of contact with Jane was weird. Korg and meik! Where is their tv series??

Loki escaping. Well I knew that trickster couldn’t stay dead. And getting the space stone wasn’t surprising. I’m a little excited to see how he’ll fuck things up.

Bruce banner. Doctor hulk. We’ll see how injured his arm is in the future. Glad he had a more meaningful arch than hulk smash. The fact that when Clint told everyone that Nat died they special zoomed to his face was annoying. They were never a thing. Let it die. I will shit if he’s all mopey over her specifically in the next film.

Captain marvel was not as big a part as she could have been. She saves Stark in a week but then she couldn’t fight thanos for the whole universe?? What is more important than existence itself?? Her part was important but too small.

Nebula was confusing. That’s the part where space got muddy. I liked that she had 2 redemption arches in the film though. Her care for Stark was touching. And Rhodey identifying with her was really cool.

Peter p was as usual amazing when he came back. He added comedy when needed and a layer of sadness to THAT scene. A scene stealer as usual. Far from home will probably be darker than the commercial showed. Interesting to see his future now.

Steve Rogers, Bucky Barnes, and Sam Wilson. Steve as a councilor to honor Sam had me tearing up unexpectedly. I was so glad that Sam got the shield. He deserves to be cap if we don’t have Steve. He’s far more stable than Bucky ever will be. Steve going back and growing old sounds nice. It also sounds unrealistic. His dominant personality is his inability to quit. Unless they write him as working in the military, I just don’t see him quitting. But does that mean that Steve Let Bucky fall from the train and then into the winter soldier? Or are past events truly unable to change the future and maybe in his time he did? The fact that Bucky is now alone in the 21st century as a man out of time is sad. He has Sam But is Bucky going to have visits with old af Steve like Steve did with Peggy? And did Steve really ruin Peggy’s future because she married a different man? If this was the endgame then why did they give her a different husband??

Pepper pots and tony stark. His hyped space starvation was almost comically short. Pepper in the suit was tight. I loved their family. I wanted them to adopt me right there and I’m in my 20s. I was glad they moved on. They were the only ones. But it was bittersweet because I knew he was doomed. Happiness never lasts. He always knew that he was going to face thanos one on one. The fact that the new gauntlet was his design should have told us that he would weld it. The question I had was where was carol?? The fact that he didn’t get to say anything to the others really as he past I felt was a lost opportunity. He could have told the others to find happiness in the circumstances the way he had with pepper. But maybe that’s cheesy? His conversation with his father was nice even though Howard didn’t deserve it. His funeral made me cry so much. Harley awkwardly standing in the back. Tony’s daughter not even said because she was like 5 and didn’t get it. Very realistic.

I did love the movie despite my many complaints. I’m just a fanfic writer who has read too many fix it fics and wants the avengers living in the tower like 2012. I wanted tony to retire but I knew he wouldn’t if anything ever happened. He would never rest. Not really. Steve had to time travel and kill his power to relax. Natasha got her redemption arch she wanted.

I remember going to see Ironman in theatre 11 years ago and I cried a lot thinking about how I’ve been in this journey with them, as many of us has. I just remember vividly watch Ironman in a state of shock on how good it was. Most superhero movies at that time were okay at best and this film is a masterpiece. Robert Downey jr had his own redemption arch and now is The Godfather of a film franchise like the world has never seen. That’s the part I can’t wrap my head around is that we are witnessing something that has never been done before. A successful 22 movie franchise. It’s insane.

[eldritchsurveys]

420 (ayyyy).

Hello :) Do you like to use a lot of smiley faces online? >> Not a lot, but I do use some.

Which instant messaging service do you use, if any? >> Discord. Tumblr also has an IM feature, but it’s not very good IMO. I hate that tiny little window.

What are your opinions on Justin Bieber? >> I don’t have any opinions on him. He rarely crosses my radar.

On December 21st 2012, if the world starts to go down, what will you do? >> I don’t remember what I was doing. I was in Colorado at that time, and that’s really all I remember.

