#sony led review

[apnewspk]

[duubsite]

Sony Bravia 9 TV Review: The Pinnacle of Mini-LED Technology?

Introduction As someone who has always been fascinated by the rapid advancements in television technology, the launch of Sony’s latest flagship—the Bravia 9—piqued my interest immediately. This model, touted as the epitome of mini-LED technology, not only promises enhanced brightness and HDR performance but also aims to compete directly with high-end OLED TVs. Given my background in tech reviews…

[not-quite-normal]

could you take us through what a day of work typically looks like as an animator? and also how many hours a day you spend at work?

sure!

as an animator at sony imageworks, your day is fairly simple. most days are just work days, and you can listen in to rounds even if you don't have anything to show yet. it's helpful to listen to the kinds of notes that other people are given because it helps you to learn the show style and how to handle different characters for future shots. if you're starting fresh on a new shot, assigned to you by your lead (you can sometimes request shots, depending on what's available and who your lead is), the first thing i do is look at it in the context of the sequence. from there i'll gather or shoot any reference as needed, or maybe sketch thumbnails. depending on the shot, i'll just show the reference to get feedback on that, or rough in some basic poses as a "layout plus" pass to get a more specific kickoff on what my lead/supervisor/director thinks the shot needs to be

there are a few levels of feedback that your shot goes through:

your lead: the anim crew gets separated into teams, each one led by a lead animator. this is your go-to person for most things. they'll be the one to help you with questions, making sure your shot is presentable, small polish, show style, and a whole bunch of other stuff

the head of character animation/supervisor: when your lead gives you the ok to show your shot in rounds, this is where you show the hoca. they're the one in charge of the overall look and feel of the animation and has to keep the whole movie and director notes in mind when critiquing your shot

the director: the hoca will then look at all the shots submitted for director review/shots shown in rounds/shots due for the week and decide whether or not to show them to the director, who will then give more notes. his job is to make sure the shot is doing the best it can to tell the story that it needs to tell, often changing the acting, camera angles, timing, action, or anything else lol

executives: this level is more removed from the day to day of the animator and we usually don't need to worry about this one. but sometimes we get executive notes (usually these come after the shot is approved so it needs to be kicked back to anim)

once your shot gets approved by the director, then it needs hoca approval (for any last big picture notes, or in case the director approved with notes), and then finally lead approval (for small finishing polish work) before you can publish. on spiderverse, we also had a second animation supervisor that had to approve shots too as a design pass. this might seem like a lot, but once you go through the process a couple of times, you get used to it!

the life of a lead is a lot more hectic haha. there are a lot more meetings, you always have to be available when an animator on your team asks for your eyes on their shot or if they have a question, you have to listen in to your team's turn in rounds/director review, scheduling shot due dates with your coordinator, bidding sequences, and... lots of other management and technical stuff. it's hard, but being a lead was some of the most rewarding work that i've done, i'm super proud of the animators that i've been lucky enough to work with

our official work day is 9-6 (one hour off for lunch, we get a food delivery voucher if any meeting goes into lunchtime lol), and we get paid OT after working for 8 hours. for most of the time working on a movie, you need to get special approval to work longer than 8 hours a day, but as a movie starts getting into crunch mode, OT becomes "pre-approved" and animators are free to work as much or as little OT as they want

[adarkrainbow]

Searching for lost media: the Scary Tales documentary (1)

I was not expecting to throw a hunt for lost media over this humble side-blog dedicated to fairytales, but here we go... As I was searching for information on the fairytale Bluebeard I saw an interesting mention in its Wikipedia article:

Bluebeard is featured in Scary Tales, produced by the Discovery Channel, Sony and IMAX, episode one, in 2011. (This series is not related to the Disney collection of the same name.)

Of course, this led me to search for the famous “Scary Tales” series... Only to find it was nowhere to be seen. It was ignored by most website (overshadowed by famous shows with similar tales, like American Horror Stories, or by other documentaries such as “Scary Stories” - about the book “Scary Stories to Tell in the Dark”). Only a few streaming websites had an article about the show - and even then, all they could say was “It isn’t disponible anymore”, “This series is unavaible”, “This page doesn’t exist anymore”.

Hopefully a few websites still survive with a few descriptions, reviews and pictures proving that this documentary series did indeed exist. 

The first one I stumbled upon was a page from press.discovery.com, with this lovely picture:

The page was visibly created before the series aired, since it talks of its premiers. It is under the category “3net programs”, and here is what it says:

Scary Tales

Premieres Sunday, October 30 at 9PM ET

Unlike anything you've seen in 2D or 3D, Scary Tales is scripted series so weird and fantastic, it needs an extra dimension just to contain itself.  There are marauding giants, ghost-plagued forests and human wolves... a place where cannibals feast, kidnappers terrorize and fiends lurk behind every tree. Inanimate objects come to life, and the innocent are punished. It's a world that really exists if only in our own subconscious.  The hour long, four episode series is produced by Workaholic Productions, Inc.  3nets Director of Development and Production Don Bland serves as executive producer on behalf of the network.

Here is the source: https://press.discovery.com/us/3n/programs/scary-tales/

Now that I had a website that told me roughly what the show was about I dug a bit more around. Scary Tales has an IMDb page right here: https://www.imdb.com/title/tt2111891/ . It lists the show as being from 2011, produced by both 3net and Workaholic Productions, and as having four episodes. Its synopsis there is: 

Learn about the horrific original versions of your favorite fairy tales plus commentary from historians.

