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aer-in-wanderland · 3 years

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구미호뎐 | Tale of the Nine Tailed - Lost in Translation EP03

The saga continues: part three in a series in which my sister and I pick our way through all the (mis)translations, humour, and cultural subtext that dropped from the fan-subbed version of TotNT. Thank you so much to everyone who bought us coffee - this one’s for you. ;)

Before we begin, for anyone just joining us: EP01 / EP02.

We pick up back where we left off last episode with Yeon dressing Ji Ah’s wound.

Yeon’s line that’s subbed, “Stop being a crybaby” can be a bit hard to translate. The word he uses is ‘eomsal,’ which literally means, ‘the exaggeration of pain; feigning pain; a great fuss about nothing.’ So he’s essentially saying she’s overreacting. I'm not a fan of the use of the word ‘crybaby’ here though personally.

“Long time no see, Lee Yeon.” > > > 12 Hours Earlier.

We see Thirsty meet his ignominious end in a toilet (we never got character names for these guys so I’m just going to call them ‘Thirsty’ and ‘Hungry’).

Elsewhere on the island, Rang fishes a curse doll with the man’s picture on it out of the surf. That’s quite the atmospheric shot. Point to the director.

Episode 03 Title Card: The Secret of the Dragon King

We open the following morning as Ji Ah and the man who found the body (who Ji Ah refers to as ‘Captain’) examine the scene.

Sub: “Being at sea wasn’t enough and he drowned himself to death.” I’m not sure that sentence even makes sense. I would have translated the man’s line as: “Ho~ Let no one say he wasn’t a seaman. He managed to kick the bucket by drowning [even on dry land].”

Sub: “Talk about it being all for nothing. This is what he gets after throwing himself at his life.” Um, what now? The line is: “Human lives are so futile. And after he clung so viciously to life, too.”

Lol Yeon. “I see someone threw a party.” I like this sub. What he literally says though is: “Oh~ Looks like it was a really special night.” (‘special’ here is in English).

Sub: “He smells like a stinky fish.” What Yeon literally says is: “Ugh, a smell like rotting fish is coming from this kid!” Yeon refers to the man as ‘yae,’ which literally means ‘this kid,’ but can also be used to refer to inanimate objects. So, either way...pfft

Appropriately, the BGM playing as Pyung Hee casts her curse is ‘Shaman.’

Back over to Yeon and Ji Ah as they investigate the body. The chyron on the screen reads: ‘The first survivor of the Milky Way (Deceased)’ Irony-(probably)-not-intended.

We get another chyron not long after, over a shot of Pyung Hee’s father’s head being returned to shore that reads: ‘Seo Gi Chang (Died aboard the Milky Way)’

Lol None of this has stopped Yeon from nomming on his banana milk. I had thought the milk made him seem like a little kid, but according to Korean fans, it’s also, apparently, commonly enjoyed by old men. heh

Sub: “Besides, they’re not good looking enough.” This is a mistranslation. Yeon’s line is literally: “And besides, I don’t like the look of their faces.” What he means, though, is the feeling they give off, rather than their actual ‘looks.’ It’s a common expression in Korean. If I was translating instead of explaining, I would probably render this as, “I don’t like the look of them.”

As Ji Ah drags him out, however, Yeon can be heard saying, “Ah~ I judge people by their looks~!” I’m 98% sure this is another LDW ad lib. Basically, LDW made a joke of his previous line, as if to say Yeon cared about the look of them because they weren’t attractive enough, when really his line meant they seemed shady. It’s almost as if he predicted the bad sub...

We get a brief scene featuring the second (and only named) survivor of the Milky Way, Jin Shik. Oh, and his headless ‘visitor.’ Creepy.

The music underscoring Hungry gorging himself on raw meat is making everything worse (or possibly better, if disturbing is your jam)

I’ve said it before, but I would watch an entire series of Yeon and Ji Ah being a supernatural investigative duo.

Pfft Yeon refers to Seo Gi Chang as ‘the head’ (mogaji). I’m not sure if I should call that indelicate or irreverent. It’s a bit of both, really.

Yeon’s line here is subbed as, “What happened on the boat?” but it should more properly be: “What did you do on the boat?” He’s not just asking after the sequence of events; the line is a clear accusation.

Sub: “We met an unexpected storm that day.” Actually: “Rough wind and waves hit the side of the fishing boat.” (i.e. causing it to capsize)

I appreciate that Yeon sits back here and allows Ji Ah to take the lead.

So, as it turns out, the 11th hell is actually a fishing boat (I’m sure the cast of 1N2D will back me up on this).

Fun fact: This sequence was filmed in a green screen pool and then made to look like the middle of the ocean with CG.

As an aside, I love that Ji Ah deduced the whole story on her own and that she uses that knowledge to corner Hungry psychologically. Also, that her strategy proves more effective than Yeon’s threat of violence. It’s not so much a ‘you catch more flies with honey,’ as a ‘brain over brawn’ sort of deal.

Ji Ah: You were frightened, weren’t you? Twenty-eight days straight on a perilous life boat without water or food. They’re the perfect conditions for a person to go mad, aren’t they? First-degree burns from the hot August sun striking your body mercilessly, the boat pitching about all day; despite not having eaten, you feel as if you’ll throw up. Clenching your teeth and waiting to be rescued only works for a day or two. The more you think about it, the angrier you get. ‘Why, me? Why?!’ Around the fifth day was the crisis point. Since, in that time, not a drop of rain had fallen. Dehydration would have set in first. [...] But it’s odd, isn’t it? For having starved for 28 days, you lost too little body mass. [...] What did you eat?

Meanwhile, Yeon’s contribution to all of this is: “And you couldn’t have used a delivery app in the middle of the open ocean where there’s no wifi signal.” Pfft He has, of course, caught on to her strategy. As usual, though, he decides to take the cheeky route.

Side note: I find it interesting that, in this universe full of monsters, the first incident Yeon and Ji Ah end up investigating together turns out to be an entirely human horror.

Yo. Hungry deciding Ji Ah is food is just...ugh. Never trust a cannibal.

Luckily for Ji Ah, her guard dog fox is on the job.

Over to Rang, who asks a weeping Pyung Hee what she’ll give him in return for granting her ‘wish’. We don’t get to see her answer him, but it was included in the backstory collection.

It’s unclear to me just how much Rang is involved in ‘granting’ Pyung Hee’s wish. Like, is he the one fueling the curse somehow, or did he just teach her what she needed to know? I’m inclined to believe it’s more the latter.

We cut to Taluipa at the Afterlife Immigration Office, who’s pissed that someone’s messing with her Death List. There’s a fun mythology-related chestnut in this scene: when Hyeonuiong comes running in, he’s carrying a watering can. Taluipa accuses him of having been watching dramas, but Hyeonuiong insists he was watering the Uiryeongsu.

The chyron for it reads: ‘The Uiryeongsu. A tree that measures the sins of the dead by the weight of their clothes when they’re hung on it.’ The hanja for ‘Uiryeongsu’ (衣領樹) literally mean ‘clothing-amount-tree,’ so its name is essentially its function. In traditional mythology, it grows on the near bank of the Samdocheon. This is also the same tree that the Uiryeong’geom (geom = sword) mentioned in EP13 is made from.

“You watered a tree for 3 hours?” Pfft Hyeonuiong and watering can, exit stage right.

Minor detail: I just realized I can actually see from Taluipa’s List in this scene that one of the two fishermen is named Kim Gil Sang. Still not sure which one though, so I’m going to stick to calling them Hungry and Thirsty.

The Dragon King Scroll

Back over to Ji Ah, who examines a creepy scroll hanging in Jin Shik’s vacant quarters. Once again, the show cuts into its own dramatic tension with a moment of levity as Yeon startles both Ji Ah and me by popping open his bag of snacks with a massive bang. The contrast between Ji Ah, who’s in serious investigator mode, and Yeon, who just continues his one-gumiho snack parade, blasé as can be, adds humour to an otherwise grim situation.

Yeon’s response of, “Oh. Sorry.” is in English, making it sound, if possible, even less sincere.

On the off chance that anyone was wondering, the snack Yeon claims as his favorite here is 솜짱 (somjjang). According to the Korean fans again, this is also a food commonly enjoyed by elderly people.

Subs: “Do you know how many people in Joseon died during the 50 years of war? 3.5 million. I’ve seen more deaths than all the funeral companies in this country.” This is another case of diagonal translation. Yeon’s line is more properly:

Yeon: Between the Imjin War and the Manchu War, do you know how much of the population of Joseon-era Korea was lost in just 50 years? 3,500,000. I’m a guy who’s seen more funerals than all the funerary companies in Korea put together.

[Note: Yeon is talking about The Japanese Invasions a.k.a The Imjin War (1592-1598) and The Qing Invasion of Joseon a.k.a. The Manchu War (1636)]

As a linguistic aside, Yeon refers to himself here as a ‘nom’ (rhymes with ‘home’). If you read the breakdown of EP02, you’ll recall that ‘nom’ can mean anything from ‘guy’ to ‘bastard.’ It’s not that Yeon means to call himself a bastard, though. It’s only that the typical alternative here (i.e. ‘person’) carries the implication of 'human.’ Since Yeon is, of course, not human, he opts for ‘nom’ instead. The word gets a lot of mileage in this show in relation to all the supernaturals for that reason.

Lol This exchange about the Dragon King was great. Point to the writer. I would translate it as:

Yeon: You’re right, but it looks nothing like him.

Ji Ah: You’ve...seen him?

Yeon: Back when I was a mountain god. Well, in today’s terms you’d say we attended a leadership conference together. They over-glamorized him. He’s not this good looking.

Ji Ah’s reaction is perfect too. Her, ‘I don’t even know where to begin with that statement so I’m just going to move on’ look came across loud and clear.

Yeon’s line as he leans over Ji Ah’s shoulder is subbed: “This is just like ‘Where’s Wally?’” In Korea, the game is called ‘find the hidden picture’ (‘sumun keurim chatgi’). So the line is actually: “What is this, ‘find the hidden picture’ or something?” I’d say there’s a 50/50 chance this line was another ad lib by Lee Dong Wook.

On an entirely different cultural note, ‘Where’s Wally?’ is know as ‘Where’s Waldo?’ in North America and exactly nowhere else. Don’t ask...

This scene features the first mention we get of Imoogi. Imoogi are among the most famous Korean mythical creatures. In most tellings, they are essentially proto-dragons, though occasionally they can be baby dragons. For example, one imoogi tale claims its imoogi was the son of the Dragon King (the same one Yeon attended a ‘leadership conference’ with). Most of the lore agrees that if an imoogi stays submerged in deep water for a thousand years, it earns the chance to become a dragon, though the caveats vary widely, and many imoogi fail. Finally, while the imoogi in TotNT is evil, imoogi aren’t categorically so; some are good, some aren’t.

Rang and the Mudang

Fun fact: Kim Beom explained in his Instagram LIVE that he chose to wear a red suit partially because the color gave off the feeling of a villain, but also because it contrasted well with the green of the forest. He also named this as his favorite Lee Rang outfit.

For anyone keeping track, Rang speaks to the mudang in banmal. She, in return, addresses him as ‘Lee Rang-nim’ and speaks very respectfully.

Okay, there are a couple of things to unpack in Rang’s following exchange with the mudang:

Mudang: The Corrupt God, King of the Wicked. He is Lee Ryong-nim.

Rang: [Laughs] What’s with that? Ugh, I seriously just cringed! If you slap a fancy title* from the next world in front of its name, does a snake become a dragon?

First, the mudang’s line here is said in an archaic cant. Second, ‘Lee Ryong’ (properly pronounced, ‘i-ryong,’ since there’s actually no ‘L’ in ‘Lee’), is another name for imoogi.

Finally, when Rang says ‘a fancy title from the next world,’ he’s referring to a posthumous name/title. Nearly every kingdom to have occupied the Korean peninsula has used posthumous titles (시호), most often for deceased royalty. By giving one to Imoogi, the mudang is venerating him. Rang mocks this, seizing on Imoogi’s failure to become a dragon. (Let no one say he and Yeon aren’t brothers).

The subs have Rang referring to Yeon as just ‘Yeon,’ but he actually calls him ‘Lee Yeon.’ That’s a very impersonal way to refer to one’s older brother, which is, of course, intentional on Rang’s part. It serves as another linguistic cue to the audience as to how Rang regards Yeon at this point.

A note on the evening primrose: tvN released a short blurb about it, since, as far as I can tell, the mythology was invented for the show. It reads:

Evening primrose that has grown while feeding on the blood and flesh of corpses is the same as poison to gumiho; if they so much as touch its powder, their bodies catch flame.

While the subs consistently just say ‘evening primrose,’ this should more properly be ‘burial ground evening primrose,’ which is how the various characters refer to it.

Fun fact: ‘Evening primrose’ in Korean is ‘dalmaji-kkot’ (달맞이꽃), which means ‘flowers that welcome the moon’.

Sub: “Half-brothers, to be exact.” The term Rang uses in Korean is quite literally, ‘brothers from different stomachs,’ so it refers specifically to half brothers who share a father but who have different mothers. I mention it only because Korean viewers will have been given slightly more information about their familial relationship here than was provided in the subs.

Back over to our leads, as Yeon urges Ji Ah to leave the island post-haste. His line is subbed: “I’m saying you may die if you stay here.” That’s a perfectly fine translation. For anyone curious, though, his line is quite literally: “I’m saying if you stay here, [the conditions are] perfect for dying.”

Sub: “That’s none of your business.” Yeon’s line is more properly: “That’s not for you to know.”

Ji Ah’s response to this is very literally: “I have no intention to go home for a reason I don’t know. So Lee Yeon should find the person Lee Yeon came here to find. I have to know why my parents came to this island.” This is the first time Ji Ah uses Yeon’s full name as a second person pronoun (so basically to mean ‘you’) when speaking to him. It’s hard to make generalizations about any form of address that don’t have multiple exceptions, but in this case, using his name is a more neutral, and somewhat more familiar, alternative to some of the other pronouns she’s been using when speaking to him. To my sense, it softens her rejection of his advice a little bit.

Back to Rang. His line is a bit awkward to translate, but essentially what he says is, ‘Calling my brother a ‘mountain god’ is an overstatement/ putting it nicely.’ I might approximate this as, ‘Sure, my brother was called a mountain god.’ This is the only time in the entire drama that Rang refers to Yeon as ‘uri hyung,’ and it kills me a bit that it’s not out of fondness, but rather derision. ㅠㅠ

Similarly, when Rang says, “I’m a fox, after all. I have to repay eunhye properly,” he is, of course, using eunhye sarcastically.