Do you Facebook creep / Myspace stalk? >> No.

Is there a celebrity you're obsessed with? Who? >> Not really. There are celebrities I like looking at and ones I like watching in movies and such, but I’m not obsessed, just interested.

Do you look at yourself in any reflective surface you pass? >> Usually.

What theme is your calendar? >> I don’t use calendars. 

Is there anyone famous born on your birthday? Who? >> Most certainly, but I don’t know who.

Do you have a background on your cell phone? Of what? >> My lock screen is this Gunship album cover because it looks so fucking cool, and my home screen is a shot of Quentin Oliver Lee as the Phantom of the Opera.

Have you ever watched the clock tick a full minute? >> Yeah.

Is there anyone you know who kind of looks like you? >> No.

Do you wish you had a twin? If you do, do you wish you didn't? >> No.

Which lollipop flavor is your favorite? >> ---

Do you still enjoy coloring with crayons? >> I never enjoyed colouring with crayons.

If someone came up and randomly hugged you, what would you do? >> Flip my shit and probably hurt them.

Are we really getting lazier with all the technology advances these days? >> Possibly. But I can’t be bothered to care about that.

What was the last movie you saw in 3D? >> Probably a Marvel movie, I don’t remember now.

1-ply 2-ply or 3-ply bathroom tissue? Or does it matter? >> 2-ply seems sufficient. I hate the really soft stuff (it leaves particles behind, for one, and it’s bad for the plumbing, for another) but 1-ply is a little too spartan.

Have you ever tried out products at a kiosk at the mall when they ask you? >> No. I avoid those kiosks with the ruthlessness of someone who’s lived in a big city and knows how to avoid canvassers and panhandlers and everyone else who wants my attention (and money).

Do you ever wish you got more actual letters in the mail? >> I don’t really care. If I wanted to get letters that badly, I’d find a penpal and start sending some.

Have you ever knocked/rang the doorbell, then ran? >> No.

Do you take the bus often? >> Not often, because I don’t go out often, but I usually take it whenever I go out by myself.

Do you like serious people or ones with a sense of humor? >> I like people who can do both.

When you read a happy scene in a book, do you find yourself smiling? >> I mean, sometimes, probably.

Have you ever went to the movie theatres by yourself? >> I often do.

Is one of your main reasons for going to the beach to check people out? >> No.

What food do you absolutely despise? >> Bananas.

What is your favorite genre of music? >> I don’t have one.

Do you shave? >> No. I trim occasionally, but that’s all.

What is your opinion on the Twilight saga? >> I think people should feel free to enjoy it without being ridiculed by people with superiority complexes. Also, lay off the fucking author already.

Which celebrity will you always think is good looking? >> I don’t know, tastes are always liable to change.

Do you use twitter? Do you twitstalk a lot of celebrities? >> No.

Have you ever taped your fingers together? Doesn't it feel weird? >> No.

Do you like the squishy feeling of clay or mud beneath your feet? >> No.

What is one habit you wish you could cut? >> Picking at my lips. I’ve tried so hard to stop but nothing works.

When was the last time you used the bathroom? >> About an hour ago.

Do you have an accent? >> To someone, I’m sure.

Do you clean your house? >> I clean part of it.

How many tabs do you have open right now? >> Four.

Is wearing a lot of makeup being pretty or cakefaced? >> ...

Do you care about the Olympics? >> I don’t.

Do you ever wear headphones but then don't listen to anything? >> Yeah, when I’m using them to block out environmental noise.

Do you have a Youtube account? >> I have a Google account, which automatically is a Youtube account.

Do you know anyone who collects pins? >> No.

Do you enjoy taking pictures? >> Not as a hobby.

Do you ever video chat with people? >> No.

Have you ever tried Chatroulette or Omegle? >> I think I tried them once, but it didn’t interest me.

Are you a sports fan? If so, what sport(s)? >> No.