With this lovely picture to go with it:

There is also the full cast of the show (which I will not copy here - maybe in another post), and more interestingly the full list of the four episodes, with their respective subjects. In order, they are:

1. Red Riding Hood & Bluebeard (aired on the 30th of October 2011)

"Red Riding Hood" examines the history and historical context of the popular fairy tale and reveals themes of sexuality, murder, cannibalism, and lycanthropy. "Bluebird" investigates the folk tale of the wife murdering aristocrat and argues that the story may be based on the real life murders of Gilles de Rais.

2. Hansel and Gretel & Cinderella (aired on the 5th of November 2011)

"Hansel and Gretel" examines the historical context of the popular fairy tale and reveals themes of hunger, child abandonment, cannibalism, child abuse,and murder. "Cinderella" looks at the less well know aspects of the surprisingly dark and brutal fairy tale.

3. Snow White & The Juniper Tree (aired on the 3rd of December 2011)

"Snow White" looks at the story behind the surprisingly dark and morbid fairy tale arguing that may have been based on the story of Margarete Von Waldeck and her cruel stepmother. "The Juniper Tree" looks at a vicious and bloody fairy tale about a stepmother who murders her stepson and tricks her daughter into thinking that the death was her responsibility.

4. The Pied Piper & Rapunzel (aired on the 12th of December 2011)

"The Pied Piper" looks at the reality behind the legend of a child murdering rat catcher of Hamelin and offers some theories about what really happened to the disappearing children of the village. "Rapunzel" examines the dark aspects of the popular fairy tale about the long haired maiden locked in a tower.

While the show is nowadays (apparently) completely unaccessible, not present on any streaming platform and not sold anywhere, there’s a handful of votes for the documentary on IMDb, up to fifteen for the first episode. 

The IMDb info was notably taken back by the Kinorium website, on this page: https://en.kinorium.com/1554991/episodes/s1e1/

A third and final website in my search (there’s other info I’ll put in another post) is the most fascinating of them all. It is the portfolio of set designer Susannah Christine, who worked on different segments of the show - and has pictures of her set design. I won’t put all of them here - just a few, the rest will be in the second post, and to keep things short I’ll put them under a cut. But already, if before I release the second post somebody has any information about his show, or know where one can watch it (because I admit I am very curious about its content), let me know! 

Here’s Susannah Christine work for the segment “Snow-White”:

And her work for the segment “Rapunzel”:

Plus a picture of what I think might be the Bluebeard segment:

[film-classics]

Myrna Loy - The Queen of Hollywood

Myrna Loy (born Myrna Adele Williams in Helena, Montana on August 2, 1905 ) was an American actress who reigned as one of America’s leading movie stars in the 1930s and the 1940s. Millions of fans idolized her as ‘the perfect wife,’ a paragon of charm, sophistication and intelligence, earning her the title as "The Queen of Hollywood."

Of Welsh, Scottish, and Swedish ancestry, Loy moved to Culver City in her early teens. She first attended the exclusive Westlake School for Girls. When her teachers objected to her extracurricular participation in theater, her mother enrolled her in Venice High School.

To help the family, she wroked at Grauman's Egyptian Theatre, where she performed in prologues, musical sequences that served as preliminary entertainment before the feature film. This led to work as an extra in Hollywood productions in 1925 and then a contract with Warner Bros. in 1926.

With the advent of sound films, she then became associated with musicals, and when they began to lose popularity, her career slumped. In 1934, after Loy's move to MGM, John Dillinger was shot to death after leaving a screening of her film Manhattan Melodrama (1934). She received widespread publicity, with some newspapers reporting that she had been Dillinger's favorite actress.

Loy gained further fame from the box office hit, The Thin Man (1934), which spawned five sequels. This marked a turning point in her career, and she was cast in more important pictures and became one of Hollywood's busiest and highest-paid actresses,

With the outbreak of World War II, Loy focused on the war effort, becoming an active member of the Hollywood Chapter of 'Bundles for Bluejackets,' helping run a Naval Auxiliary Canteen, going on fundraising tours, and volunteering for the Red Cross.

In the coming decades, she continued acting alongside her activism work. She organized opposition to the House Unamerican Activities Committee in Hollywood through radio broadcasts and petitions, worked with the federal government, and served in UNESCO.

In 1975, Loy was diagnosed with breast cancer and underwent two mastectomies. She kept her diagnosis and subsequent treatment from the public. This resulted in her progressive retirement from acting; her last film performance was in 1980 and her last acting role on TV in 1982.

In failing health, Loy died at age 88 in a Manhattan hospital during surgery following a long, unspecified illness.