The subtitle here once again says ‘the underworld,’ but Rang’s line is actually: “I’m going to go to hell, without fail. Together with Lee Yeon.” The subs really need to do a better job of distinguishing between hell and the afterlife.

We see Ji Ah instruct Jae Hwan over the phone as to what to search for in the library records. She’s split off from Yeon since we last saw them.

Elsewhere on the island, Yeon also makes a call, only his is to Halmeom (Taluipa) to ask about Imoogi. When this episode first aired, I thought it was odd that Yeon was using ‘Imoogi’ as if it were a name, since this would be like referring to Yeon as ‘Gumiho.’ He later taunts Terry-Imoogi about just that though (i.e. not even having a proper name), so obviously it was an intentional decision on the writer’s part.

Sub: “If by chance Ah Eum was born again into this world, I can’t let that thing coexist with her.” This sub went a bit sideways. The ‘by chance’ has been mis-attributed. The line is properly: “There’s no way I could possibly (i.e. by any chance/under no circumstances can I) let such a thing exist in a world in which Ah Eum has been reborn.” Yeon is already sure that Ah Eum has been reborn at this point. He’s saying that because she’s been reborn, he can’t allow Imoogi to coexist with her under any circumstances.

Rang vs Ji Ah

Ji Ah returns to Pyung Hee’s to find ‘Pyung Hee’ reading Moby Dick. This is an ironic enough choice of literature to clue her in to the fact that this isn’t really Pyung Hee. Smart cookie.

On a character note, I loved that Ji Ah’s knowledge of, and love for, world literature was threaded believably throughout the drama in a way in which it feels natural that she caught on to Rang’s hint here. Point to the writer.

Again, for anyone keeping track, Ji Ah and Rang speak to each other in banmal, as has been the case since Rang revealed himself at Ji Ah’s house in EP01. Not because they’re close, obviously, but because they have zero respect for one another. It’s a bit of a power play on Ji Ah’s part, too, since she’s (hundreds of years) younger.

Over to Yeon, who barges into the local market owner’s personal quarters to interrogate him. His line when he catches sight of the scroll on the wall is subbed: “Look at this.” This should more properly be: “Check these people out. There’s one here too.” The word he uses that I translated as ‘these people’ is ‘i-geot-dul,’ which is very literally ‘these things,’ so I sort of understand the confusion in the subs. He means the islanders though, not the scrolls. In contrast, ‘there’s one here too’ does actually refer to the scroll.

The knife Yeon throws hits directly over the slit pupil of the scroll dragon’s eye. Nice aim.

Back to Ji Ah and Rang. When Ji Ah accuses Rang of orchestrating the deaths of the Milk Way survivors, ‘to distract us,’ what she says quite literally is ‘to cover our eyes and ears.’

When Rang applauds Ji Ah’s deductive abilities, his line is subbed, “Awesome.” This should more properly be, “Outstanding,” or, “Exceptional.” I honestly believe he’s being sincere in his praise. Being Rang, though, he’s probably just delighted this makes her more challenging to toy with.

Having completed his interrogation, Yeon’s eyes change as he erases the man’s memory of the event. I suspect the reason Yeon is so cavalier about revealing he’s a gumiho is because he can basically ‘undo’ it whenever he wants using this power.

Ji Ah’s quiet, “I decline” is so satisfying. Also the way Rang pulls back in surprise haha I guess he’s not used to being turned down.

Rang’s exchange with Ji Ah is subbed as: “Loosen up. Why be so stiff when it’s just good old me?” / “Let me give you some advice since that’s how you feel. Don’t gamble with another’s tragedy just for kicks. There’s a word for people like you, you know. A colossal jerk.” This is difficult to translate, and I think the subs have done a pretty good job, but a closer translation would be:

Rang: Augh— So uptight! Are you going to keep acting this uptight, just between us* (literally, ‘between you and me’)?

Ji Ah: Between you and me, then, I’ll give you just one word of advice: Don’t carelessly role the dice atop others’ misfortune. People call jerks like you ‘sleazy bastards.’

[*Note: Rang’s phrasing implies that they’re somehow close/on good terms, but he’s being sarcastic, of course.]

First off, the word Rang uses for ‘uptight’ (빡빡하다) means ‘stiff; uptight; rigid; inflexible; strict.’ By this, he’s referring to how she never lets her guard down. I don’t know that any of those words properly conveys that, though.

Second, while I translated Ji Ah’s line about the dice very literally here (in keeping with the spirit of this post), I actually like how the subs handled it from a translation/subtitling standpoint.

Finally, the subs have Ji Ah calling Rang ‘a colossal jerk,’ but the term she actually uses (‘yang’achi saekki’) is a much stronger expletive. ‘Yang’achi’ is a term for a thug, gangster, or hoodlum. ‘Saekki’ literally means ‘child of.’ In practical use, though, it’s close to ‘bastard.’ (I really didn’t think I’d be explaining the finer points of Korean expletives when I started this series, but here we are). I approximated this as ‘sleazy bastard’ above.

Pfft Rang being genuinely offended at Ji Ah’s language. Jo Bo Ah talked a bit about what she thought of all the explicit language Ji Ah uses towards Rang in her wrap interview.

Subs: “When he finds what he wants, you’ll be begging for mercy.” No idea where they got 'begging for mercy.’ What Rang actually says is, “When he finds what he wants, you’ll see hell.” Unlike in the subtitle, Rang’s warning actually has substance to it, since he’s referring to the fact that, once Yeon identifies Ji Ah as Ah Eum’s reincarnation, their fate with Imoogi will repeat itself.

By the time Yeon rushes back to Pyung Hee’s, Rang is long gone. His line subbed as: “What did he say?” is, quite literally, “Lee Rang, that nom, what’d he say?” This use of ‘nom’ manages to come off as fairly mild. (He may be a jerk, but he’s Yeon’s jerk).

Ji Ah’s response has undergone cultural translation to become: “Even when I order pizza, I never go for half-and-half. I always choose just one.” Honestly, though, I don’t know that it was necessary. What she actually says is: “Even when I order chicken, I don’t go for half-seasoned, half-fried; I’m the type to just pick one.”

This scene was originally longer but part of it got deleted. They released the clip, though, so I’ll translate the full exchange here:

Ji Ah: I'm saying I turned him down, your younger brother. Since I bet on this fox.

Yeon: Let no one say you aren’t a learned (wise) woman. Is that all?

Rang (voiceover): Don't trust Lee Yeon too much.

Ji Ah: That's all. But...you said the two of you are brothers.

Yeon: Yeah. We’re brothers.

Ji Ah: Why are you so hellbent on destroying each other?

Yeon: It seems like you don’t know since you’re an only child, but, as a rule, the relationship between siblings is a lot like noir, just without the guns.

Ji Ah: There you go, deflecting the question again. Is that a secret, too?

Yeon: If you ever happen to run into that guy again just the two of you, no matter what, run fast. That kid* despises humans. Especially humans that look like you.

Ji Ah: Why do you keep taking cracks at people's faces?

Yeon: ...I'm hungry.

Ji Ah: Why don’t you take the opportunity to pack up and leave while you still can? Your younger brother...it seems he’s preparing some sort of special event.

Yeon: That’s what I’m waiting for.

*Note: The word Yeon uses that I translated as ‘kid’ is ‘jashik.’ This is another word that, depending on how it’s used, can either be fond or rude. ‘Jashik’ literally means ‘[one’s] child,’ but it’s also commonly used in the sense of ‘punk.’ It’s a bit softer than nom. You wouldn’t use it to refer to yourself, though.

Ji Ah’s “Why do you keep taking cracks at people’s faces?” (meaning he’s insulting/taking issue with how she looks), is referencing their exchange the previous night when he told her not to smile because she was ugly.

We cut briefly to Shin Joo eating at the Snail Bride as he sizes up Yoo Ri from a distance. Come to think of it, we never got this BGM for the Snail Bride, either...

Ramen Heart-to-Heart

Lee Yeon’s one-gumiho meokbang continues. I feel like Yeon has been nomming on something in nearly every scene this episode.

The BGM while Yeon and Ji Ah eat is a remix of Yeon’s theme, ‘The Fox’s Wedding Day.’

Sub: “Just because these ladies wear baggy pants in floral prints doesn’t mean they have kind hearts. Get digging, and you’ll find all sorts of dirty secrets.” Yeon’s line is more literally:

Yeon: Living is all the same [everywhere]~ Just because grannies in the countryside wear flower-patterned pants doesn’t mean that even their insides are flower-patterned. If you start digging, venomous and insidious years come pouring out.

Ji Ah’s response then plays off of Yeon’s turn of phrase: “Is that the case for you too? I just wondered, ‘With what pattern did you live all those long years?’” (referring to the ‘pattern’ of his heart).

On a minor cultural note: the word Yeon uses is ‘mombbae pants’ (몸빼바지), which are a fashion(?) staple in the countryside. You’ll know what I mean if you run the hangeul through a google image search. That’s where the subs got ‘baggy’ from even though Yeon doesn’t explicitly say it.

Sub: “Why have you been searching for your parents all this time?” Yeon’s line is more properly: “Then what about you? What has made you wait for your parents for such a long time?”

Sub: “I’m the same. I’m waiting for the one I miss.” I would have translated this as: “I’m waiting for someone I miss,” which is literally what he says.

Sub: “Why did you part ways when you still miss her this much?” This is a bit hard to translate into natural-sounding English. The word Ji Ah uses is ‘mi’ryeon,’ which means ‘lingering attachment.’ So her line is quite literally: “Your face is so full of lingering attachment, how did you come to part ways/break up?”

Sub: “The first being I loved was a human girl who ended up dying. It’s why I’m still hung up on her. Happy now?” Hmm... I would translate Yeon’s line as:

Yeon: My damn* first love was a human of all things, but she died, so I’m foolishly unable to let go of my lingering attachment. Happy now?

[*Note: Yeon is cursing is the phenomenon of first love itself, not Ah Eum.]

His statement is witty, because the word he uses for ‘foolish’ is also pronounced ‘mi’ryeon.’ In this case, though, 'mi’ryeon’ means, ‘foolhardy and dense enough to be stubborn to a preposterous degree.’ Which is probably a fair assessment given he’s been waiting 600 years. The sub for this line made it sound like he’s saying, ‘I’m hung up on her because she’s a human girl who died,’ which would just be weird.

Shin Joo Meets Yoo Ri

Okay, minor detail, but what exactly was Yoo Ri trying to accomplish here before Shin Joo stopped her from entering an off-limits area of the Snail Bride?

The BGM here is called ‘Skip a Beat’ (‘Kanju Jump’). I found the track title slightly surprising since it’s actually taken from an ad lib made by Kim Yong Ji (Yoo Ri) in a later episode.

For anyone keeping track, Shin Joo and Yoo Ri are speaking in a mix of banmal and jondaetmal in this scene.

We next see Shin Joo on the phone with Yeon, whining about the whole ordeal and asking an unsympathetic Yeon to come back and retrieve his necklace for him.

Yeon’s line that’s subbed as, “Deadly?” could mean more than one thing. The line is literally, “What? The thief was deadly?” The word for ‘deadly,’ though, could equally mean that she was a knockout (i.e. gorgeous). It’s probably a bit of both.

Subs: “There’s nothing more pathetic than being blinded by a woman’s beauty...” / “But you also ruined your life by falling for beautiful woman.” For the record, neither of them actually uses the word ‘beauty/beautiful’ here. I would translate this exchange as:

Yeon: You... The most pathetic thing in the world, is being blinded by a woman, and...

Shin Joo: But being blinded by a woman and wrecking your life is something Lee Yeon-nim did too, isn’t it?

Yeon: What, you punk?!

Lol Yeon’s “What, you punk?!” is a familiar refrain whenever Shin Joo unwittingly(?) insults Yeon. The word is ‘imma’ (임마) or sometimes ‘inma’ (인마). Yeon consistently uses the former.

‘Bad Fate’

Subs: “Why is that branch broken? It must’ve hurt.” Yeon is actually personifying the tree here, which makes sense seeing as he can communicate with it. So his line is more literally: “Now why has this kid gone and made a fuss breaking [his] branch? It must’ve hurt.” Which is cute.

I actually really appreciated this short scene of Yeon healing the tree. Yeon may no longer be the master of Baekdudaegan, but this scene showed that it’s still very much a part of who he is; not just his powers, but the care he has for the forest.

Fun (?) fact: It turns out this simple scene was actually a huge pain to film.

Subs: “I hope you grow well.” Actually: “Eat well and grow well.” I realize that sounds awkward in English, but the line is a directive. He’s once again speaking to the tree.

Sub: “The wind is blowing from the northwest. Something is coming.” I would have translated this as: “A northwest wind blows... Something is coming.” That’s partly a tonal choice, but it’s also a more literal reflection of the original Korean.

We finally catch back up to the end of EP02, as Jae Hwan calls Ji Ah from the library to tell her what he’s found. This time, we see her connect the first dead body in 1954 to what the forest spirit told them more explicitly.

The dates of the four incidents are: August 13, 1954; August 25, 1961; September 6, 1979; and September 7, 1987. Ji Ah quickly deduces that these all work out to be the same date on the lunar calendar: July 15th. In 2020, that works out to be Wednesday, September 2nd. If you’ll recall, the wedding at the start of EP01 was held on August 29, so it’s only been 3 days since Yeon and Ji Ah crossed paths at the wedding hall.

“Long time no see, Lee Yeon.” What is it with Imoogi and choking Yeon?

Subs: “You should’ve let me go.” More precisely: “I know, right? You should have let me go.”

Yeon’s final “What are you?” should probably have been subbed as: “I’m asking what you are!” since both his tone and phrasing have grown more insistent.

Subs: Our ill-fated relationship would’ve ended if you hadn’t stopped the boat from crossing the Samdo River. More literally:

Jimoogi: Our ak’yeon should have ended. That is, if only you hadn’t stopped the boat from crossing the Samdocheon.

The word the subs translated as ‘our ill-fated relationship’ is ‘ak’yeon’ (悪縁), which literally means ‘bad fate.’ In contrast to the broader, ‘destiny’ sort of fate (‘un’myeong’) however, ‘yeon’ (縁) is inherently relational. It refers specifically to the fate between two people (or even between a person and a place). ‘Ak’ (悪) means ‘evil.’ So 'ill-fated’ is a bit misleading as a translation since the word actually refers to the relationship between Yeon and Imoogi (i.e. mortal enemies), rather than the fact that Yeon and Ah Eum’s story ended tragically (as in, ‘an ill-fated love’).

WAIT. Subs: “No. That woman is born with a face that only I can recognize. And I don’t see it in you.” What?? That doesn’t even make sense. Yeon’s line is:

Yeon: No. That woman is born carrying a sign that only I can recognize. You don’t have it.

