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sunburnacoustic · 9 months

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Rich Costey: Producer

Recording Muse's Absolution

(article in Sound On Sound by Richard Buskin in December 2003)

Photo: Tom Kirk

With their number one album Absolution, British three-piece Muse have established themselves as one of the most ambitious and innovative rock bands in the world — and in Rich Costey, they've found an engineer and producer who understands their aims and encourages them to experiment.

"I believe that anything should be possible at any moment," says Rich Costey. "The records that I'm most fond of are ones where people have taken as many chances as possible in service of the material. The process itself may yield both successes and defeats, but you'll never know unless you're free to explore, and that's something an outfit like Muse is very comfortable with. Those guys have been playing together for a long time, and as a result they are completely fearless and will try anything. That's one of the reasons why we had such a good working relationship."

A guitarist in high school who turned to producing indie bands in Boston and New York, Costey spent three years as the in-house engineer at Looking Glass Studios in Manhattan during the mid-'90s, assisting modern classical composer Philip Glass, and it was there that he steeped himself in the experimental approach to recording that has characterised much of his subsequent work, including the aforementioned Muse's acclaimed new album Absolution.

"My time at Looking Glass was just a thrill for me," he recalls. "I had been a huge admirer of Philip's, and it was no trivial matter for me to be able to work on his records day after day. When you're mixing for him, he holds out the score the whole time to ensure that you can hear all of the parts and are following the dynamics, as he simply composes on paper in the traditional manner. One day I was mixing something for him, and he was describing some of his compositional methods — he would use his motifs in an almost modular fashion, plugging in and reusing different parts of the same material within the same piece — and he told me 'Attempting to exactly repeat a success is bound to seem a failure, whereas if you move forward it's far more likely to seem a success.'

"How that translates to me in terms of making records is that I tend to reject the notion that there's a sort of penned-in area regarding how rock music is supposed to sound. These days there's a certain guitar sound that people think of as the guitar sound, and that's unfortunate. Previously, artists were more comfortable pushing things forward and trying things out, and obviously there are still artists who do that, but not many. That's what I'm interested in doing, though it usually means a bit more effort and occasionally a bit of risk."

Finding The Muse

After relocating to Los Angeles in the late 1990s, Costey teamed up with Jon Brion to produce and mix Fiona Apple's second album When The Pawn Hits The Conflicts... This led to assignments from producer Rick Rubin, which included the mix of Rage Against The Machine's Renegades album in 2000. Since then, Costey has undertaken numerous mixing projects, as well as production and engineering for the likes of Dave Navarro and, most recently, the London-based Muse trio of guitarist/vocalist Matthew Bellamy, bassist Chris Wolstenhome, and drummer Dominic Howard.

Originally hailing from Teignmouth, Devon, the three began playing together at the age of 13, first as Gothic Plague, then as Fixed Penalty and Baby Rocket Dolls, before adopting their current name in 1997, when they released their eponymous debut EP on Dangerous Records. A second EP, 1998's Muscle Museum, led to critical acclaim, a rapidly growing live following, and a contract with Maverick in the US, and in the wake of albums Showbiz (1999) and Origin Of Symmetry (2001), the band have attracted plenty of interest thanks to songs that meld melodic, sometimes unconventional lead vocals with strains of grunge, punk, psychedelia and arena rock. All of these elements are prevalent on Muse's new album, Absolution.

"I had become a fan of theirs, particularly after hearing their last record," says Rich Costey. "This was conveyed to them by some mutual acquaintances and we decided to collaborate. They had worked with the same people for a while, and I think they were interested in mixing it up a bit. By the time that I came into the picture, they had already recorded several tracks for the new album with John Cornfield and Paul Reed: 'Butterflies And Hurricanes' and 'Blackout' were among them. Those had gone very well, but they were interested in trying out some other ideas and seeing what else might be out there."

Costey would end up mixing 'Blackout', which utilised mandolin and real strings recorded at AIR Lyndhurst in north-west London, and recutting the vocal, bass and piano on 'Butterflies And Hurricanes'.

"Initially, we went to AIR just to see how things would work out between us," he recalls. "I did what I normally do, and they sat back and observed me. In retrospect it's kind of funny, because now, having gotten to know them so well, I realise they were a bit coy. There was also something of a continental divide between the American use of superlatives and the more reserved English use of them, but I wasn't aware of this at the time. For instance, soon after we went into AIR, my engineer Wally Gagel and I got what I thought was a great sound for the band to track live, and when I finally rolled some tape and they came in the control room to listen back, I thought they'd be over the moon. However, their response was along the lines of 'Uh, yeah, it's fine. All right, let's crack on...' and I felt deflated. It turned out that they did like it, but they were simply a bit reserved. They loosened up later — and I'm sure I did, too — when we got to know each other better.