Legacy:

Received an Honorary Academy Award in 1991 in recognition of her life's work both onscreen and off

Bears the likeness of the 7-foot statue outside Venice High School, titled 'Inspiration," created in 1922 and has since become a symbol of the school and the community

Has a building named after her at Sony Pictures Studios, formerly MGM Studios, built in 1935

Named Queen of the Movies in a 1936 national poll by New York Daily News

Honored with a block in the forecourt of Grauman's Chinese Theatre in 1936

Listed by the Motion Picture Herald as one of America’s top-10 box office draws in 1937 and 1938

Served as the full-time assistant to the director of military and naval welfare for the Red Cross from 1941 to 1945

Became a member-at-large of the U.S. National Commission for UNESCO from 1949 to 1954, the first Hollywood celebrity to do so

Has been the namesake of Venice High School's annual speech and drama awards, the 'Myrnas' since 1953

Served as Co-Chair of the Advisory Council of the National Committee against Discrimination in Housing from 1961 to 1962

Became a founding board member of The American Place Theatre in 1963

Commemorated with a cast of her handprint and her signature in front of Theatre 80, on St. Mark's Place in New York City in 1971

Appeared in John Springer's "Legendary Ladies" series at The Town Hall in 1973

Presented with the 1979 Career Achievement Award by the National Board Review

Honored by the Los Angeles Film Critics Association Awards in 1983 with the Career Achievement Award

Published an autobiography, Myrna Loy: Being and Becoming, in 1987

Was the winner of the 1988 Kennedy Center Honors

Honored by the Steel Pole Bath Tub with a song on their 1991 album Tulip that is both named after Loy and samples dialogue from one her film, The Thin Man Goes Home (1945).

Named by The Guardian named her one of the best actors never to have received an Academy Award nomination in 1991

Has been the namesake for The Myrna Loy Center for the Performing and Media Arts in downtown Helena since 1991

Honored as Turner Classic Movies Star of the Month for December 2016

Has a song named after her in Josh Ritter's 2017 album Gathering

Has a star on the  Hollywood Walk of Fame at 6685 Hollywood Boulevard for motion picture

[sweetdreamsjeff]

‘An Emotional Lightning Rod’: Jeff Buckley’s ‘Grace’ at 25

Jim Shahen

POSTED ON AUGUST 22, 2019

Grace is 25 years old. Jeff Buckley’s debut is gorgeous and heartbreaking, ambitious, daring and eclectic, and, as the sole studio album released during his short life, the only fully realized vision of the artistic brilliance he possessed.

With the expectation that his first LP was the starting point of an iconic recording career, Columbia Records released Grace on Aug. 23, 1994. Entertainment Weekly deemed it “stunningly original” and “too good to be true.” Greg Kot of the Chicago Tribune heralded Buckley’s voice as having “a soulful intensity that sends chills.” Peers and legends such as Jimmy Page and Robert Plant, Paul McCartney, Bob Dylan, David Bowie, and Chris Cornell were effusive in their praise of the album and of Buckley’s tremendous gifts as a singer, guitarist, and composer.

Others were not so kind. Rolling Stone lauded his ambition, but gave Grace a three-star review that featured the one of the poorest-aging opinions in the magazine’s history: “The young Buckley’s vocals don’t always stand up: He doesn’t sound battered or desperate enough to carry off Leonard Cohen’s ‘Hallelujah.’” And Robert Christgau, the “Dean of American Rock Critics,” gave it a C rating and lampooned the hoopla surrounding Buckley by writing, “Let us pray the force of hype blows him all the way to Uranus.”

But those less-than-stellar reviews engaged with Grace on the same terms as the glowing ones — that this was the starting point for an artist with sky-high expectations, talent, and potential. Buckley’s horrific drowning death at age 30 in the Wolf River, an offshoot of the Mississippi, in 1997 ensured it was also his end point. But between his own passing and the passage of time, Grace has only grown in stature.

In 2014, the Library of Congress added Buckley’s “Hallelujah” to the National Recording Registry. Rolling Stone, walking back its prior opinion, ranked the track 259th in its 500 best songs of all time in 2003 and put Grace at 303 in its top 500 albums list the same year. Over the past decade, essentially every music publication of note has included Grace on its list of both top releases of the 1990s and overall albums.

A Vessel

The son of prodigiously talented folk-jazz singer/cult icon Tim Buckley and Mary Guibert, Jeff arrived at music without the guidance of the father he met only once before Tim’s death in 1975 from a drug overdose. While a cornerstone of his legacy is his gorgeous, multi-octave voice, Buckley’s first passion and pursuit in music was the guitar, where he was drawn to the sounds of Led Zeppelin and jazz fusion.

After spending the latter half of the 1980s kicking around as a guitarist in various jazz, metal, punk, funk, reggae, and R&B bands, Buckley began to pursue his own songs. In 1991 he attracted industry attention when, accompanied by guitarist Gary Lucas, he made his public singing debut at a tribute show for his father.

Photo by Merri Cyr / Sony Music

From there, Buckley’s career trajectory changed. After collaborating with Lucas for a year, he went out on his own and became part of the New York City café scene. These shows, later documented on Live at Sin-é, became part of his legend, featuring both his original tunes and an eclectic mix of fare made popular by Nina Simone, Billie Holiday, Judy Garland, and Bad Brains.

These café shows regularly attracted record executives and power players, and in October 1992 Buckley signed a three-album deal with Columbia Records. The label had high hopes that Buckley’s brilliance would quickly reveal itself to a wider range of fans. The thinking was that he’d succeed labelmates Bob Dylan and Bruce Springsteen as someone who would flourish into the finest singer-songwriter of his generation and compile a legendary body of work.

For the band that helped record Grace and toured with him in support, that brilliance was apparent from the beginning.

“This might sound stupid, but I don’t give a shit,” his former drummer Matt Johnson says. “But one time when we were playing, something about his voice went through my body. It was an entirely metaphysical moment where something supernatural happened.

“The man was one of the most extraordinary musicians to ever live,” he adds. “Jeff was this lightning rod of the tone and tenor of all the human emotion in a room. He had this ability to act as an emotional lightning rod, and I always thought he’d hopefully become a vessel for that.”