Obviously, Yeon is referring to the fox bead, and I’m fairly sure that was apparent since the line was intercut with the scene in which he imparts the bead to Ah Eum, but that seems like a pretty critical line to fudge up.

Jimoogi: “You really don’t know anything, do you, Lee Yeon?” It’s weird to me that they have Imoogi addressing Yeon as just ‘Yeon’ in the subs. That makes it seem like they’re friends or something...

Subs: “The scar is gone.” Actually: “The wound disappeared.”

Deadball

Subs: “We hate each other too much to play catch. I actually meant to kill you.” Wait, WHAT?! Yeon’s line is:

Yeon: Our relationship is too makjang for that. That was meant to be a deadball, actually.

Makjang, for the uninitiated, is a slang word taken from the phrase ‘the final scene’ (‘majimak jangmyeon’) that has come to refer to an entire genre, as well as particular dramatic elements or conventions of Korean storytelling. Dramabeans explain the term here. When Yeon says his relationship with Rang is ‘makjang,’ he’s essentially saying it’s overly fraught, not that he hates his brother.

He also doesn’t say he meant to kill Rang. ‘Deadball’ is a Korean baseball term for a pitch that hits a player (typically causing the game to be paused). So Yeon’s just saying he meant for the ‘ball’ to hit Rang, rather than for Rang to catch it.

On a personal note, it really bothers me when the subs spread all over the internet and they’re wrong like this. I don’t mind slight changes in phrasing or wording, but when they grossly misrepresent the characters like this it can be a bit upsetting. It’s no wonder I sometimes feel like I watched a completely different drama. ㅠㅠ

Yeon’s cheeky smile™ XD

The BGM in this scene is actually ‘The Forest of the Agwi.’

Subs: “Run away.” Yeon’s line is quite literally: ‘Get away from here,’ or even, ‘put distance between here and you.’ I mention it because I really appreciated that, despite all the danger she confronts, Yeon never once tells Ji Ah to ‘run away’ (‘domang ga’). His second ‘run away’ in the subs is also just him telling her to hurry up (literally ‘go quickly’).

The following banter between the brothers is something I mentioned in an ask a while back because all the humour had been lost in translation. To recap, though, one recurring joke the show uses plays off the word for ‘bastard/son of a bitch,’ which translates literally as ‘child of a dog’ (kae-saekki). As you might imagine, this gets a lot of mileage in relation to Rang, our resident ‘baby fox’ (agi yeou) a.k.a. ‘child of a fox’ (yeou-saekki):

Rang: This is domestic violence, you know?

Yeon: (Nodding) They say you’re supposed to raise wild children* with a firm hand (literally: hit them as you raise them), but I couldn’t do that, so I ended up raising a fox child into a dog child (son of a bitch), didn’t I?

Rang: And who was the jerk who kicked that child (saekki) to the curb? You treat me like a stray dog any chance you get.

Yeon: My little brother, I’ll have to gift you a muzzle this Christmas.

Rang’s line was subbed: “You keep blaming it on me, when you were the one who turned me into an orphan.” which I find fairly problematic since that makes it sound like Yeon killed Rang’s parents. It’s also just plain wrong; to the extent that I’m not even sure what went wrong in the translation process.

The word Yeon uses here for ‘wild children’ is ‘horo jashik’ (호로자식), which many Koreans understand to mean something like a barbarian child, but the true origin, as it turns out, is a parentless child. It’s also a term used predominantly by elderly people heh

Finally, because the dog jokes dropped out ‘muzzle’ became ‘mouth guard’ in the subs, which is both less funny and less sensical. The two are also conceptually opposed, since ‘muzzle’ implies that Yeon means to protect the world from Rang whereas ‘mouth guard’ is more about protecting Rang.

As Ji Ah continues to put distance between herself and the brothers, she happens upon the mudang’s house, which she immediately clocks as such from the obangi.

I like that Ji Ah doesn’t immediately call the mudang out for lying, but instead continues to question her knowing she’s lying. Sometimes the lies people tell can be as telling as the truth.

When Ji Ah questions her, the mudang tells her the fishing ritual is held during the ‘Ghost Festival’. This is a Buddhist festival similar to All Souls Day. In Korean it’s called ‘Baek Joong Nal’ (literally ‘hundred-gather-day’) meaning ‘the day when all the spirits gather.’ It falls on the full moon of the seventh lunar month (so July 15th of the lunar calendar), which is, of course, the date Ji Ah identified as the day when the murders were taking place. That’s why we get the zoom in and the flash to the newspaper dates: Ji Ah has put everything together.

Chyron: “Obangi (五方旗) A five-colored flag symbolizing ‘life, death, illness, sacrifice, and ancestors’”. This is the quick quotes version. Obangi have their roots in the Chinese philosophy of Wuxing, but for more on that, I’ll refer you to Wikipedia. In Korea, the colors of the obangi (red, blue, white, black, and yellow) are known as the five orientation colors, and are closely tied to both shamanism and fortune telling. You’ll notice these same colors flying outside the fortune teller’s in EP06.

I also appreciated that Ji Ah didn’t just foolishly drink the tea here. She was properly on her guard. It’s only that she mis-identified the source of danger.

Back over to our fox brothers. Rang’s line is subbed: “That was plenty of time.” This is more properly: “I think I’ve bought more than enough time by now.” So he’s actually quite overt in telling Yeon exactly what he'd been up to.

Subs: “Don’t you know why she ended up on this island?” More closely: “Do you still not get it? Why that woman ended up coming to this island of all places?”

We see the mudang encircle the creepy well with burial ground evening primrose to ward against Yeon, who is currently searching the island for Ji Ah to no avail.

Subs: “You tricked your mom while you were in her womb.” This is a bit difficult to translate. The word the mudang uses that was translated as ‘tricked’ is ‘ggweda,’ which means to ‘lure’ or ‘entice.’ So what she means is that the part of Imoogi that was reincarnated with Ji Ah ‘lured’ her mother to the island by sending her recurring dreams.

Gumiho

Lol Yeon: “I am the original mountain spirit, the master of the mountains and streams. Lift this darkness and lead me to her!” This is more literally:

Yeon: I am the original mountain god, the master of your mountains and streams.* Part this darkness and lead me to that woman!

[*Note: ‘Mountains and streams’ here can also be taken to mean ‘nature’ at large.]

Lol The line is met with silence and the soft hoot of a lone owl. That’s basically the director’s version of *crickets* isn’t it?

This line is another rare case in which Yeon speaks archaically, and it serves to make the command sound more formal and potentially magical. It’s also worth noting that he’s addressing the forest directly as a whole here (thus the ‘your’).

Fun fact: When Lee Dong Wook did his TotNT VLIVE, his promotional team made him perform this line again live just to mess with him haha

The BGM here as Yeon heads off through the forest led by his (supernatural?) fireflies is ‘Opening Title: The Legend of the Fox.’ It sounds vaguely Harry Potter-ish to me (not complaining).

For the record, Ji Ah is now speaking to the mudang in banmal out of disdain.

Sub: “Be a sacrifice. You are a very special child.” Pfft ‘Be a sacrifice’ sounds oddly funny to me. Her line is: “Become a sacrifice. I’m told you’re a very special child.” So the implication is that this information came from someone/something else.

Does anyone know what BGM this is as Yeon sprints though the forest? I think it might be another unreleased track, but I’m not positive...

Yeon’s “Halt!” is once again in olden speech. It indicates linguistically that he's in Gumiho mode.

Out of curiosity, is it not odd for people watching with subs when Ji Ah’s only utterance is ‘Lee Yeon’ but the subs just say ‘Yeon’?

Subs: “This has nothing to do with the old master of the mountain. Why don’t you keep walking?” I would have translated this as: “It is a matter unrelated to the former master of the mountain. Beg, go along your way.” She’s once again using olden-speech in her second sentence.

Lol Sub: “Says the living corpse.” I like this sub. Yeon’s line is quite literally: “With the ‘juje’ of a living corpse...” ‘Juje’ is essentially your station or lot in life, and it’s used almost exclusively derogatorily.

Sub: “Who was it that provided you with longevity you don’t deserve?” More closely: “Who was it? The one who gave you a lifespan so much longer than you deserve?”

Yeon: “I asked you whom you serve!” (literally ‘what’ you serve). Yeon once again drops into an archaic cant for this line. It serves to underline his full age and gives his demand an extra air of authority.

Yeon’s TAILS. I can’t believe this was the last we saw of them. ㅠㅠ Personally, I interpreted the firey tails as being a sort of ‘shadow’/ projection of his actual tails, which I assumed were actually more physically there (since he talks about shampooing them in the teaser interview). My sister thinks differently, though. Guess we’ll never know...

The BGM for this sequence is naturally ‘Gumiho.’ If you read our EP01 breakdown, you’ll know I was fully expecting this to be Yeon’s theme. But no, it’s the whimsical 'The Fox’s Wedding Day’ instead haha

Okay, Yeon just casually smiting the mudang is pretty badass. Seeing as he can command lightning, I’m pretty sure he was joking when he told Ji Ah, ‘even gumiho are afraid of electricity.’

If by chance you wondered what was going though Yeon’s mind when he smote the mudang, it’s featured in the EP03 subtitle poster.

I appreciated that Yeon just accepts Ji Ah at her word here when she tells him all she needs from him is one arm for support. I feel like in most dramas the male lead would have just forcefully swept the heroine off her feet amidst her protests, which I always find more problematic than romantic.

For that matter, when it became clear that Ji Ah really did need help, I appreciated that she didn’t act shy or coy and just accepted being carried without making a big deal of it.

Pfft The way Ji Ah’s eyes flash when Yeon tells her the mudang was just a human being says it all.

Yeon: “So you say... Excuse me, but you nearly died just now, you know?” This line is once again cheekily in jondaetmal.

*Ominous close up of the well*

Thank You

We catch up with Shin Joo at the supermarket as he talks to Yeon over the phone.

Shin Joo’s ‘PD-nim’ has once again become, ‘the director lady’ in the subs. *Sigh*

Subs: “Your love story is more than just famous among us.” Actually: “Just how famous is Lee Yeon-nim’s love story in our world? It’s obvious your younger brother* must have been playing tricks!”

Shin Joo refers to Rang here as ‘donsaeng-bun’ (younger sibling + polite word for person) for the same reason he calls Rang, ‘Lee Rang-nim.’ It’s an extension of his regard for Yeon, rather than for Rang himself.

Lol Shin Joo hanging up on Yeon. His love for supermarkets and fried chicken are actually in his character profile. Apparently, they’re what convinced him living as a human was worth the existential crisis that came with it.

Sub: “I’m too much of a human to easily fall asleep after such an event. Join me.” More literally: “I’m human, so on a day like today I can’t sleep sober. You* have a glass, too.”

The word Ji Ah uses for ‘you’ here is ‘ja’ne’ (자네), which is a polite term... except it’s only used to refer to people younger than you. So’s she’s talking down to him politely haha This is what prompts Yeon’s line that follows it:

Sub: “I never said anything since it could make seem old-fashioned, but you’re too informal with me when you don’t even know my age.”

Yeon: I kept holding it in thinking you’d call me an old fart, but you’re [using] banmal really blatantly. Just how old do you think I am?”

Yeon’s ‘Just how old do you think I am?’ is rhetorical. It’s not that Ji Ah is necessarily unaware of his true age, but rather that she acts as if she is.

Sub: “Those over 60 are universally considered as grandpas.” Actually: “You know everyone over 60 can be called a grandpa, right?”

Pfft Sub: “Be as informal as you like.” What Yeon literally says is, “Please lower your speech,” but he uses very respectful language to say it. I’m not sure if he’s being sarcastic, or if he just hates the thought of being considered a grandpa that much haha It’s probably a bit of both.

Aww Ji Ah promising to protect Yeon. I luff her.

Ji Ah: "Do I perhaps have something you’re looking for?” I love that she doesn’t miss a thing.

Lol Yeon: “Who am I, Jesus? Just drink what you have.”

The Vanishing

Subs: “Don’t ever resort to cursing people again. Karma can sting.” Quite literally: “You were lucky you kept your life, but don’t do such a thing* as cursing others ever again. They return, you know. Back on the one who casts them.”

*Yeon uses the disparagement marker ‘ddaui’ (따위) to refer to the act of cursing someone here. You may recall it from our EP01 breakdown.

Ji Ah chooses this moment to come running in to announce that the island has turned into a ghost town over night, which is enough to make even Yeon pause, perplexed.

I love the way Yeon and Ji Ah exchange looks here on the dock. They don’ t know what’s up yet, but they intend to find out.

‘Blue Moon’~~~ This worked great scored over the drone-camera pan out. I may be slightly biased, though.

And that concludes Episode 3. Once again, thank you to everyone who commented or left feedback on the last episode! Never hesitate to send me your thoughts, even if they’re just to say what you found funny or surprising. It helps me to know what’s of interest for one thing, but I also just enjoy chatting about the show. ;)

A brief note on pronunciation/notation: for words like ‘sa’ingeom’ and ‘mi’ryeon,’ the apostrophe is there just as a pronunciation guide. So in the case of the former, to indicate that it’s pronounced ‘sah-in’ and not ‘sine’ or ‘sane.’ Similarly, for the latter, the apostrophe is just to indicate that this should be pronounced ‘mi-ryeon’ and not ‘mir-yeon.’ I could have just as easily done this with ‘Hyeon’ui’ong’ except that’s a lot of apostrophes and I set an earlier precedent of not. It’s not an aspiration or anything fancy. Hopefully that makes sense.

Once again, I’d like to credit my sister for being the main researcher and fact-checker for these, in addition to weighing in on all the translations. I don’t always take her advice, but I do always appreciate it haha.

Thank you also to everyone who bought us coffee! Your support is truly felt and appreciated ♡ As usual, this took an ungodly amount of time, so every coffee helps haha. For anyone just joining us (or not), if you’d like to see more of these, please consider buying us a coffee. If you follow the link, you can buy a $2 cup of virtual coffee. This helps me to gauge how much interest there is, and also how much value people place on these. If you cared enough to read all the way to the end, please at least consider it. Once I’ve established there’s enough interest, I’ll proceed with Episode 4. ;)

#tale of the nine tailed #totnt #lost in translation #구미호뎐 #kdrama #korean language #happy new year!

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cuddlecave · 3 years

Note

Keep thinking on those aus where like. Everyone except Gordn is a monster/mythical creature, and Gord, as the lone human, is low-key at risk of being murderized by the team who thinks him knowing about them puts them at risk.