Tractors & Water Sports

Grouse Lodge Studios, where much of the tracking for Absolution took place.Photo: Tom Kirk

Opting for a rural residential facility to complete the recording sessions for Absolution, the band members located Grouse Lodge in Ireland via the Internet, and it turned out to be a successful choice. "We just showed up and took our chances, and the place was fantastic," Costey remarks. "We had a great time there. It's the only place I've ever been where there are windows all the way around the control room and tracking room. And it was kind of funny, because at one point Dominic was in the live area while we were sitting in the control room, and just as he was playing a really intense drum part, some guy on a tractor drove by the window that was behind him. You don't see that too often in a studio! Fortunately the isolation was good — there's no tractor on the record.

"Grouse Lodge has a Neve VR, and although it was a good-sized board, we still brought in 14 [Neve] 1073s and several [UREI] 1176s as well as some Pultec EQs. The studio contacted a number of rental companies for additional mic pres, and apparently that was all we could get because Iron Maiden were tracking somewhere and using up all of the other 1073s in the UK.

Recording the introduction to 'Apocalypse Please': Dominic Howard plays a drum fill from the Grouse Lodge swimming pool, with the driver from an NS10 speaker used as a close mic.Photo: Tom Kirk

"Of course, one of the advantages of a residential studio is that you can just kind of take over the place, and so we were able to do things like set up mics in the residences, while for the song 'Ruled By Secrecy' I had this idea that I wanted the drums to be intimate and very close, yet with a unique distant ambience.

"At one point, while we were rehearsing in the smaller Studio B, the band was running through the number with the doors open and I could hear it echoing around the courtyard. It sounded fantastic, so one afternoon while we were tracking I decided to set up the drums outside. We brought out a whole bunch of mic pres to ensure that the mic line was as short as possible, and we spent a number of hours setting this all up.

A less successful experiment: Dominic Howard plays drums outdoors in the Grouse Lodge courtyard. Photo: Tom Kirk

"The kit was backed up into a sort of corner, with brick on one side and stone masonry on the other, alongside a tractor. Directly behind it was open, and it was good that Dominic was close to the wall because that enabled him to get a little more bass out of his kit. We set up a couple of distant mics and ran them through some Neves, and then I sat down in the control room and he started playing... and it sounded terrible. I think we captured one take, but we didn't use it at all. We got a little bit of ambience out of the courtyard, but the overall sound was unbearably thin and it just didn't have the presence that I'd expected.

"Still, one idea that we did try and that was really good found its way onto the tracks 'Apocalypse Please' and 'Time Is Running Out'. The intro to 'Apocalypse Please' has a tom section, and I really wanted that to sound just ridiculous and as epic as possible. So, lo and behold, the studio had a swimming pool, which of course was full of water, and what we did was bring over a couple of kick drums, put them on stands, and miked one of them really close with the disembodied woofer of an NS10 to get a low, thumping sound, while a few C12 ambient mics were placed in the swimming pool area. We also had to bring mic pres into the pool area for all the same reasons, and Wally and I set things up so that Dominic could actually stand in the water while he was playing, just because it looked really good."

So, were there any lapping sounds? "Not during that section, although we did do some hot-tub overdubs later on. We did a couple of takes of the bubbling water, but again we didn't use it. In fact, we did a bunch of stuff. I'd seen a modern classical performance a few years back where there was a whole back line of people hitting gongs and dipping them in water. The water gong is not an unusual 20th-century classical instrument, but as we were gong-poor, we took some samples of doing the same thing with cymbals, hitting them loads and loads of times while dipping them into the water. Of course, cymbals have nowhere near the sustain and heft of an actual gong, and whatever they did have would dissipate as soon as they went into the water, so that was pointless. But it was funny.

"One thing that actually was useful was recording a couple of takes of Chris diving into the pool — we used that on the start to the bridge of 'Thoughts Of A Dying Atheist'. Listen really closely and, right where the bridge hits, you can hear him jumping into the pool. We used rather nice microphones to capture that, so we made sure to keep them clear of the water, and we also had to move really quickly because I was concerned about humidity affecting the mics."