Saving ‘Grace’

Johnson first met Buckley in summer 1993 and within a couple of months was recruited to be the drummer for the Grace recording sessions. Though the then-23-year-old had had some session and recording experience, Johnson had never worked on a project of this scale before. As he looks back on the experience, Johnson thinks his youth and relative inexperience played a large part in why Buckley wanted him in the band.

“Jeff seemed to be confident he could get what he needed from this ensemble,” he says. “We were young and, in my case, had a lot of insecurities. I think he wanted that — he didn’t want session musicians, he wanted the transformation younger players would bring and create a snapshot of that.”

Photo by Merri Cyr / Sony Music

While Johnson recalls that “the stakes felt high” and there was a “sense of importance of Jeff” to Columbia, he doesn’t remember the process of creating Grace as particularly laborious or fraught. Part of this can be attributed to the calming nature of producer Andy Wallace, who had previously worked on Nirvana’s Nevermind, Run-DMC’s Raising Hell, and multiple albums by Slayer, and his ability to nurture the creative process.

Johnson also attributes a large part of that to Buckley’s multi-instrumental capabilities, uncanny ear, instincts, and efficiency. Because of that, it only took about a day per song to lay down the non-vocal elements.

“I thought he was a very good collaborator, bandleader, and mentor,” Johnson says. “Jeff understood how to both be an individual musician, while also still keenly aware of how to be part of an ensemble.

“His listening was a very powerful thing to be present for,” Johnson continues, comparing Buckley’s auditory capacity to that of composer Johann Sebastian Bach. “It could be textures, entry points, Jeff just knew how stuff should be held together. He could get a pairing of two basic opposites and it’d sound idiosyncratic and perfect.”

While Johnson was there for the entirety of the recording process, Michael Tighe came into Buckley’s band at the tail end of the sessions. The guitarist had met Buckley through a mutual friend in high school and the two had jammed on and off. As Buckley closed in on completing Grace and was putting together his touring band, he reached out to his friend.

Much like Johnson, Tighe was impressed by Buckley’s ability to absorb so many influences and styles, then translate it into his own work.

“He would ruminate on the music a lot and when it came time for recording, he’d really focus,” Tighe says. “He’d usually come in very quickly or he’d obsess on it and get into a perfectionist mindset. But he wouldn’t release something until it was perfect.

Photo by Merri Cyr / Sony Music

“He was really taken with a lot of music,” Tighe says. “He could cast this spell and create a space that was quite meditative. We would sit or stand in a circle and drone on something. We all had very good chemistry; it’s why he put the band together.”

That natural chemistry Buckley had with Tighe and the rest of the group came in handy and allowed Tighe to come in with a late contribution that changed the complexion of Grace.

“One day I played him the chords to ‘So Real.’ It was something I played him in my room (back in high school),” he recalls. “This was after, like, most of the album was done. During rehearsals he said, ‘Hey, remember that song you played in your room?’”

Thus, “So Real” came to be. To make room for it on Grace, Buckley bumped “Forget Her” off the album. This move came much to the chagrin of Columbia Records, which had planned to issue “Forget Her” as the lead single. Neither Johnson nor Tighe can recall quite why Buckley held such disdain for “Forget Her,” a tune of his own composition, but both vividly remember his adamance in replacing it.

“‘So Real’ saved the record for him,” Johnson says. “And it points toward the sound he was going for, it’s the sound of a door opening to the future.”

A Cult Hero

When Grace was finally released, grunge rock, hip-hop, and The Lion King soundtrack dominated the charts. There weren’t many acts out there simultaneously channeling Nina Simone, Nusrat Fateh Ali Khan, the Smiths, and Led Zeppelin. As such, it took a long time for the record to take hold and capture the imagination of listeners: It peaked at 149 on the Billboard Top 200 albums chart that year and didn’t reaching platinum-selling status until 2006.

Photo by Merri Cyr / Sony Music

Even without immediate success, the participants knew they had made something special.

“You can go back now and think about the production and the mix from that time period, but I think it’s perfect in its own way,” Tighe notes. “I think Jeff was very aware of how good the album was, but I think it bothered him slightly the album wasn’t more successful. But he was already a cult hero. We all thought it’d be a longer career and that would change.

“The zeitgeist was so different back then. There weren’t bands like Coldplay, Radiohead had just started,” Tighe says. “When I play it now for people, I love watching the glaze that comes over their eyes. Ultimately, it’s his voice, people just have an immediate emotional reaction to his voice.”

Johnson’s feelings on Grace are tied strongly to the recording sessions, that moment in time they captured and what it all meant personally. The fact that it connected with people well after the fact is an added bonus.

“When it comes to Grace, I feel very, very lucky. I’m never in a position to look at it like anything but a fuckin’ penny from heaven,” he says. “There isn’t one song I don’t like. When I hear it, it’s like I made this amazing best image of me that could be captured in any scenario.

“I can’t find fault with it and it’s not like I haven’t heard criticism,” Johnson continues. “But the feeling I got recording it was absolutely spine-chilling. I did not ever more feel what the drive of my life was, and it could not have borne better fruits. To have Rolling Stone or whoever now praise it is icing on the fucking cake. I don’t ever feel like, ‘What the fuck took you so long?’”

Musical Echoes

It took a few years for Buckley’s influence on fellow artists to be heard. By Tighe’s estimation, it was around the early 2000s that he started hearing Buckley-esque melodies on the radio, including from bands such as Coldplay and Radiohead, who drew inspiration from Buckley’s chord progressions and structures.