But then Ben has a crush, and when they try to get Gord, Ben just. Eats him. Either as a way to claim him or to fake like he did the deed and removed the threat. (Except they can see the human was not sent all the way to his stomach. The flesh over his holding pouch is bulging suspiciously, hes not fooling anyone)

Ben keeps Gord inside until he can convince the others not to hurt him, and the human more or less speedruns the stages of grief as he comes to terms with having been eaten for his own protection. Ben is too busy arguing with the others to explain it, so Gord has to figue it out. Eventually Ben wins the argument and hacks him back up, a sopping wet and resigned human dumped in the middle of a bunch of apologetic mythicals. (The fact that he doesn't freak out after being released is a point in his favor. They're expecting him to go all "you ate me you horrible beast," but instead he just goes "huh. I'm not dead. Can i ask you not to do that again?" "sorry, no promises." "Damn. At least warn me next time")

Of course when a certain cryptic someone shows up, Gordn finds himself right back in the pouch, because that Guy is a lot harder to convince.

Also the potential for the others to get involved. I know most of us prefer to stick to Ben and Gord, but I occasionally skirt the idea of other pred/prey duos, and if the others decide to help keep Gord safe from Gs wrath, he just might end up in someone else's tum.

Potential ending is Tom noms Gord last. G is not above hassling Ben to force him to cough up the pesky human, but he won't raise a hand to his own son, and when Tom stubbornly curls up around his pouch and puts on that dissappointed face, he loses the will to keep demanding Gordns death.

Things are settled, Gord is released, but then he's almost immediately snapped up by Ben, who feels a little possessive after seeing his human be eaten by the others, even if it was purely for his protection. Gordn, having spent the recent days in and out of a tum, is just resigned to it. Communication happens, the two agree to an official relationship, and Gord accepts the future of affectionate noms coming his way.

really like this idea, tho admittedly not that wild about the 'other preds besdies benb' part oops;;;; just don't like the other guys as preds (even if they're given monster forms). dunno why.

#security snacking

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iwanthermidnightz · 4 years

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how 👏 are 👏 there 👏 ppl 👏 who 👏 think 👏 Tom H 👏 wasn't 👏 a 👏 PR 👏 stunt 👏 ?!!!!!!!!!!!!

It’s wild to me that none of them want to accept that FACT. Here’s just a FEW excerpts from various articles in 2016 while this was happening:

There was the 2016 Met Gala, during which Swift, still dating Harris, was spotted dancing with the actor Tom Hiddleston. The duo's adorable shenanigans were seen as just that: nothing more than innocent fun between two clearly platonic friends. Yet when, less than a month later, Swift and Hiddleston would be revealed as a couple, that night would be viewed in a different, less favorable light.

The news that she was in a relationship with actor Tom Hiddleston, which leaked soon after, was widely dismissed as a diversionary tactic.

When those photos of Swift and Hiddleston kissing on the beach came out in early June, it marked the biggest change in Swift's image yet. At first, none of us knew what to think. After all, it wasn't even clear for a while if the photos were real, let alone if they signified that the star had moved on from her recent breakup with Harris — a split handled, at least publicly, with maturity and grace — and toward Hiddleston. But while even today, details of the pair's relationship are still murky, the weeks following those photos' release made one thing all too clear: Swift's apparent intentions, and the narrative she'd created, had become more complicated than any of us fans could've predicted.

Her relationship with Hiddleston just didn't make sense. Even if the two were truly in love, Swift wasn't going about in the way she'd handled her previous romances. Instead of focusing on privacy and keeping things low-key, the star was flaunting her new relationship, taking Hiddleston on beach trips, European adventures, and Fourth of July celebrations featuring an "I <3 T.S." T-shirt. It all felt out of character for Swift, someone so in control of her image that letting the public create her story and spread countless rumors just didn't make sense.

Of course, Taylor has long been thought to strategically frame her romantic relationships in the best public light possible, and this one is no exception — just as quickly as Hiddleswift seemed to fall head over heels, people started to doubt that their love was legit. An expert paparazzo told Cosmo in the first few days that his first instinct was that the initial beach photos were definitely staged. And the conspiracies have only gotten weirder from there.

Swift's critics went wild, labeling the star a "snake" for her actions — a title that came with a corresponding emoji and became used to troll her all year long — and deeming her relationship with Hiddleston a media-courting lie.

Then, seemingly out of nowhere, Taylor and Calvin broke up, and yikes, did it get messy at times. Then seemingly out of nowhere AGAIN, just a few weeks after the breakup, Taylor was dating Tom Hiddleston. This only reignited the narrative that Taylor cycled through relationships for publicity as they suited different arcs in her career. Hiddleswift were suddenly EVERYWHERE in the media (guilty!); conspiracy theories for this strange new relationship started to fly. It seemed contrived, and TBH, people were getting a little bit tired of all Taylor, all the time. The tides were turning, and fast.

1. Their elaborate romance is being acted out for a music video/visual piece for Tay’s next album. From the too-perfect outfits to the beautiful locations and the sheer volume, these shots seem downright expected if not staged. E! observed that nearly all of the *exclusive* sneaky shots are also from the exact same photo agency. The most recent pics from Taylor’s Fourth of July bash might be the most telling of all and just might have blown their cover: Tom was wearing that now-famous “I <3 T.S.” tank top. 1. Who does that?! 2. Why on earth would Tom wear a shirt while swimming? HMM.

2. A good old-fashioned publicity stunt. Is Tom just angling for visibility in hoping for Emmy noms for The Night Manager? Or to land the role of the next James Bond, as it’s been rumoured for a while? Some Swifties think so. And they might be onto something.

etc etc etc...........

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ingravinoveritas · 4 years

Note

New to GO fandom Anon. I already watched Staged and I have to say I LOVED it. It made me fall in love with them even more. There's no other duo I enjoy more. They're really perfect together. I hope their friendship (or whatever it is) lasts forever. Staged is brilliant. My favorite moment was after they talked to Simon's sister and they were talking about her seeing Michael's hamlet twice. Being flirty with each other, Michael's heart eyes and I'm pretty sure they weren't acting in that moment.

Hi again, New to GO Fandom Anon! Oh, I’m so glad you had a chance to see Staged. I actually started a review of Staged a few months ago that I somehow never got around to finishing, but it definitely...it has its lows and it has its highs, and the highs of Staged are absolutely every moment when Michael and David are on screen together. I also quite enjoyed that scene in episode 2 (”Up To No Good”) with the two of them and Simon’s sister.

In my opinion, Michael and David started getting flirty with each other while she was still there (David: *grinning* ”You lying shit...” / Michael: *high-pitched and eyes twinkling* “Ahh, David! Lucy’s not the first person to notice my heartbreaking consciousness of human potential.”). It was actually amazing how quickly poor Lucy became a third wheel, and you could just see her disappear into the background of their repartee. I agree with you about Michael’s heart eyes in those few moments after she left, though. Staged very much walks a fine line between fiction and reality, so it was definitely difficult to tell if they were acting right then.

I also have to add that one of my favorite Michael/David flirting moments in Staged was at the end of episode 2 (seriously, what is it with that episode?) when David and Michael talk noms de plume. Just the way Michael compliments “David McDonald” and the way David’s voice goes up an octave and he tugs on his hoodie...oh, it’s so lovely:

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So I am glad you finally got to see it, Anon, and I would like to join in your salutations for the longevity of Michael and David’s friendship/relationship/whatever it is to them. Cent’anni! (Which in Italian means “May you live 100 years,” but put “their friendship” in place of “you”.) Yay!

#anonymous #reply post #michael sheen #welsh seduction machine #david tennant #soft scottish hipster gigolo #staged #or 'Brokeback Mount Him' which is what i am referring to Staged as from here on out #the flirting though #they are giving off such powerful couple vibes here #they both know exactly what they are doing #love these idiots #amazing #discourse

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dingbatnix · 9 months

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So I totally forgot that I had gum in my mouth at work the other day and just held it between my teeth for like an hour, so then this was inspired!

He's chillin in Dream's mouth, btw

Taglist! (I've remembered this time!)

@brick-a-doodle-do @i-am-beckyu

#i do believe im getting batter at lighting #mcyt g/t #mcyt gt #giant!dream #mcyt vore #bat's art #tiny!punz #staged duo g/t #staged duo noms #g/t staged duo #mouthplay #technically #mouth #teeth #best shoes i think ive ever drawn #also i hc that punz tastes like spearmint #or like cherries or pumpkin seeds actually

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hotvintagepoll · 23 days

Text

Propaganda

Miriam Hopkins (Design For Living, Trouble in Paradise)—miriam hopkins had great range as an actresses, truly a woman who could play a passionate outburst for either dramatic or comedic effect and sell the ever-loving hell out of it. she's wonderful in the witty and sophisticated comedies she made with ernst lubitsch, great examples of movies that could never have been made after the hays code; the frothy musical comedy the smiling lieutenant where she plays a naive princess who accidentally gets betrothed to maurice chevalier, the polyamory classic design for living where she gary cooper and hot vintage shadow king fredric march are a throuple, and the ineffably exquisite comedic masterpiece trouble in paradise in which she and hubert marshall are sexy jewel thieves trying to con sexy rich lady kay francis, but will emotional complications ensue???? watch to find out!!

Dorothy Dandridge (Carmen Jones, Porgy and Bess, Island in the Sun)— The first Black actress to ever be nominated for best actress, Dorothy Dandridge was a groundbreaking actress who deserved better. She started her career as a singer, being put in a song-and-dance duo with her sister by their stage mother, and singing in soundies (I highly recommend cow cow boogie, it's adorable), proto-music videos. She started appearing as a featured singer in films. Her star was on the rise and she soon became a star solo performer. She continued acting, but had limited options because she refused to do stereotypical roles. She finally landed a starring role in Bright Road in 1953, but it was the movie Carmen Jones that truly cemented her as a star and sex symbol. Not to sound cheesy, but she literally sizzles on screen. You can't help but understand how poor Harry Belafonte gets caught in her trap, just look at her. This is the role that got her that Oscar nom. She didn't win cause I mean #OscarsSoWhite, but she was a sensation and continued starring in films, despite troubles in her life (including a shitty director bf who fucked with her career and a traumatizing pregnancy/delivery). Outside of her filmwork, she was also an activist, fighting against racism. She left behind an amazing legacy, and continues to inspire many actresses to this day (including also very hot first (and only) black woman to win best actress, Halle Berry).

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Miriam Hopkins:

64.media.tumblr.com

She is an incredibly charismatic and versatile actress who brings a certain captivating je ne sais quois to each and every one of her roles that makes her impossible to ignore. Her pre-code films were considered quite risqué, with her part in a thrupple in Design For Living, and some saucy scenes they had to cut from Jekyll and Hyde. She also had a strong career in early television, so good that this queen literally has TWO Hollywood Stars, TWO!! One for TV and one for Film

youtube

Also she is Gorgeous, capable of being the girl nextdoor and also a stunning blonde bombshell. She's not as well known as some golden-age Hollywood stars but she's really incredible and I recommend everyone watch her films

In Trouble in Paradise she plays a pickpocket who flirts by stealing from her criminal boyfriend and I fell in love

Linked gifset

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She's got this sly slouchy confidence that just draws you in. Almost no one wore 30s fashion as well as her

queen of the pre-code era. often her roles were of carefree, flirty and lighthearted but intelligent women. famously in the movie where she was part of a fredrich march/gary cooper throuple.

We all know that Design for Living is THE pre-code movie and she is so iconic in it. Her eyes are everythingggg. Also everyone look at her in a suit in She Loves Me Not please

A Frequent collaborator of Ernst Lubistch, Miriam Hopkins like up the screen in her comic roles, as is especially sexy in her pre-code performance in Design for Living; probably one of the first movies to showcase a coded polyamorous relationship. She toes the line between adorable and sexy, and had the acting chops to back it all up.

Dorothy Dandridge propaganda:

Beautiful actress and hand-working and talented singer, she's especially notable for the number of firsts she accomplished such as the first African-American woman to receive a nomination for the Academy Award for Best Actress and the first African-American woman to appear on the cover of Life magazine.

Dorothy Dandridge was a classic Hollywood triple threat, singing, dancing, and acting with the best of them. She was the first African American nominated for an academy award for Best Actress for her role in Carmen Jones and she was just jaw-droppingly beautiful.

youtube

this og of black film needs no introduction (star on the hollywood walk of fame anyone?), voice of an angel, heavenly features, just an overall stunning lady :)

Look at her!!! She is so unbelievably charismatic in Carmen, it’s insane. Her chemistry with Harry Belafonte is off the charts, and every time she puts another outdoor [sic] on it’s like ‘oh god this is a whole new level of stunning’ 🥵. She was so so talented, when she’s on screen I genuinely dare you to tear your eyes away from her. Deserves to be known so much better but due to Hollywood racism and a tough personal life she didn’t make it as big as she should have done. She’s incredible.

First Black actress to be nominated for the Oscar for Best Actress! Was the first choice for the role of Cleopatra that went to Elizabeth Taylor (we were ROBBED).

#dorothy dandridge #miriam hopkins #fuck that old woman #ladies 3 #hotvintagepoll #Youtube

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randomvarious · 4 years

Video

youtube

S Club 7 - “S Club Party” Now That's What I Call Music! 6 Song released in 1999. Compilation released in 2000. Pop

We love the overly transparent crass commercialism of the 90s and early 2000s, don’t we folks? S Club 7 were the bright-eyed and bushy-tailed septet of British teens and 20-somethings that were concocted in a lab and thrust upon hordes of impressionable tweens across the world. The story of S Club 7 is a rather gross one that consists of young and attractive, moderately talented people being taken advantage of by their manager and his company to churn out gobs of content without just compensation. If you’re an American of a certain age, you probably know a little something about S Club 7. Their ballad, 2000′s “Never Had a Dream Come True,” peaked at #10 and #8 on the Billboard Hot 100 and Billboard Mainstream Top 40, respectively. Two of S Club 7′s other biggest global hits, the Jackson 5-inspired “Bring It All Back” and “S Club Party” never charted in the US, but lots of Americans still seem to be familiar with them.

S Club 7 was the brainchild of Simon Fuller, one of history’s most successful music managers, who had managed the Spice Girls. Fuller was known for manufacturing a bunch of British boy and girl bands throughout his career and, at the time, also managed Annie Lennox of the Eurythmics and athletes, too. After helping the Spice Girls skyrocket into global superstardom as a brand that sold itself on a gimmicky blend of “girl power” and quirky British-ness, Geri Halliwell (Ginger Spice) orchestrated his firing. Citing his unbearably controlling nature and his marketing schemes, the Girls decided to proceed without Fuller.

But the day after his firing, Fuller was back at it. This time, he decided he would start a new band, but rather than it being a boy band or a girl band, it would be a boy-and-girl band, modeled after an idea put forth by another British group, Steps. Steps are a quartet, and while they’ve achieved little to no success in the US, they have enjoyed wild success in Europe, especially in the UK. And they’re still around. After a five year hiatus that followed a twelve year hiatus, Steps released an album in 2017 that reached #2 on the UK charts.