When did you stop trick-or-treating? Or do you still go? >> I’ve never done it.

Can you bake a good cake from scratch? >> I’ve never tried.

Can you bowl? Good? >> No.

Do you wish your life was like a movie sometimes? >> No, because that really wouldn’t make any sense.

Do you just smile or make silly faces/poses in pictures? >> Most of the time I don’t do anything, unless I specifically feel like making some sort of pose.

Do/did you ever like the books you have/had to read in high school? >> I only liked one -- Their Eyes Were Watching God.

Do you live in a small town or a big city? >> I’m not sure what Grand Rapids qualifies as. It definitely ain’t a big city, though.

What is your cell phone carrier? >> Boost Mobile.

Do you have any stuffed toys? >> Yeah, a lot of them.

What was your favorite childhood toy? Do you still have it? >> I don’t think I had one.

What song fits your mood right now? >> I don’t know.

Have you ever had a pet fish? >> No.

What internet browser are you using? >> Chrome.

Do you have a lot of bookmarks (internet)? >> Not a lot, but I have a good number.

Are you doing anything fun this weekend? >> I don’t know yet. Probably not.

Do you have any big plans for the upcoming summer? >> Winter is what’s upcoming, and no.

What did you do last New Years Eve? >> I don’t remember.

Plaid, stripes, checkers, or polka dots? >> Plaid.

Do you join a lot of fanpages on Facebook? >> No.

Can you curl your tongue? How about in a clover shape? >> No.

Is there any TV show that you get extremely excited about? >> Yeah, a few. I’m excited about The Good Place and Superstore coming back for their fall seasons.

What kind of lotion do you use? >> Aveeno.

Have you ever squeezed a zit and popped its nastiness everywhere? >> No, I hate the very idea of zit-popping.

Have you ever bit your cheek, and then bit it again in the same place? >> Yes, and god it’s awful.

Have you ever had a bath with a sibling/cousin when you were little? >> ---

Would you rather not eat or not sleep for 24 hours? >> Not sleep.

Do you ever actually take cold showers during the summer? >> No.

When was the last time you played on a playground? >> I don’t remember. At least a few years ago.

Do you like the really spinny rides at amusement parks? >> Not really.

What's your opinion on facial hair? >> I don’t have an opinion about that.

Have you ever gambled at a casino? >> No. I’m pretty sure just stepping inside a casino would send me into instant sensory overload.

What's your favorite thing to shop for? >> ---

Duz it bothar U wen Pplz tYPe Lyyk th!s ?!!one?!!?? >> People don’t really type like that anymore, so.

Do you know someone really thin who eats a lot (and doesn't puke it up)? >> No...?

Do you make a wish at 11:11? >> No.

What was the last present you bought for someone? >> I bought a couple of small things at Vault of Midnight (a comics/games store) that I thought would be good as stocking stuffers. I have a hard time with stocking stuffers so I figured I’d start early and collect things over time.

Aren't pad and tampon commercials just ridiculous? >> Most commercials are ridiculous, honestly.

Do you use a wallet or just put money in your pockets? >> I use a little zip pouch as a wallet.

Do you like your ID picture (whichever ID you have)? >> Not really, but it’s not a big deal.

Do you do online gaming? >> Yeah.

What was the last thing you put in your mouth? >> A toothbrush.

Who were the last people you hung out with? >> Some people from the West Michigan Geeks meetup group.

On a scale of 1-10, how attractive do you think you are? Honestly? >> No.

Do you think you have a good sense of humor? >> I mean, it works great for me.

Lmfao, Lmao, Rofl, Rotfl, Lol, Haha, Hehe, other? >> I use lmao a lot.

Have you ever tried to count grains of sand in your hand? >> No.

What does your ideal partner look like? >> ---

Do you ever have to write your name on food to keep it from getting eaten? >> No.

Do you have a friend you still hang with even though they're annoying? >> No.

What is one thing you've always wanted to do? >> *shrug*