“Now you just hear it all the time,” he says. “There was that moment a while back someone did ‘Hallelujah’ on one of those shows like American Idol. The zeitgeist has changed a lot.”

Of course, Buckley’s legacy is more than just the alt-rock waves of decades past and singing competitions designed to highlight vocal chops. There’s a new breed of singer-songwriters that have used Grace as a starting point for their endeavors.

Madison Cunningham (photo by Claire Marie Vogel)

Madison Cunningham is a 22-year-old musician who just released the LP Who Are You Now and cites Buckley as one of her heroes. On songs like “Something to Believe In” and “Last Boat to Freedom,” you can hear her use that admiration to create her own artistic statement.

She was gifted a copy of Grace from a friend as a teenager and at first she didn’t dig it. But once she revisited it a few months later, it was a revelation.

“I didn’t get it and I really wanted to get it, but it was a big palette stretch for me,” Cunningham recalls. “But once I did, it was like, ‘Whoa, I get it! This is like the song that’s inside my head!’

“Always his voice stands out. Still to this day I haven’t heard a voice like that,” she continues. “There was such a depth to his work, you’ve got to sit a minute to think about it all.”

While Buckley’s vocal range and power moved and inspired her, what’s seeped into Cunningham’s work was the way he played guitar and arranged his material to incorporate all the different sounds that moved him.

“He changed how I played guitar,” she says. “He was so bold with his chord progressions. There’s certain chords he played that are just very unique to him. Even now when I play something, I’m like, ‘Oh, those are Buckley chords.’

“There’s just something special to him,” Cunningham adds. “He had his own genre and sound and was very unashamedly himself. That’s very hard to find.”

Cunningham identifies why, 25 years later, Grace and Jeff Buckley are still relevant parts of the cultural landscape. It’s why there’s interest in the various bootlegs, live takes, demos, and the recent biographical graphic novel his estate has released in the past two decades.

The latest batch of such releases, timed for the anniversary, includes four concert albums as well as expanded digital versions of Grace (including “Forget Her”), Mystery White Boy (a full-length live album), and Sketches for My Sweetheart the Drunk, an album of material Buckley recorded in 1996 and 1997 and was first released a year after his death. All will be available digitally on Aug. 23.

In the years since Buckley’s tragic demise, both Tighe and Johnson have gone on to work on other major projects. Tighe’s written for and worked with Adele, Mark Ronson, and Liam Gallagher. Johnson has played with Rufus Wainwright and Jade Bird and had a five-year stint with St. Vincent.

Both men are active, talented, and in-demand career musicians. Neither needs to relive their time with Buckley as a way to boost themselves. But both are enthusiastic in discussing their friend and his gifts, and are doing their part to ensure people remember him.

“As a special talent, he was pretty ineffable,” Tighe says. “He was attracted to music with spirituality and he could embody that. It wasn’t something he learned, it was just given. He was incredible.”

“With Jeff, because he died in such an unforeseen way, I try to make the time to talk about him,” Johnson says. “Jeff had a certain intelligence and this explosion of emotion that was a soaring, insightful, penetrating whole vision of a man. I’ll always do what I can to honor that.”

To commemorate the 25th anniversary of Grace, Columbia/Legacy has shared a previously unreleased live video of “Lover, You Should Have Come Over,” filmed during a concert in Cambridge, Massachusetts, on Feb. 19, 1994.

[lovejustforaday]

2023 Year End List - #11

El Diablo En El Cuerpo - Álex Anwandter

Main Genres: Synth Pop, Dance Pop

A decent sampling of: Electro-Disco, Synth Funk, Electro Pop

Yet another entry on the list that I discovered this year while looking for records from outside the Anglosphere. And again, it's another artist from Latino-America.

I already said this in an old review, so I'm just gonna reiterate my stance briefly again - the 21st century 80s synth pop revivalism wave has been very hit or miss. And I'm mostly talking about the stuff that very clearly is actually paying homage to 80s music, not just any artist who happens to make bleeps and bloops.

But yeah, hit or miss. Some of it is frankly very dull and uninspired, and makes me wanna just put on some classic Depeche Mode or Strawberry Switchblade instead.

But when it hits, it hits hard, somehow managing to justify this ""trend"" that's been going on far too long to even be considered a trend anymore. Let's face it - the whole 80s synth pop / synth funk / sophistopop sound is here to stay forever, and I think that's for the best, even if occasionally I get a little exhausted from the over-saturation.

Anyways, moving on to the artist.

Álex Andwandter is a queer Chilean alternative pop artist and director based out of Santiago. He's collaborated with one of my own favourites, fellow Chilean indie/alt pop artist Javiera Mena (who makes a guest appearance on this record!). The dude has been active for over a decade now, so again, I'm a bit late to the party. Cut me some slack; I'm a gringo.

Álex himself sings in a bright, chipper, falsetto-y tenor full of sunshine and rainbows, sounding every bit as colourful as the classic synthesizer sounds that he incorporates into his music, though he also has a more dark and seductive register that he often injects into his steamier dance songs.

El Diablo En El Cuerpo ("The Devil in the Body"), his latest offering and my first introduction to his discography, is classic dancey, funky synth pop with a lot of sincerity and a few pinches of homoerotic mystique sprinkled in here and there. A very indulgent record for you to just lose yourself in the glitter and glam of it all. Basically, this is some utopian gay space shit (shout out to those who get the meme) and I am here for it.