But they weren’t a Fuller group. Fuller seemed to have the connections and gravitas that Steps’ managers didn’t. To start his new group, Fuller held an audition of an astonishing 10,000 people, which eventually was culled down to seven. These seven would then be formed into a group and be dubbed S Club 7. None of the members had known each other prior, but according to all the articles I could find, they hit it off and they all became close friends.

With this crop of kids, Fuller saw dollar (or pound or Euro) signs. S Club 7 were going to be way more than just a pop group; they were going to be a marketable brand. And to achieve that goal, the first thing they were going to do was not get into the recording studio, but instead shoot a fictional TV series to air on CBBC (Children’s BBC) to introduce themselves to British pre-teens. Each character would have their own personality, which would be loosely based on their true selves, and together the group’s adventures would strengthen their bond. And each episode would consist of a choreographed song performance, too. The first season, set in Miami, would depict the seven constantly being exploited by a seedy hotel manager and made to perform housekeeping duties.

Unfortunately, these fictional circumstances were loosely based on their own reality. Over twelve weeks of shooting in Miami, the group worked tirelessly for eighteen hours per day, and after a long day’s work, would have to take care of their own cooking and laundry. Fuller and his company, who were flush with cash, didn’t provide S Club 7 with any of these needed amenities. The S Club 7 TV series would become an immense hit in the UK and ended up being sold to 120 different countries. As a result, each group member pulled in 52,000 Euro; a total pittance compared to the total sum of all the TV contracts the show received.

Seven months after its UK debut, the S Club TV series would make its way stateside on kids’ TV purgatory, Fox Family. Formerly The Family Channel, which was founded by horrible and insane Christian shitbag grifter, Pat Robertson, it would be acquired by NewsCorp. Fox would control the network’s programming, save for some hours in which Robertson’s daily spoonful of Christian conservative nonsense, The 700 Club, would air. Admittedly, for a time, I was an avid viewer of Fox Family (except when 700 Club was on), but I’m pretty sure I was rare. Year after year, Fox Family would try to replenish its lineup with new shows to attract new viewers, but they failed to peel many eyes off of the likes of Nickelodeon, Cartoon Network, and the Disney Channel.

The release of the S Club TV series in the U.S. coincided with the group’s debut album. And maybe it was the fact that they only managed to get on Fox Family that led to them peaking at an unimpressive #112, but back home, they topped charts. The TV series-first formula more than paid off (for Fuller, though. Not so much for S Club 7). “Bring It All Back,” the group’s first single, which was released two months after the TV show’s debut, went to #1 in the UK. Its follow-up, “S Club Party” topped out at #2. And their debut album reached #2 as well.

And along with the TV show and the music came all the merchandise. Dolls, makeup, perfume, clothes, school supplies, a PC game, you name it. If there was an object that a kid could use, Fuller wanted it to bear the S Club name. There were also more seasons of TV and movies, too. And Fuller would reap great profits from all of it, but once again, S Club 7 saw minuscule returns from their name and likenesses being marketed and sold.

Fuller’s cartoonishly-evil-yet-real-life-record-executive persona became more than apparent during a meeting between he, S Club 7, and some of the members’ parents. Asking how they could receive such little compensation as Fuller and his company made millions off of their efforts, Fuller told the members that he could replace them on stage with cardboard cut-outs and it wouldn’t make a difference. Fuller would also be publicly shamed by a radio DJ when it was revealed that while the S Club kids were traveling the world and making him literally millions, he flew them in economy class. Only after his miserliness was made public did he bump them up to business class.

And although Fuller knew the right people to get his band spoonfed to British kids, it didn’t mean S Club’s songs were bad for what they were. They were well-produced bubblegum pop. Five songs on the debut album ended up being produced by a Norwegian duo called Stargate. Total unknowns at the time, Stargate went on to write or produce for some of the pop world’s most successful groups and artists, including Michael Jackson, Mariah Carey, Lionel Richie, Jessica Simpson, Britney Spears, Beyoncé, Rihanna, Selena Gomez, Janet Jackson, Shakira, Jennifer Lopez, Sam Smith, Mary J. Blige, Ne-Yo, Katy Perry, Coldplay, P!nk, Sia, Kylie Minogue, Carly Rae Jepsen, and Charli XCX. Throughout their careers, Stargate have managed to rack up a whopping seventeen Grammy noms, including four wins But before building up that long list of accolades, they began with S Club 7.

The first single Stargate ever produced was “S Club Party”. A piece of sunny and breezy, anthemic kids’ pop, this song is a natural earworm. Underneath mostly loud and shouted vocals, Stargate weave a celebratory, feelgood g-funk whine throughout the choruses as a series of electro-funk synths and string and horn stabs predominate the rest. The first verse, sung solo by member Jo, proceeds from relative sparseness to an addition of hand claps and a simmering choir of backup vocals, before launching into the undeniably catchy chorus. The four female members soothe in unison as the boys contrast with revelrous chants. In the post-chorus, the girls get in on the chanting, too. The second verse, which packs more energy than the one that precedes it because it’s sung in unison, introduces each member of the group with a simple rhyme. Following the bridge, the song undergroes an unexpected key change, which raises the enjoyment, and as the song fades out, Bradley, the group’s lone black member, does some light scatting.

You know, Fuller admitted that since he was fired by the Spice Girls, there were some ideas he had had for them that he wasn’t able to use, and instead used for S Club 7. Maybe musically, he wasn’t quite finished with that g-funk infused pop sound. The Spice Girls’ “Say You’ll Be There” has that summery g-funk pool party vibe much like “S Club Party” does. Just a thought.

Here’s the music video, which shows the group transporting back to a California desert in 1959 to race a bunch of people. A choreographed song and dance seemingly materialize out of thin air, too: It comes from the movie they shot called Back to the ‘50s.

youtube

For the next few years, S Club 7 continued to release high-charting hit after high-charting hit in the UK, but in 2002, band member Paul decided to leave. This ultimately resulted in possibly the worst sentence ever written on Wikipedia:

Talking about his former musical venture three months before he left S Club 7, Paul Cattermole described his school nu metal band — called Skua— as having a "Limp Bizkit vibe" as well as comparing their style to Rage Against the Machine.

Wat.

Following Paul’s departure, S Club 7 shortened their name to S Club and continued to make hits. However, their star was clearly fading, and in 2003, they agreed to a mutual split. In 2008, some of the members got back together and formed S Club 3. In 2014, they expanded by a member and became S Club Party. Eight months after that, all seven members regrouped for a reunion tour to cash in on some nostalgia. Needless to say, Simon Fuller was involved, and hopefully, the contracts weren’t as exploitative this time around. In the meantime, Fuller would continue unabated, amassing management deals with the likes of Carrie Underwood, Amy Winehouse, and Kelly Clarkson. In 2001, he launched Pop Idol, which would be imported to the States as American Idol.

Now you know more than you thought you’d ever know about S Club 7. It’s tragic how Fuller treated them, but the group is responsible for some great turn-of-the-millennium pop hits, despite how manufactured and seemingly preordained their success was. Oh well, we can’t help what we listened to when we were kids and nostalgia has a way of making us love things we definitely wouldn’t as adults. Nothing wrong with coming to terms and embracing that fact.

Stay the fuck inside you freaks.

#pop #pop music #bubblegum pop #music #90s #90s music #90's #90's music #90s pop #90's pop #90s pop music #90's pop music #90s bubblegum pop #90's bubblegum pop

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bigbrothernetflix-st · 4 years

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EPISODE TEN

“One hour to go until I find out if people are actually keeping me, or if they're all just being assholes and wanting to blindside me.” - jev

HOH: Brianna NOMINEES: Jev & Kiki POV: Nathan FINAL NOMINEES: Jev & Kiki EVICTED: Kiki (4-0)

JEV

I feel this could be the end for me this week, considering I named Brianna as renom last week and she has nominated me previously it's not looking good for me. However, last week after naming her renom, I did send her screenshots from Nathan of him throwing her and Aria under the bus to me just incase she stayed, so I purposefully threw him under the bus for this exact reason and I'm just hoping the move will pay off and there's even a slight chance she'll nominate him and keep me off the block. I'm also hoping she'll recognise that I didn't consider her as one of my initial noms and only named her as replacement because I was put into a shitty predicament last week by Nathan and his veto win, but who knows. I'm extremely proud of the game I've played but it'd suck to leave at F7 after getting this far.

BRIANNA

https://youtu.be/z8bOEMq9gh8

ARIA

So....its been a bit huh,...sorry about that yall pls just take this anaylsis of everyone left k thanks <3

NATHAN

Looking at the whole of his game this man has been targeted since prejury yet his social connections and physical prowess has kept him safe this long- typically this would lend itself to a very strong underdog story but at the same time his attitude this game has been very rocky as he's threatened to quit or just give up multiple times before which may decrease the amount of respect the jury has for him. At this moment in time he can be categorized as a big player due to his numerous fights which could gain jury respect because it does show that he wants to play but im unsure if its enough. In terms of social connections he presents himself as having limited connections with others as he doesnt talk with kiki or jev but has a mutual understanding between him and joshua as they are both big threats/targets leading them to want to keep each other safe. This does bring up complications when trying to eliminate joshua from this game but thats for another analysis. He's constantly threatened the status quo of the house and if it wasn't for his attitude (and maybe the lack of connections to people like kiki and jev) he could be a shoe-in to win. It should also be considered that he has constant correspondence with emma and somewhat of a connections with bri. It should also be highlighted that hes very good at mending bridges considering hes working with someone he previously attempted to nominate (brianna) and had a fight with (joshua) Honestly he's playing a great game and the bitterness visible from kiki/jev does not reflect the jury- its more likely that he can beat me at the end.

Leaving: f3/4/

Threat: Big/Physical

Winning Chance: 4/5

KIKI

So most players still left in the game perceive kiki to just be coasting along and honestly their win chances are minimal. I think their social game has been slacking as well as they're typically very hesitant to be honest with their game thoughts so they've failed to secure the connections that they need to get them to the end of this game. Their view on the game is also very confusing as they pretended to not know sides to me and no matter what the truth was it was a very bad look on their part. Also on a more personal note they showed that they're willing to snap as seen yesterday in bri's dms and in the live competition channel. In terms of this vote I have hardly any connection to them and if they won hoh next week i know that i would not be safe unlike jev who i've formed a more honest relationship with. I am slightly worried that im taking out someone with no win chance but my first priority will always be house dynamics and to appease the bb gods, they need to leave.

Leaving: f7

Threat: None, likeability

Winning chance: 1/5

JOSHUA

Literally just hand the kid the winning title and pots at this point his control over the game is incredible. He has deals and connections with EVERY single person in this game and I truly feel like he can make the end if we dont take him out here but I can't control nathan at this point. I think he's formed connections to me and nathan through all of us being "big threats" while he has connections to Jev/Emma/Kiki as they were all on the original side and he's somehow escaped the block on someones hoh who he previously put up...this guy is unstoppable wtf. However the entire game IS aware of his skill and its very likely that he gets taken out soon because of this unless he goes on a comp run. I also find it very likely that the jury is rooting for him as he remained respectful with every evictee and had justifications for every eviction beyond just house dynamics and his game has been straighforward with his noms and bold with his connections. Im unsure of how exactly to get rid of him but I believe he thinks we're close (f2 tingz) and I find it unlikely he takes me out although i think hes notices that ive been a bit more closed off this week which is worrying for future endeavors.

Leaving: f6/f5

Threat: Big/Phyiscal/Social

Winning Chance: 5/5!!!!

JEV

Out of everyone left I find it very difficult to think of how Jev is playing, I think he's either playing the most straight forward game I've ever seen or his game has a lot of hidden depths. I mean how I view his game as another player is that he came into this game very unconnected but managed to wiggle his way into stable sides and form good connections where they've kept him safe when possible. Once he gained a side he stuck to it and just played an overall loyal game minus the yelling at nathan when he lied to him. I dont think the jury is very bitter at him but I also don't believe that they're super high on him in comparison to people like joshua. In terms of our own connection I think I might be higher on his trust list due to me being very proactive about using veto on him and voting to keep him- i dont think ill be in danger if he wins hoh but nathan sure will :nicolequeen: There is a chance he can beat me at the end just due to not fucking over all of the jury but the chance we make f2 is very small, he represents the utr social player that joshua might be scared of winning

Leaving: f6/f5

Threat: Balance/Middle

Winning Chance: 4/5

EMMA

Emma's game is very interesting because its similar to kiki in the fact that she's been coasting or just sticking to her side but she's aware of her flawed gameplay and wants to do better and make moves. However the end is closing end and I doubt she has the time to really make a move although she has been very smart about how she presents herself to others this entire game showing high sense of strategy. I think we're fairly close in a personal and game sense (unless shes just buttering me up for the slaughter as her own big move) so I would love to take her very far in this game. Im unsure of how the jury view her at this point in time but i cant imagine it being very high at this time unless shes manipulating things behind the scenes. At the end shes probably one of the only people I can beat because the jury might want a "big" player to win so she's def an ideal f2 choice at THIS time.

Leaving: f3/f2

Threat: Strategic

Winning Chance: 2/5

BRIANNA

First off I love her so much personally she's seriously the kindest person I've met and i absolutely adore her but also her game has been fairly impressive so far. Her actions have been the catalyst for sides to form and big moves being made- however i can say that I had a hand in a series of these moves but received no blowback (or recognition) for them yet and I'm unsure how the jury will view us as a duo or who can lay claim to the moves made. I think some of the jury may be bitter such as Josh c and Nick but at the same time she'll have fans such as joey and jacob so its a very mixed bad and I think we'll be trying for the same votes which is worrying. She's also fairly good at comps and socializing putting her on a similar stage as nathan and joshua although for some reason she never gets the credit :/ Im unsure whether I want her at the end or not but there is a possibility ill cut her...

Leaving: ???

Threat: Social/Comp

Winning: ???

And i think i dont stand a chance tbh, my jury management has been ass but im gonna do my best <3 also sorry if this was mean fsabhfds

JEV

So Brianna has let me know that she is more than likely going to put me up as one of her initial nominees, meaning I've had to plead my case to her and severely downplay my game thus far in the hopes that she'll hear me out and by some miracle will spare me from the block this week, I'll insert the plea I sent to her at the end of this DR. I just hope she realises that there are bigger fish to fry cough Nathan cough and maybe even Joshua, although I respect him as an ally too much to even consider throwing his name out to Brianna like that. Worst comes to worst I'll just have to gun super hard for veto and take myself down, then work out the play from there if one of the other hot girls are put up in my place, but I hope Brianna isn't dumb and recognises that there isn't a drop of loyalty inside of Nathan and that she'd be stupid to keep him around another week.