Nothing could prepare me for the tantalizing and straight-up badass electro-disco thunderstorm that is "Qué piensas hacer sin mi amor?" ("What do you think you will do without my love?"). Anwandter channels Depeche Mode, Soft Cell, and Donna Summer all at once on this fierce juggernaut that's absolutely soaking with erotic tension. Puts me right in the middle of the dimmest, sweatiest fucking over-crowded dancefloor in some sleazy ass gay bar on a goth night at 1:00 am, and I'm too drunk to feel anything except the pounding pulse of the rhythm and the arousal of strangers rubbing up against me....ahem, is it hot in here? Anyways, eat your heart out Troye Sivan ("Rush" is great too, I'm mostly just memeing).

In contrast, the following track "Precipicio" ("Precipice") gives off a very 'classy' vibe - more cocktail dresses and glowing white LED dancefloors, less BDSM goth fetish gear and sweaty dankness. Some nice, sexy funky horns on this one that really brings the whole thing together. I also LIVE for Álex's sassy twink diva vibes all over this track; gets me almost as h-word as the previous track.

"Toda la noche" ("All Night") is anthemic synth funk that's giving a little bit of INXS. Groovy and life-affirming feel good shit that I would snort if I could. I want this to be the soundtrack of my own silly little 80s romance that's all about being young in the big city.

"Vamos de nuevo" ("Let's Go Again") is less of a nocturnal dancefloor number, and more something you might skip along to down the sidewalk on a sun shower summer's day with your hot pink Sony Walkman. Gorgeous upbeat vibraphone and detuned synth keys providing a backdrop for foolishly lovesick lyrics. My other favourite cut off the album, after the obvious one.

At the end of the day, the record is definitely a bit frontloaded, and it wears me out a little bit with its sixteen tracks in total. I understand this is probably meant to be the kind of record you play late at night when you're ready to get wasted and dance your heart out until you pass out; I just think it could be sequenced to have more of the outright bangers towards the end. But putting that aside, this was my second favourite dance record in a very stacked year for dance records, and it's certainly my favourite on the more disco/house/funky/electro-y end of the spectrum. El Diablo En El Cuerpo is simple, hot, memorable fun with a lot of exquisite taste. I can't imagine anyone in my own life that I couldn't successfully recommend this album to. So go on, embrace your inner gay synth pop twink.

8/10

Highlights: "Qué piensas hacer sin mi amor?", "Vamos de nuevo", "Precipicio", "Toda la noche", "Tienes una idea muy antigua del amor", "prediciendo la runa", "Unx de nosotrxs (feat. Javiera Mena)"

[bob-the-movie-man-film-reviews]

Madame Web (12): Timey Wimey Rubbish That Doesn't Bear Close Scrutiny.

#onemannsmovies #filmreview of #MadameWeb. Poor, incoherent entry in the Sony Marvel universe. Best avoided. 1.5/5.

A One Mann’s Movies review of “Madame Web” (2024). The latest Marvel – well, it’s from the rather dodgy Sony Marvel strand that includes the likes of “Venom” and “Morbius” – comes “Madame Web”. Now, I know a lot of Marvel fans tend to dump on the female-led movies (“Captain Marvel“, “WW:1984” and “The Marvels” are examples… surely there can’t be mysogeny amongst the Marvel fan-boy base?) But, to…

[candylommss]

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[karlykar]

Soundbar RGB dengan desain Terbaik ! Review Speaker Soundbar Gaming RGB Bass mantap

Link Pembelian TERMURAH : Shopee : https://shope.ee/7pUZBFKsUr

Speaker Bekas Review dijual disini : https://s.shopee.co.id/A9vTNQ9Wgf ( Cek link ini secara berkala, suatu saat ada update Produk baru )

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Terdapat knob volume dibagian kanan sehingga memudahkan kita untuk mengatur volume, dan untuk RGB nya sendiri memiliki kualitas warna yang sangat bagus

Tonton video sampai selesai untuk info lebih lanjut YouTube : youtube.com/MejaUnbox TikTok : tiktok.com/mejaunbox Instagram : instagram.com/meja.unbox Facebook Page : facebook.com/mejaunbox Twitter : x.com/MejaUnbox

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[jungjungan]

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Terdapat knob volume dibagian kanan sehingga memudahkan kita untuk mengatur volume, dan untuk RGB nya sendiri memiliki kualitas warna yang sangat bagus

Tonton video sampai selesai untuk info lebih lanjut YouTube : youtube.com/MejaUnbox TikTok : tiktok.com/mejaunbox Instagram : instagram.com/meja.unbox Facebook Page : facebook.com/mejaunbox Twitter : x.com/MejaUnbox

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[joimood]

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[usagirotten]

Movie Review: The Crow tries hard to be and is not

Cinematically speaking, the comic book character adaptation genre has been very complicated. Not everything is about superheroes saving the world. Having a good representation must be as close to the vignettes as possible, which, along with its story, is something that lives up to the expectations of the creators. Films like Sin City (2005) and 300 (2006) have been the best that have been presented to date. We see moving vignettes that, along with their plot, have taken this subgenre to a level that very few have been able to reach. The creation and first adaptation of the work done by James O. Barr in 1994 surprised everyone. The Crow was perhaps one of the most complicated films in the history of cinema. The sudden death of its protagonist Brandon Lee in the middle of everything made its director Alex Proyas use a different filming technique to finish it. The Crow is already a classic and cult film that perfectly represents O. Barr's material on film, surpassing or matching this was a difficult challenge that unfortunately did not have the best results. Four independent sequels and a television series were not enough to tell the story of this character. In 2024, it is director Rupert Sanders' turn to bring a new adaptation to the big screen and tell this supernatural love story.

What is The Crow 2024 about?

The love that Eric (Skarsgård) and Shelly (FKA twigs) have for each other is interrupted when they are brutally murdered and the demons of their past become present. When one of them has the opportunity to save his true love, Eric returns from the dead and takes merciless revenge on his murderers, crossing the barrier between the world of the living and the dead. For several years there were rumors of a reboot of this franchise, given what happened in its first adaptation to the cinema things were not easy at all, the studios as well as the directors did not have a clear idea of ​​how to do it without having the inevitable comparisons with its predecessor, the director Rupert Sanders and the scriptwriter Zach Baylin and Will Schneider were chosen by Lionsgate together with Sony Pictures to bring back this character telling and modernizing his controversial story. Here we can ask ourselves: was it necessary to make a new adaptation? How good or how bad is it to do it in these times? The answers to these questions have caused controversy among friends and strangers, while some say no, others are in favor and defend the final product, the truth is that these divided opinions have made this film not exempt from comparisons. You don't need to be a film expert to know that good films always have the same integrity that makes them a cult classic and the same goes for those that aren't. The Crow may seem to have a simple plot, a man who is murdered along with his girlfriend who is the love of his life, and returns from the dead to exact revenge, modernizing it includes having more scenes and sequences of even more explicit violence which makes it difficult to narrate something timeless that they want to forcefully modernize.

This work has many elements that don't work, including those recurring flashbacks loaded with symbolism about a childhood trauma that led the protagonist to a mental institution, and as viewers, we simply have to accept the fact that the love story that is the axis of everything is more important than its action simply because the film needs it and because the characters were created to tell it. In these times and giving a name to all this that is now known as a remake, it is much more likely that its correct name is a well-made reboot, but here even that is not taken into account, it desperately tries to adapt the original work using completely new methods, so far things are going fairly well, what it intends is to have its personality and style breaking with everything that came before and starting from scratch. Saying this sounds and reads very easy to do, the base material is already in cartoons and it only needs to be made up so that it seems like something new with its current problems and a moral discourse that tells us once again that love can do everything, even bringing a man back from the dead to take revenge on his murderers, what could be something that is compared to a gothic love with supernatural overtones must be treated as it should be if you want the results to be good and even more so to be to the liking and taste of the public. To understand this story even more, we must know that all this happens in a world where dark fantasy exists, where everything is possible from deep love to the most extraordinary things, every detail and everything is made to help the plot to be credible, to transport us to another place where we are made to believe that dreams and impossible things can happen, that the desire for revenge is as valid as love and that in the name of the latter anything that is done is justified. In this new adaptation, that previous dystopian world of dark gothic fantasy is replaced by a realistic atmosphere, this time the antagonists have also been modernized, they do not kill just for fun but have a fixed objective that is based on the actions and conduct of current mafia gangs, we understand from the first moment that Eric deeply loves his girlfriend Shelly and that he has to face his murderers, turning this into personal revenge in which his girlfriend will now play a very important role, a decision that is not entirely good. The result of all of the above is due to a series of difficult decisions that lead to this not fulfilling either what was promised or expectations, the question we now ask ourselves can be very divisive: is this a film that advocates a lot for nostalgia and relies on its predecessor to be in the taste of the new generations? The answer can be a resounding no, some things should no longer be re-adapted and modernized for such a weak generation that does not care about anything at all, but this is not the case, violence sells and it is believed to sell very well.