JEV

So I asked Joshua if he'd save me if he won the veto, and he straight up said he'd use it on Kiki because he'd "feel bad" since he used it on me the last time me and Kiki were on the block together. It's made me feel kinda shitty because it's kinda solidifying to me that he considers me at least 3rd in our alliance, and that he and Kiki are quite likely a duo together. I have to try my hardest for this veto because I for sure leave over Kiki or the renom.

JEV

So... there is a chance, albeit a slim chance, that Nathan may use the power of veto on me. I've tried to butter him up by playing up to his kind of wildcard playstyle by saying that nobody would see it coming and it'd be the gag to end all gags, but who knows what he might do. He said he's considering it and will keep me in the loop just so I know what to expect. If I stay on the block, I know I hopefully have Aria & Emma's votes to keep me on lock, which means I'd only have to convince Joshua or Nathan to keep me, OR sway Brianna to keep me in the event of a tie, which I think is the most unlikely of the 3. Prior to tonights veto, I would've thought I'd have Joshua's vote to stay, but now I think its clear that Kiki/Joshua are a duo and Me/Emma are a duo, so I don't think I'd be able to sway him to save me unfortunately. However the rest of this week plays out, I have a lot of ass kissing to do which I hate but hopefully I can work a miracle

JEV

So... considering Nathan has promised safety to me this week I didn't quite expect him to go off on me like that in his veto speech but... I'm just gonna take the high road and not even acknowledge the video in house chat, as much as it sucks I just have to let Kiki run their mouth so hopefully people remain inclined to keep them around over me.

JEV

One hour to go until I find out if people are actually keeping me, or if they're all just being assholes and wanting to blindside me. As it stands, it should be 4-0 since all four of them have promised me their vote, but I'm lowkey suspicious about Nathan and Joshua, there's just something in the back of my mind telling me to be wary, I hope I'm just overthinking though

HOST WEEKLY CAST ASSESSMENT

https://www.youtube.com/watch?v=29822U0WqVk&list=PLFEwPPy8j010XXwntq80VSU0qLNTNpSIN&index=11&t=0s

#bbnetflix st

0 notes

thotyssey · 6 years

Text

tHOTlist 2017 # 100 - 51

100) Marty Thomas

Famous Broadway wig and hair stylist Marty Thomas maintains his super-popular weekly revue DIVA at Industry, where he and a cast of female singers and special guests cover the best in pop and showtunes. This year he also started hosting an open mic night at Rise Bar, and he continues to do it all despite a debilitating leg injury he received this year.

99) DJ Amber Valentine

Whether she’s spinning for the ladies at her weekly party “Misster” at Brooklyn’s The Woods or at Henrietta Hudson in the West Village, or she’s dropping the beats for mixed crowds like in Deryck Todd’s STRUT, this veteran DJ brings a downtown chic wherever she goes.

98) Alotta McGriddles

One of Brooklyn’s most outspoken queens is also one of the borough’s busiest. With her Alotta Stuff hand-picked vintage collection she sells from her home bar Metropolitan, her loooong-running monthly Alotta Stuff Auction she co-hosts with Thorgy Thor or Acid Betty, her weekly trivia night at Metropolitan, her monthly charity show for Gays Against Guns in the West Village’s Rockbar and her new monthly pairing with Ari Kiki at Phoenix, there are a lot of places to catch this larger-than-life, unfiltered fashionista.

97) Nowhere Bar

The East Village’s friendly neighborhood bar for smart people, featuring rotating and pop-up events both fabulous and kinky, weekly gogo boys cut from a manlier mold, and an eclectic roster of DJs. One highlight: DJ Sean McMahill’s monthly “Fire in the Hole” ginger worshipfest.

96) Boudoir LeFleur

It’s rare that a virtually unknown young drag queen wins a coveted summer residency at Fire Island’s Cherry’s on the Bay, and then goes on to win Miss Cherry’s 2017 after that, but… hello, Boudoir! She owes a lot of that to luck and timing, but no one can deny that her combination of Vaudeville Jezebel fashions and gypsy magic stage presence bring something very unique and fresh to the Dragisphere. See her Mondays at Icon, and check out her occasional pairing with Kimmi Moore as killer drag duo The Assassins… actual sparks fly!

95) DJ Scotty Rox

A favorite drag show DJ with a decade-plus career in the biz (GLAM-nominated again this year), you can also find him spinning a few dance parties these days at venues like the Ritz, Atlas and Alibi uptown.

94) Ritzy Bitz

After winning both Miss West End in 2016 and Cunt of the Year at the last SLAM Awards, it was becoming obvious that Little Miss Bitz was about to Arrive. Now with a long-running brunch show at La Pulperia and another solo show at Vodka Soda / Bottoms Up (both in HK), a stint with Shequida this past summer at the Pines, and a new role in the “Bad Bitch Review” ensemble at Rebar, NY’s most athletic queen has officially leapt to stardom.

93) Boy Radio

The Deep End bartender is an accomplished musician who’s music is even more sexy, stylish and soulful than his personage. Check his YouTube for a pretty solid offering of tracks and videos he dropped this year.

92) Kareem McJagger

Whether he’s performing an original song parody in full on drag at Boots & Saddle’s GLOW Saturdays, pouring you a drink at The Cock’s Playpen Mondays while nearly naked, or doing any number of amazing things somehwere in between, this performer embodies the cool of NYC nightlife. And now you can see him “werk” on his new monthly party at Rebar, Flash (Me) Fridays.

91) Get Out Magazine

The last “rag” (that’s a term of endearment) on the rack in every gay bar in the city, there are inevitable rumors that in the Age of Screens, editor Mike Todd’s Get Out is about to live up to its namesake. Let’s hope that’s not true. Blogs and apps are great, but absolutely nothing compares to the beauty and solidity of a printed, bound magazine, with beautiful sexy pictures you can touch. As for nightlife subjects themselves, of course they’d rather see their pics and interviews in print then on a screen. Who wouldn’t? The GLAMS voters, at least, have given special props to the staff of Get Out this year: Eileen Shapiro, their spirited on-the-spot interviewer, got her very first Best Writer nom, as did a more recent staff edition, the always-nearly-naked columnist Ian-Michael Bergeron.

90) Amber Martin

Here’s a multi-talented artist who’s learned to always keep it fresh and varied during her long tenure in NYC nightlife. Whether she’s spinning vinyl monthly at Julius’ popular “Mattachine” with John Cameron Mitchell, or crooning “elevator music” for her new Club Cumming residency, or rocking out a rendition of “Rhiannon” on the Irving Plaza stage for “Night of 1000 Stevies,” or bartending for her own variety show “The Amber Zone” at Sid Gold’s, or DJing darker stuff in character as part of the “Witch Camp” multimedia experience, or donning Reba drag for a holiday showcase at Stonewall, or recording an album of original songs… we live to go adrift in Amber’s waves.

89) The Urban Bear

Robert Valin’s party conglomerate continues to provide a quality forum for the larger and the hairier to frolic. And with the “body positivity” movement on the rise, the definition of “beardom” is becoming more diverse… so the more the merrier. The Urban Bear Weekend is a major destination for the movement, and gets larger every year. Also, check out the monthly UB party at Rockbar.

88) Jada Valenciaga

The living image and textbook definition of what it means to be a fierce queen, Jada is kind to everyone but takes shit from no one. And with dancing and costume and face and personality, she is at 1000% all the time. Adding much needed color (in every sense) to the largely white cast of the Fusion TV drag reality show Shade: Queens of NYC, she also gigs all over town – notably the Voss Events Sunday Dag Brunch at the Highline Ballroom and “Gurlesque” at Barracuda. And have you seen her lovely new music video, or her angry meme face that came out of a now-notorious Shade press event? My only request: when can we see Solo Weekly Jada????

87) Switch n’ Play

This large troupe of drag kings and burlesquers has been at it for so long, none of the original members are left. But that just means that its performers continue to evolve and redefine themselves – one trait that helped get them a Brooklyn Nightlife Award this year. See their monthly residency at Branded Saloon, and discover for yourself what makes this outfit special.

86) Shuga Cain

Being nice and professional in this biz goes a long way; having a flawless lip sync, colorful looks and an infectious stage presence on top of all that makes you a candidate for Goddess. Just ask Shuga! She exploded in 2017, and now you can find her hosting a solo show at Hardware and co-hosting another with sister JanSport at Pieces, plus turning it with the Voss Drag Brunch girls and hostng a new party at Atlas. And she bakes!

85) Therapy Bar

If you hate Hell’s Kitchen, you’ll probably really hate Therapy Bar at first glance. It runs like an upscale restaurant, and there’s an air of plasticity that only the imperfect can smell. But when you get over all that you’ll find a nice bar staff, good food, reasonably priced drinks and some of the best drag shows in the city – including Paige Turner’s “Slurp,” and “The Help” starring Pixie Aventura and Monet X Change. Also, Marti Gould Cummings’ “Stage Fright” talk show gets legit celebrities to come by.

84) Nedra Belle

We’ve almost gotten used to the thrill of seeing our queens compete on RuPaul’s Drag Race, which is a hugely popular yet still-fringe show. So when Nedra’s alter ego Chris Weaver got on Jennifer Hudson’s team on The Voice, it was a lot. And then when she came back for the finale as Nedra to perform with Stephanie’s Child and Jessie J, it was every motherfucking thing. We’re happy for her success, and happier to have her back in NYC hosting a show at Boots & Saddle and co-hosting The Ultimate Drag Pageant at the West End.

83) The Carry Nation

Legacy veteran DJs Will Automagic and Nita Aviance’s dynamic DJ duo slayed their residence at Brooklyn’s Good Room this year, drawing huge, mixed crowds month after month.

82) Cielo

The Meatpacking discotheque has one of the last moderately large dance floors in the city, and queer parties like Trade, Furball and Horse Meat Disco line up to get in on their calendar.

81) Spunk

Luis Gomez assembles the absolute sexiest guys, period. Honey Davenport hosts the parties where said sexy guys dance all around you, like Thursday night’s Monster bash and the somewhat raunchier Ice Palace version… while Holly Dae handles both the Sunday night affair at Pieces with dark booths for lap dancing and Saturdays nights at FairyTail Lounge where the Spunkers (along with guys from Adonis Lounge) just descend on you. If you’re horny and want to rub up on a guy and have lots of dollars to throw around and stick into places, get thee to a Spunk affair.

80) The West End

Way out in the wilderness of the Upper West Side, the West End’s full service cabaret stage draws a very mixed crowd of gay genre lovers and straight bypassers. Home to the Ultimate Drag Pageant and weekly and monthly drag shows as well as full-on musical productions and revues, there’s something here for everyone… if you can make it out there. Bonus: bartender Peter Dunn, who also produces a lot of the shows there, is adorbs and a sweetheart.

79) Phil Chanel

A hot new event producer and promoter who’s all over the place, its hard to know where to even begin listing. Let’s say he’s at the Monster and Rebar a lot, and Castro Bar before it closed, and all over Jersey, and at Boots & Saddle’s GLOW. But giving off a fun vibe that makes one unsure of whether you’re a host or a guest is a good skill to have! These days you can also see him co-presenting the “Polish That Queen” drag competition at Stonewall with Kristy Blaze and DJ King Ralphy.

78) DJ Natazu

Back again at Boots & Saddle where his NY career began, this GLAM-nominated Thai trade also DJs for top queens in Therapy and Barracuda, while spinning the Thursday night dance party at Rise. Not to mention he’s Bob the Drag Queen’s chosen DJ for special out-of-town events.

77) Deryck Todd

The couture hat designer has been producing the East Village’s most scene queen heavy weekly party, STRUT at Acme, for several years now, and celebrities from nightlife and beyond come through. This year Deryck also tried out some new events at Bedlam on Avenue C.

76) The Bars of Richie Friendley & Associates

Friendley, Mickey Spillane, Jr. (son of the same-named mobster), Kurt Kalm and Scott Sternick, all of whom I believe are straight, own to varying degrees Vodka Soda Bottoms Up, Mickey Spillanes, Mr. Biggs and DBL in Hell’s Kitchen. These bars (and, from what I hear, these guys) aren’t everyone’s cup of tea, but they certainly incorporate a gay business empire in HK. Two things all these properties have in common: dirt cheap drinks and cute boys behind the bar, so no complaints there. Plus, fun queens work in VSBU, like Ritzy Bitz, Adriana Trenta, Chaka Khanvict and Ally Ganza.

75) DJ Xavier Mazara

This disco nugget is DJing, like, one fourth of Manhattan’s drag shows right now, plus a few club nights. Professional and agreeable, don’t be surprised if he wins the Best DJ GLAM this year.

74) Boots & Saddle Drag Lounge

Still boasting the most drag shows per week (by far), the West Village institution is dealing with growing pains since moving to its much larger location about two years ago. And some of the apparently whackadoo business practices and staffing decisions that go down there become the talk of the town. But when it works, it works. Some of the best queens in the city still do shows there, new talent is born there every year, and regular customers remain loyal. And for the record, they now have their cutest bar staff in recent memory. Oh, and the tacos are yummy, too.

73) Vita Summers

A pageant queen who won many crowns in 2016, Miss Vita was in high demand this year, in and out of the city. She don’t rest on pretty: she’ll sing like an angel and cuss like the Devil to keep the crowd entertained. Find her these days hosting happy hour at Pieces.

72) James Michael Avance

The year’s breakout and most in-demand editorial photographer in nightlife, his colorful and dramatic shots of drag queens and other folks are all over social media.

71) Pattaya Hart

Cementing her role as a true pageant queen this year by winning two coveted crowns, Miss’d America and Miss Liberty Continental – plus a very strong showing in the Continental finals – Pattaya is still first and foremost a really entertaining showgirl. Check out her slaying dance chops as she performs with Industry’s “QUEEN” revue, or the cast of the Voss Events Sunday Drag Brunch. And for the full hosting package, there’s her Boots & Saddle show which Pattaya finally returned to this year.

70) Jackie Cox

She won “So You Think You Can Drag All-Stars!” She produced and starred in two hit back-to-back shows at the Laurie Beechman Theatre (I Dream of Jackie and it’s sequel)! Her holiday Beechman shows with frequent collaborator Paige Turner were also hits! This is a rare queen whose gifts as a true musical comedy stage actor and writer really shine through what on first glance can be perceived as very silly, light material. Now all we need is some venue to give us a weekly dose of Jackie!

69) Bob The Drag Queen

Last year’s Drag Race winner was one of New York’s most popular and beloved queens. When Bob took her talents out of the bars and to the next level, which she was bound to do, there was a tectonic shift in nightlife as her vacant posts were filled and everybody moved up a peg. Fortunately, Bob has come through a few times this year to host special events, occasionally including the competition at Monster she created, Look Queen. And her company with Mitch Ferrino, The Only Productions, always brings the year’s most tremendous Halloween kiki spectacle in the city.

68) Brandon Voss

The journalist and event producer who made his success and fortune from NYC nightlife very rarely gets involved in life that happens at night these days. His wildly successful Voss Events drag brunches go down in five or six American cities each weekend, with each brunch gathering that city’s top roster of performing queens every week (that’s something that no mom-and-pop venue could ever hope to afford), so Voss certainly employs a lot of top NYC talent. He’s also a major sponsor for and liaison between all these venues and Drag Race. Voss is the butt of a lot of “here’s the guy who killed nightlife” jokes. But then again, Voss Events’ “Queen of the Ride” monthly booze bus, where passengers are treated to impromptu drag performances on the street as they pass, is actually a pretty cool and creative idea.

67) Yuhua Hamasaki

When this queen’s Friday night show moved from Boots & Saddle to Pieces and wound up being called “Trading Spaces,” it was the TEA of the town. After spending a chunk of time off doing important stuff in another realm, Yuhua’s now back at Pieces as well as Lucky Cheng’s, and back to designing gowns and costumes for nearly every queen in NYC, and several high profile queens beyond. 2018′s gonna be big for our gurl!

66) Lee VaLone

When a Brooklyn burlesquing drag king with an ocean of creative ideas can’t get booked as much as, say, a basic drag queen, a Brooklyn burlesquing drag king creates his own gigs. That’s what Lee has done, and there’s quite a variety of performance experiences we now have as a result. Catch VeLone hosting and guesting in shows all over the borough, but most notably Bizarre Bushwick where Lee co-hosts “Sinner’s Kit Kat Cabaret” with Vic Sin, and hosts both the “Jump Shark” monthly open stage night and the long-running and popular drag/burlesque revue “BEEF.”

65) The Ritz

The Ritz on a weekend, filled to capacity on two floors with twentysomethings flailing to basic pop, is your heaven or your hell. But the place that brought us “Our Lady of Saliva” has more to offer then that scene.On Thursdays there are a happy hour bear party from Shane Tate upstairs and Morgan Royel’s late night hip hop party downstairs, plus Maddelynn Hatter and the gals of TURNt killing it Wednesday nights.

64) Vinny Vega

Nightlife’s most recognizable and reliable gogo boy has become a gogo man! He’s branching out into other aspects of the biz, like photography and party promotion. Check out the new monthly he hosts at Atlas, “Voyeur.”

63) Miz Cracker

Bob the Drag Queen’s heir apparent to the NYC Comedy Queen throne is beloved by her sisters and fans alike, and can still find the balance between being a civic-minded voice of reason and reading a bitch to filth. Catch her at Barracuda and Hardware, and now with the gals of TURNt at the Ritz. Plus, this just in: a monthly at Intermezzo in Chelsea! 2017 was good for Cracker, and 2018 is gonna be epic.

62) Jasmine Rice LaBeija

When Jasmine took to Facebook Live to call out the pageant judges and their “stunts” after not placing in Miss Stonewall a few months ago, it was a great drag tea moment where she perfectly channeled her Drag House Mother, the late Crystal LaBeija. She had a similar moment on FB Live just recently where she clapped back at reality TV show Shades: Queens of NYC co-star Paige Turner (”The Wicked Witch of Whoville”). Just BIG Tea Moments that queens are still gagging over. And if those weren’t enough, Jasmine continuously lived up to her own hype in 2017, winning Miss Liberty Continental Plus and a Miss Lady Liberty Showdown in a remarkable performance where she sang opera live with a full orchestra. And it goes without saying, she steals every scene in Shade! Catch Jasmine live at Barracuda (every two weeks on Wednesday), Pieces (Thursday), District Social and Hardware (both Sunday).

61) Ragamuffin

This creative and versatile Brooklyn queen with the trademark heavy eyes is still co-hosting one of the borough’s most popular drag shows, “Mondays on Mondays” at Macri Park (with Ruby Roo), and headlining her monthly workshop / show “Failure” at Bizarre. And now on top of an additional weekly late night Sunday gig at Metro Bar, Raga has made a Manhattan presence as well. She co-starred with Pixie Aventura at Hardware for a month, and now is part of the regular cast of Club Cummings’ Tuesday night variety show, “Mary.”

60) FiFi DuBois

A fan favorite at Boots & Saddle for a long time now (she’s their longest tenured queen at the moment), FiFi’s been serving fun, goofy numbers and jokes for awhile now. Then in just the past few years, she dipped her toes into pageantry, and by the end of this year she’s Miss’d America 2016, Miss Stonewall 2017 and Miss Boots & Saddle 2017, not to mention Top 13 in the prestigious national Continental pageant. Three cheers for FiFi!

59) Logan Hardcore

With her long-running show at Stonewall now a West Village institution, and her summer residency at the Ice Palace one of Fire Island’s biggest draws, New York drag’s favorite bitchy queen and her scarily spontaneous, unfiltered wit just keep on trucking… and evolving.

58) Rockbar

Undeniably Manhattan’s most eclectic venue. On any given night you can experience drag shows, full-on burlesque revues, standup comedy, karaoke, trivia nights, viewing parties of the gay TV shows of the moment, live rock bands, underwear parties, fetish parties, and lots and lots of bear parties. Being three or four blocks away from the main strip of Gay Christopher Street has been a hindrance, but everybody finally seems to be catching on that there’s something special happening here.

57) Ari Kiki

The city’s number one messy comedy queen with the crazy crooked lips and hairy boobs is now the house mother of the Boots & Saddle sisterhood, and the role couldn’t have gone to a nicer gal. Besides being funny AF – both deliberately, and in a “falling off the stage” sort of way – she’s just good people. See her Wednesdays and Saturdays at Boots, plus monthly hosting the RIOT benefit show at her other home bar where everybody loves her, Stonewall. Oh, and now she’s also taking the East Village by storm as well, with a monthly Saturday evening Rampage alongside Alotta McGriddles.

56) DJ 2Face

Last year’s Best DJ winner at the GLAMs (and a nominee again this year) remains one of the most popular DJs in the city for drag shows and dance parties. Catch him these days at Hardware, Pieces, Rise and Vodka Soda Bottoms Up, and there’s a pretty good chance he’ll be the man behind the booth for any super high-profile kiki in the city.

55) JanSport

Last year’s breakout drag star is still this year’s breakout drag star. With a genuine musical theater pedigree, she’s gone from an amazing novelty Kris Jenner impersonator (although she still drinks regularly from the Well of K) to a well-rounded, multifaceted performer. This year she became Icon’s Friday night star, and co-hosts Wednesday night with Shuga Cain at Pieces. She’s also done a commercial for LG USA Mobile, and as a member of smash singing drag trio Stephanie’s Child she recently performed on The Voice finale with Nedra Belle and slayed on a whole new level.

54) Amanda Lepore

With NYC nightlife’s most iconic face (and body), Amanda passed into legendary status while barely uttering a word – which made her tell-all autobiography published this year that much more fascinating. On top of her hit book, Amanda of course was present at only the most amazing parties of the year, and she’s even recorded a full-length album of originals and covers that is all so very Lepore.

53) Shequida

One of the city’s most seasoned and talented entertainers is still going strong as ever, with her popular Hardware solo show and the “Drag Wars” competition she hosts at Pieces, plus she hosts the Voss Events Sunday Drag Brunch. Shequida also made a triumphant return to Fire Island this summer (this time at the Pines), and brought her opera diva character Jessye Normous to the Beechman recently.

52) Sasha Velour

The recent winner of RuPaul’s Drag Race’s 9th Season represents the Brooklyn scene at it’s best… fiercely creative, intelligent, and serious, but with an exciting edge. She quickly spawned legions of inspired disciples, basic copycats and parodists (think about all of the projectors and rose petals you saw in drag this year). And fortunately she never stays away from the city too long… her “NIGHTGOWNS” shows, which bring together the best of Brooklyn nightlife and Drag Race all-stars for unusually dramatic multimedia performances, represent a whole new nightlife / theatrical experience for us to process.

51) Jeff Eason

If veteran on-the-scene nightlife photographer Jeff isn’t there to snap a pic of a thing, the thing never was.

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driveneed17-blog · 5 years

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Laurent Clerc Details Little People’s Deep, Danceable New Album “Landloper”

Photo by Dee Ramadan

No one would ever accuse Little People for being the type of artist who’s quick to rush his music out, let alone one to take the path of least resistance. Born Laurent Clerc, the Anglo-Swiss electronic musician and producer has been putting out instrumental dance music with a playfully tongue-in-cheek bent for little over a decade under his ‘nom-de-guerre’ moniker Little People, touring across the States and Europe beside the likes of electronic music duo ODESZA and downtempo wunderkind Emancipator — all while he carves out his own lane, in his own time.

To describe Little People’s music is to describe a dozen different continents of sound unifying into a Pangaea of modern orchestration; he grew up listening to artists like A Tribe Called Quest and DJ Premier on his hometown radio station in the Swiss Alps, before discovering the wide and shifting world of electronic music when he moved to the UK to attend university. From the bass-heavy snarl of Mobb Deep and the mischievous plunderphonics of Xploding Plastix, to the cinematic sobriety of Endtroducing-era DJ Shadow and the minimalist serenity of Steve Reich and Ryuichi Sakamoto, Clerc’s inspirations prove just varied as his sound: an eclectic brand of downtempo electronica infused with the verve of classical music, underscored with the vivacity of hip-hop. That he refers to his stage moniker as a ‘nom-de-guerre’ is absolutely intentional.

Clerc’s newest album Landloper—his first in six years—is a cumulative one, pooling together the best learned lessons of his past work while pointing forward to a bright and beat-laden future. The producer’s most dance floor oriented record to date, Landloper pulls from the disparate corners of disco, John Carpenter-esque synth riffs, and glitchy IDM for a seamless expansion of Little People’s existing sound. We had the opportunity to speak with Clerc over the phone about Landloper’s production, his creative process as an artist, and what it means to create music in the very online space of 2018.

In the six years between the release of your first album, Mickey Mouse Operation (2006), and your second, We Are But Hunks of Wood (2012), you’d taken a break from music, traveled the world, worked an office job, fallen in love, and had two children. What’s happened in your life now in the six years since your last album and this one?

It does feel like it’s been quite a long time, hasn’t it? In my head it’s almost felt twice as long. (After I released We Are But Hunks of Wood, I came out with a remix album and the [Csay Csay] EP three years later.) I’ve been raising my kids — I have a set of twins and a newborn right now—and all of us went over to the U.S. for a year in 2014, so that I could be out there, and write music. Which I did, and it was actually really quite productive. The album you’re hearing now kind of, really, the core of it was written over the course of six months. I’ll admit that I’m fairly slow with my music in that, I struggle to put things out the door because I want them to sound just right, which is why it can take such a long time.

But yeah, it is a bit ridiculous. Six years is a long time between albums, and I admit that [laughs].

Let’s talk a bit about the name of your new album, Landloper. It means “wanderer,” or “adventurer.” It’s a fun word, though not one you’d likely hear spoken often. How did you first come across it?

It’s a title that sort of represents my professional life. I’ve lived in a lot of places, traveled through a lot of places while touring. It comes from the experience of being in a lot of places, making new friends, experiencing new things—this feeling of wandering and finding your place in the world. So Landloper is a word to describe the journey of my move to the US, this chapter of my life, and the experience of playing music in all these different parts of the world. And on top of that, it’s just a lovely sounding word! I thought the title should be a word that looks familiar, but is also strange and exciting.

You’ve spoken before on how your collaboration with Tif Lamson of GIVERS came together on the track “Skies Turn Blue.” How did you first link up with your other two collaborators for this album, Reva Devito and Rahel Debebe-Dessalegne?

So for Reva, she lives in Portland and she’s a friend of a friend of mine. I was looking around to record someone whose voice could be used as, sort of, sound mix fodder, and it just so happened that she was in town and I asked her to come in and record something. So I basically recorded one of her voice sessions and then she sang some percussion stuff. So what I did was, I just got loads of samples of her singing and cut them up into syllables and sounds and resequenced them as a guiding point. And then I just chopped them up again and reworked them, and so her voice is scattered throughout the whole album. She’s a big part of the record in a lot of ways, not necessarily through lyrics but as a sound, as an instrument.

For Rahel, I saw her play a show and met her shortly after that. She tours with a lot of different artists, one of which is a musician and composer named Matthew Herbert, so she played a show with him and I thought “Well, I’ll give it a shot,” so I found her details and reached out through email about working together and she was really into the idea. I initially thought it would only be one song, but she was up for doing all three! [laughs] So we did the recordings in South London at a studio around when I had just gotten back into town. I remember us doing a take and she would just intuitively know where to improve on it and where to take the track next, so we would just re-do it. She’s extremely good at what she does.

And then Tif, I met her actually through Glassnote Records, who were looking at my record at the time, and they put me in touch with her. What she does with her band is quite far away from the stuff I do and I thought, Will this work? Yeah, this could work,’ so I sent her over some tracks, and “Skies Turn Blue” came out of that. I was very pleased with it and I think she was happy with it as well.

Your second album marked a transition away from the sample-heavy sound that defined your first and had you experimenting with new equipment, like using an old Akai reel-to-reel tape machine to record and process a string ensemble to resemble the textured sound of vinyl compression. What were some of your favorite instruments or equipment to use in the making of Landloper?

It’s kind of a whole host of different instruments, but I guess just generally it’s a crossover between synthesizers, analog and digital, and I just think that for me it’s less about tools and more like using what I have on hand at the moment. I’ll just mess around, create sounds on a synthesizer, sample that, and then play with that again. My songs will go through so many iterations where samples are cut up, cleaned, and tweaked that sometimes, I can’t even remember how I got to a particular sound!

So that’s kind of the essence of what I do: very iterative, spontaneous, and in-the-moment. The laptop is home to everything I do; that doesn’t change. I like to start off from a point ‘in the real world,’ with analog sounds and instruments like a piano or xylophone, but generally, it’s [about] taking those sounds and bringing them into a digital realm. I’ll record strings, woodwind stuff; I love collecting and playing with high-pitch bouncing samples and incorporating those into my music. I never do just one thing. I want my music to have a lot of variety, a lot of color, and a lot of character.

The orchestration on this album is impressive. Who did you work with to record the strings? What did you learn working with a string section back in 2012 that came to bear on making Landloper?