It is very difficult to continue to see the positive side of all this, anything that can be even slightly highlighted is accompanied by a but... this whole visual world that the film has would have been beautiful if they had also respected its timelessness and its dark and gothic tone, modernizing this environment and this line is one of its biggest flaws, at times what we see does not become depressing as it should be and it is not because we want it that way, it is because it is already established as an important part of its story, another of its flaws is the poor handling of CGI throughout the entire film, unfortunately, everything that should look spectacular and credible looks very poor and very clumsy. The pretentious violent scenes are very well done, with good choreography, good camera handling, good shots, and good work with the masks, and here too there is a but... it would have been much better if the filmmakers had committed themselves more and had prolonged the violent and explicit episodes more, and then we would justify a little better that this revenge took up more time in the film, which at times goes from love to supernatural to action and then to violence but then to love and then it does not have an effective narrative line that unites all this symmetrically instead of guessing whether it is or is not. Another flaw is undoubtedly its script, written by Zach Baylin, which never manages to have the necessary strength to make us, as an audience, believe that everything we see is strategically thought out to work, that this revenge becomes the central axis of everything, that everything happens and is resolved by chance and in favor of the same, that its poorly stated and even more so, terribly executed moral discourse tells us that true love must be avenged however it may be and against whomever it may be because love is love and everything else doesn't matter simply because it is love. We won't get them out of this bullshit. The structure of its characters is not the best either and it is another of its flaws, for example, the antagonist, villain, and bad guy of this movie, Roeg (Danny Huston) is not just a common human criminal oh no no no, he is a vile and powerful creature that according to his description has existed for a long time and can corrupt mortals and their souls, that is, a twisted version of the devil, the demon, Lucifer or something similar, unlike what we know and saw before this work goes completely to the supernatural side beyond resurrecting a dead protagonist to take revenge, it is rather a poorly made horror movie about devils, demons, monsters, and stolen souls, here evil is portrayed as a power that can very easily be turned into a weapon, transforming and stripping others of their goodness and this "Crow" spends most of its metaphysical development scenes in an intermediate space between the living and the dead or simply a purgatory. Despite all its errors and flaws, including of course the lack of originality in its imaginative compositions, the film has something, perhaps a good intention that should inoculate it against all those claims that say this is a remake to make money, it is not a film that cares about having a detailed and concrete cosmology that puts the motivations of the characters in a correct context and lets the film build a plot that goes beyond the bad guys killing the hero's girl and the hero returning to kill the bad guys, it pretends to be deep and fails and falls into absurd laughter. Proyas' version is infinitely better than what we see here, we see the clumsiness of his script that tries at every moment to be convincing, they probably thought that all this was going to end up being an example of a film in which style is a fundamental part of all its substance and that adopts that aesthetic with much more force to justify all the violence, which can be seen separately and absolutely nothing would happen. The cast is made up of Bill Skarsgård, FKA twigs, Danny Huston, Isabella Wei, Laura Birn, Sami Bouajila, and Jordan Bolger who do what they can with what they have, in the case of Skarsgård his performance feels like very apart from everything and everyone, an actor who has outgrown the character and who could give much more and be more authentic. The music composed by Volker Bertelmann has good moments and at times reminds us of what Graeme Revell did but in a more subtle and modern metallic tone, if anything it helped its predecessor, and being the 90s, the music was also something important, bands like The Cure, Stone Temple Pilots, Nine Inch Nails, Pantera and Medicine are far above Joy Division, Traitrs, Cascadeur and Enya herself. In conclusion, The Crow 2024 is a failed reboot that tries hard to be and isn't, a clear example that there are things that shouldn't be touched simply because they are already classics and not for studios to try to make money, an opportunity that is more than wasted in wanting to modernize and attract new generations, a job that could have been somewhat better and the filler for some streaming platform but that didn't work. The Crow is now in theaters in our country. https://www.youtube.com/watch?v=djSKp_pwmOA Read the full article

[vmonetechnologies]

Top 5 50 Inch 4K TVs in India: Experience Superior Picture Quality

Looking for the best top 5 50-inch 4K TVs in India offer the best combination of picture quality, features, and value? Look no further than the top 5 50-inch TVs that are best on the list. Whether you love watching movies, sports, or daily soaps, we've got you covered.

Samsung 125 cm (50 inches) D Series Crystal 4K Vivid Ultra HD Smart LED TV UA50DUE70BKLXL (Black)

The Samsung 50-inch LED TV boasts a Crystal Processor 4K for vivid visuals. Its inclusion of UHD Dimming offers precise backlight control. Its 20W speakers with Q-Symphony and Object Tracking Sound deliver an immersive audio experience. Its sleek design and powerful performance, this Samsung model is a top choice for those seeking the best 50-inch TV in India.

Sony BRAVIA 2 Series 126 cm (50 inches) 4K Ultra HD Smart LED Google TV K-50S20B (Black)

The Sony BRAVIA 2 Series 126 cm (50 inches) 4K Ultra HD Smart LED K-50S20B (Black) features BRAVIA 2 LED technology and includes 3 HDMI port for connecting set-top boxes, Blu-ray players and gaming consoles, along with 1 USB port for hard drives or other USB devices. Google TV support provides access to 1000+ apps. For gamers, this TV has ALLM and eARC support. 

LG 126 cm (50 inches) 4K Smart LED TV 50UR7500PSC

The LG 50UR7500PSC is a 126 cm (50 inches) 4K Ultra HD TV that runs on WebOS (LG's operating system) with AI ThinQ. It offers Apple Airplay 2, Homekit, Game Optimizer, and Filmmaker Mode. It features built-in WiFi, three HDMI ports for connecting set-top boxes, Blu-ray players, gaming consoles, and two USB ports for hard drives and other devices. 

Acer 127 cm (50 inches) Advanced I Series TV AR50GR2851UDFL (Black)

The Acer 127 cm (50 inches) Advanced I Series 4K LED Google TV AR50GR2851UDFL offers stunning 4K Ultra HD resolution (3840x2160) and a 60 Hz refresh rate. This Acer TV boasts Dolby Vision, HDR10 with HLG, UHD upscaling, and advanced colour and brightness technologies. Its inclusion of an eARC port and USB 3.0 port makes it stand out from the rest. 

VU 126 cm (50 inches) The GloLED Series 4K Smart LED Google TV 50GloLED (Grey)

The VU 126 cm (50 inches) GloLED Series 4K TV (50GloLED) offers a stunning 4K Ultra HD resolution (3840x2160) with a 60-hertz refresh rate. It is integrated with multiple connectivity options, including 3 HDMI ports, 2 USB ports, 2.4/5GHz WiFi, HDMI eARC/ARC, and Bluetooth 5.1. VU claims 104-watt DJ Sound with a built-in subwoofer, Dolby Atmos, and surround sound with bass boost. 

Verdict

Finding the best 50-inch TVs in India was an arduous task. With countless options available in the market, it wasn't easy even for us to compile the list of the top five 50-inch 4K TVs in India. For a more detailed review, visit our main blog by clicking this link.

Read more: VM one Technologies