Well, when I was working on We Are But Hunks of Wood, I was learning how to direct a string section—how to gesture towards the sound I wanted, and guide the section to that outcome. This time around, I had a more cohesive approach to achieving that; I actually went to a studio when I was living in Portland, and worked at replicating the sound of a much larger string ensemble. We only had four string players, but we still had eight chairs—so we recorded one take with players sitting in one set of chairs, and then did a different take of them sitting in a different set of chairs, and then overlaid those recordings, so [that] it ends up sounding like eight players at once. That resulted in a much fuller sound, which I feel really comes through on the tracks for this record.

Photo by Vania Read

What are some things that surprised you in the course of producing Landloper? Is this album, this evolution of your sound, what you had in mind when you first started work on it back in 2014?

I find it very hard to pinpoint one idea from the next. It’s more like, ‘This is where I want to get to’ and ‘This is what I want to do.’ As it often happens, my process starts with trying for a certain sound and then ending up with 50 different ones, which I think is fairly typical when making music. I have many artists that I admire, tracks that I think are incredible and I’ll think ‘Wow, how did they do that?’ And then I’ll give it a go and probably not end up anywhere near with what they did. But by doing that, I’ll have probably landed somewhere with a track that no-one else has done.

That tends to happen when you’re chasing a sound: it forks into several different ones, and you end up in a richer place for having followed your instincts. But as far as where I wanted to go with this album, I wasn’t sure. I think that the time I spent on this one made for a richer album than what I could’ve imagined at the start, in my opinion; when I first started, I didn’t think this album was going to have so much collaboration going into it and that was kind of a nice surprise—to have so many people to work with and share this experience.

You’ve cited a fairly eclectic range of influences over the course of your career, from Mobb Deep and DJ Shadow to Steve Reich and Ryuichi Sakamoto. What sort of music and artists have been your points of contact while producing Landloper?

I think it tends to be fairly varied. I’ll admit that my listening habits have kind of changed a lot with the advent of Spotify. I’ve always loved discovering new music, but Spotify makes it almost too easy now [laughs]. I have a big playlist of music I was listening to while I was working on the album, but picking out one or two particular artists is difficult. I think whatever algorithm they’re working with is fantastic, and it does a good job of accommodating to diverse tastes. Y’know, if you’re listening to a little bit of Afrobeat here and there, and a little bit of hip-hop as well, but also throw in some classical music, all those things will be represented in your mix somewhere. So, I guess as far as artists that have influenced me, there’s only a few artists that I listen to that I feel like, outside of what they do, have been a guiding light for what I do. The usual suspects in my book are Jon Hopkins, Four Tet, Caribou—people like that. But I also love one-off songs. Some people make moving tracks that eclipse anything else that I’m aware of [from] them, in terms of their output. It could be something I find incredible. So I wouldn’t say I’m influenced now by any one artist, but by ideas I come across that happen to spark something in me.

Tell us about your new label, Future Archive Recordings. I noticed that some of your co-founders and signees, like Sun Glitters and Blockhead, are people you’ve worked with before in the past. What influenced your decision to launch Future Archive Recordings?

It’s actually all very recent. When it sort of came around was, I had been working on my own for awhile and thought I would benefit from working with an actual record label, but things didn’t really quite materialize. I was toying with the idea of self-releasing the record, but then I started talking with a few people and just thought, ‘Welp, it seems kind of stupid to be doing all this work on your own.’ The first person I talked to was Blockhead, and then a bunch of others had been thinking the same thing, so we went from there. We started talking about it in July, I think, and then by September we had our first compilation out, so we moved really quickly.

Basically the idea is to have a platform in place for us to put out new music—not in a way that’s predicated on making money, but on encouraging creative expression. We take a lesser share of whatever profits the record makes, and it all goes directly back to the artists. It’s a like-minded group of musicians who want to do their best work, either on their own or together. We all have our own skills that we share, so it makes for a nice division of labor.

What’s next for Little People in 2019? How do you see your career, your journey as an artist evolving and changing in the future?

Well that’s the thing—it’s down to how this record does. There’s a bit of a question mark at the end of that, how things are going to go. I think what I have seen over the past, let’s say, three or four years, is that music has kind of gone from being initially a hobby to now a trade or a craft, which only now I feel like I’m beginning to master. I’m excited to, once this record’s out the door, put my head down and write new music. I’m pretty sure the next bit of music might take some time to come out [laughs]. I still feel like I’m mastering my field. It’s funny, the more you work in a field the more you realize you knew so little before. But I finally feel like I know what I’m doing now. It’s tough to say what I’ll be doing, but I’ll be looking into more collaborations, ideally producing for some other people. But yeah, I’m looking forward to releasing more music under the Little People moniker in the future.

One last question. You’ve said in the past that if you weren’t a musician, you’d probably be a cook, and one of your favorite hobbies is trying out different foods while touring. What’s your favorite food to cook, and what’s your favorite food to be served?

I’ve always really been into Asian food. That’s usually my go-to. It’s fresh, it’s quick to do, and always flavorful. I also really enjoy heavier, European fare; between those two are generally where my palate sits. If someone’s cooking for me, I like to choose things I could never be bothered to do myself, things that are messy or tricky to do. So anything to do with frying—I’ll gladly go to restaurants and pay for that instead than do it myself [laughs].

-Toussaint Egan

Source: https://daily.bandcamp.com/2019/01/03/little-people-interview/

#read more #see more #check it out #interesting #learn more

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loveyourlocalgirlgang · 5 years

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Interview ARTISTE Made In Montpellier - SANCKO

Comme un prolongement de ces combats, ses peintures abordent des causes actuelles, politiques et sociétales et apportent une réflexion sur l’identité et la différence.

L’univers de Sancko oscille entre noir, blanc et une palette de nuances de gris. À une époque de radicalisation des esprits et de pensée binaire où il faudrait prendre position c’est précisément la nuance qui permet à l’intelligence de s’exprimer et au dialogue entre les êtres de jaillir.

Une touche de couleur incisive, identitaire, souvent le rouge, mais pas obligatoirement, vient souligner un aspect de chaque oeuvre, offrant ainsi une interprétation supplémentaire.

Un univers intense et sans tabous, où sexe, passion, sensualité, douceur, douleur, blessure et combat, se mêlent et se démêlent.

En collaboration ou en collectif, Sancko aime particulièrement confronter son regard avec celui d’autres artistes car elle pense qu’il n’y a rien de tel que l’échange pour le mieux vivre ensemble. Son travail se décline aujourd’hui en intérieur comme en extérieur, à travers la peinture sur toile ou murale, et par des collages urbains dans la lignée du militantisme citoyen et politique.

Rencontre avec Sandra artiste ou Sancko désormais... Une femme active et activiste militante pleine d’énergie !

Son interview est à lire ici :

Peux-tu te présenter en quelques mots ?

Je suis une artiste peintre autodidacte, street artiste et performer engagée . Petite fille de militants communistes d’un côté, et arrière petite-fille d’une des «Dones de l’Esquerra Republicana de Catalunya» de l’autre (mouvement féministe ayant obtenu le droit de vote des femmes en Espagne en 1931), j’ ai baigné dés mon plus jeune âge dans diverses luttes populaires et sociales. Le passage de ma ville natale, Orange à l’extrême droite en 1995 constitue par ailleurs une date clé dans ma conscientisation citoyenne. Cette conscience se traduit très tôt par mon engagement dans le milieu associatif, sur diverses thématiques telles que les discriminations, la précarité, le vivre ensemble, la cause LGBTQI+ notamment avec l’association le Refuge et l’association Des Hommes & Des Elles, ainsi que plus récemment les migrants avec Sos Méditerranée ou la libération de la parole féminine avec les Women’s March, #Metoo et #Noustoutes.

Où trouve-tu les inspirations ?

Comme un prolongement de mes combats, mes peintures abordent des causes actuelles, politiques et sociétales et apportent une réflexion sur l’identité et la différence.

Mon univers oscille entre noir, blanc et une palette de nuances de gris. À une époque de radicalisation des esprits et de pensée binaire où il faudrait prendre position c’est précisément la nuance qui permet à l’intelligence de s’exprimer et au dialogue entre les êtres de jaillir. Une touche de couleur incisive, identitaire, souvent le rouge, mais pas obligatoirement, vient souligner un aspect de chaque oeuvre, offrant ainsi une interprétation supplémentaire. Un univers intense et sans tabous, où sexe, passion, sensualité, douceur, douleur, blessure et combat, se mêlent et se démêlent.

Peux-tu nous raconter ton parcours et tes activités ?

Parcours classique, repérée au collège, j’ai conçu ma première fresque avec mon professeur d’arts plastiques avec deux autres élèves de troisième où nous avons transformé sa classe en fond marin.

Poussée par celui ci mais restreinte par mes parents, je suis partie en section littéraire avec option Arts Plastiques tout en suivant divers stages auprès d’artistes peintres de ma région. Après mon BAC, j’arrive à Montpellier en 1992 pour y faire des études d’arts que je plante complètement me dirigeant vers des études de communication. J’obtiens un DEUG puis je décide de rentrer dans la vie active tout en gardant en loisir la peinture. J’enseigne durant 6 ans dans une école maternelle l’initiation aux Arst Plastiques, j’alterne ensuite de petites boulots en petits boulots , je ponds deux petites mouflettes et ma rage artistique me rattrape ! En 2007 je plaque tout pour devenir exclusivement artiste de manière professionnelle sous le nom de SANDRA . Je vais enchaîner expositions sur expositions nationalement et internationalement durant 8 ans En 2015 après un événement privé, j’arrête tout , et remets tout en question même mon droit de peindre. Je me consacre toujours aux assos mais j’ai perdu ma créativité.

Ma rencontre avec Outofthe.black va être l’élément déclencheur de mon RESET, Sandra devient SANCKO, je fuis les milieux rigides, académiques et je sors dans la rue, puisque je parle de toi, de vous, de nous et fait en sorte que mon message soit accessible par tou(te)s. Ainsi est née chez moi mon « âme » streetartiste avec un premier collage en octobre 2016 en duo avec Outofthe.black.

En collaboration ou en collectif ( comme Les Bonjours, dont je fais partie) , j’aime particulièrement confronter mon regard avec celui d’autres artistes car je pense qu’il n’y a rien de tel que l’échange pour le mieux vivre ensemble. Mon travail se décline aujourd’hui en intérieur comme en extérieur, à travers la peinture sur toile ou murale, et par des collages urbains dans la lignée du militantisme citoyen et politique.

Performance Allez GoStore

Quand es-tu tombée dans l’art ?

Okay c’est cliché mais je dirai comme Obélix j ‘y suis tombée dedans quand j’étais petite.

Te souviens-tu de tes émois artistiques ?

Mon premier grand émoi est le travail avec l ‘association Le Refuge, tout un travail autour des jeunes sur la reconstruction et de l’image et l’estime de soi par toutes formes d’art, un projet j’ai monté au départ seule mais très vite je me suis faite accompagnée par mon amie Isabelle Israël et entourée de pleins d’artistes qui ont répondu présents de suite comme Miss buffet Froid, Fred Trobrillant, Daniele Vogelsinger, Celine Otéro, Elise Shootthelife etc ...entre les performances et les expositions une quinzaine d’artistes ont gravité autour du projet, et une association et née de ce projet portant le même nom : Des Hommes & des Elles . Une expérience humaine qui m’a marqué à vie

Y a-t-il des artistes qui ont compté dans ta carrière ?

Forcément, j’ai été influencée par toutes sortes d‘artistes consciemment ou inconsciemment, j’ai été bercée par Dalida, j’ai grandit avec la génération Madonna , Blondie, Catherine Ringer , Kate Bush, Nena, Nina Hagen, Bowie et Balavoine, j’ai été touchée par l’histoire de Frida Khalo et d’Isadora Duncan. Et aujourd’hui encore , des artistes à textes comme je les nomme , me transpercent comme Saez, La pièta ou Rebeka Warrior

Que penses-tu de la place des femmes dans la culture et trouves-tu qu’elles sont bien représentées ?

Ouvre les yeux et constate par toi même, c’est navrant ....

On parle souvent de la misogynie de la scène streetart. Te sens tu investie d’un rôle par rapport à ça ?

Je ne suis pas vraiment d’accord, ok les filles sont pas vraiment représentées dans les festochs ou événements ( mais du coup la misogynie ne vient pas des street-artistes mais bien des institutions qui organisent) par contre, il y a un putain de respect de la part des street-artistes garçons sur nous, entre nous, le milieu est sain. Du coup je ne me sens pas investie d’un rôle par rapport à ça mais souvent on me pose cette question vu que je fais partie des rares filles sur Montpellier, malheureuse, viendez les filles, il y a de la place pour tout le monde, c’est peace & love !

Grand éclat de rire et on divague sur nos projets, et le monde du Street art vécu mutuellement mais à différentes époques... revenons à notre questionnaire.

Tes artistes préférées à Montpellier en ce moment ? Niveau musique, La Pièta encore et toujours, fan je suis (Yoda sort de ce corps), elle dit exactement ce que je veux dire. De mon chéri Outofthe.black, j’adore son univers graphique. Les nenettes de Support your local girl gang forcément ! Et mon coup coeur du moment c’est Rachel Weasel Fisher, un petit machin avec un putain d’énorme talent, et en plus elle est sympa, cela en est même très énervant ! Rires.....

Des spots que tu recommanderais ?

Le quartier méditerranée, le Verdanson, autour de St Roch, Sète !

Quels sont les projets actuels et à venir ?

Parler de ce qui me touche encore et encore, comme de peindre ou dépeindre la société, continuer mon travail à quatre mains avec Outofthe.black, m’investir plus dans le collectif All Inclusive, créer et monter des projets artistiques diverses,une collaboration en vue avec une chanteuse ... (peut être aussi avec un slameur .... )

Tes prochains événements ?

Certainement une nouvelle maison investie à l’automne à la Grande Motte, un projet streetart avec le Grau du roi, avec le collectif Les Bonjours , une exposition fin septembre à Juvignac dans le salon de coiffure Tête la première

Une punchline / devise ?

Je ne sais pas pourquoi, j’ai toujours aimé cette devise, je l’ai entendu dans le western Young Guns et quand j’étais ado elle n’a jamais quitté mon esprit : « qui sème le vent , récolte la tempête »

Que penses-tu de Support your local girl gang ?

Faaaaaaaaaaaaaaaaaaaaaaan je suis ! Vous déchirez ! Chapeau !

Grande fan aussi de son travail, ses visuels commencent à être repris par beaucoup d'institutions, encore une belle rencontre et l'itw à peine finit elle était déjà repartie sur d'autres projets, une Artiste à surveiller.

SANCKO DANS TES RESEAUX : WEBSITE - FACEBOOK - INSTAGRAM

Caroline Heraud - Support Your Local Girl Gang

#Interviews

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