Reaching For The Overheads

"I didn't want to do anything that sounded like their previous records. I liked Origin Of Symmetry quite a lot, but one of the reasons why I thought I might make a good producer for Muse is that I believed I could hear what they were reaching for and felt there were moments where they weren't quite getting there. For example, it struck me that at their basic level they wanted to sound like a colossal, dynamic, epic and powerful rock band, but there were a lot of moments on their past two records when they didn't quite achieve that. So, the first thing I wanted to do was make sure that they sounded pretty damned big and aggressive when they were supposed to, and that was down to the recording methods as well as their performance.

The control room at Grouse Lodge is based around a Neve VR desk. Photo: Tom Kirk

"For their part, the guys had heard some of my mixes for Rage Against The Machine and Audioslave and they were quite keen to get a sound that was just as big and assertive. They play extremely well together and they sound quite powerful on their own, but as usual we needed to explore different drum kits to obtain the right sound. Dominic's very good at tuning his drums and Chris has his own bass tone down really well — he's got three amps with different degrees of distortion coming out of each. I also brought in a Diesel guitar head, which I'm pretty fond of, and Matthew played a bit through that as well as his own custom Marshall, and overall I set them up a bit differently to what they were used to.

"In fact, I spent quite a while trying to sort out the drum sound, because Dominic is a pretty aggressive drummer and he tends to hit his cymbals rather hard. A bit of thought went into how to have the individual drums sounding defined without being washed out by the cymbals, and to that end I did something that I wouldn't recommend anyone doing carelessly, using far too many microphones. For overheads you might use a stereo pair, maybe accompanied by a mono microphone, but we ended up using that for an overall kit sound and tight-miking each of the cymbals. I myself normally use [AKG] C12s, and then for the close mics I use [Neumann] KM84s whenever they can be found, and I'll slightly mix those in to get a lot of attack — that way, the overheads themselves can be fairly low, and you can mix up the attack of the cymbals without the overall sound being too brash.

"Chris's monstrous amp rig consisted of three Marshall bass heads and three different Marshall cabinets, and how much room we had in any given studio basically determined what size of cabinets we set up. One of them produces a cleaner bass tone, while the second amp largely goes through [an Electro-Harmonix] Big Muff [distortion pedal], as well as a few other pedals that he'll occasionally hit. Then his third amp, which is the most distorted, uses an obscure Japanese distortion pedal, which is pretty weird, expensive and apparently difficult to find. It has a real nasally tone that doesn't necessarily make any sense on its own, but when you mix it within the context of the rest of the bass sound it's critical to what Chris wants. He has several bass guitars, and there's a well-worn Pedulla that he's particularly fond of.

"I like to use condenser mics whenever possible on the bass cabinets. They tend to have a much more open sound, the transients come through a lot stronger, and the net result sounds a lot more like you're standing in front of the amp. There certainly is a place for dynamics and I am a fan of them as well, but to me they colour the sound much more than a good condenser. That having been said, I've actually got a fair bit into recording the bass with this mic made by Blue, called the Mouse. Wally Gagel and I used it last year on the Antenna album by Cave In and it was excellent, so I used that on Chris's bass rig and I also used it on the snare, doubled with an SM57 whenever possible. I sometimes use a Neumann FET47 to record the bass, but Chris's rig was so loud that I didn't think we could get away with that — nowadays, I think people play much louder than they did when 47s were introduced, and one of the advantages with a newer mic like the Blue is that it can take a stunning amount of level.

"Aside from that, we used a pretty standard setup on the bass: [Sennheiser] 421s and [Electro-voice] RE20s. We tried a whole host of things while working at different studios, and we used different stuff each time. The full band was set up at AIR in the lead-up to Christmas, and then a couple of months later we set up at a place in Ireland called Grouse Lodge, where we did the majority of the recording over the course of about four weeks. We didn't have exactly the same microphones to choose from there, but we tried to copy the AIR setup as much as possible so that the basic tracks didn't sound totally foreign next to one another."

Learning Reserve

Muse singer Matthew Bellamy hits some pretty amazing vocal notes on the new record, most notably on cuts such as 'Apocalypse Please', 'Time Is Running Out', 'Hysteria', 'Blackout' and 'Butterflies And Hurricanes'. "He has an amazing voice and an amazing range," confirms Rich Costey. "He is completely confident with what he's doing. He'll just get in and, in three takes, he'll have everything he needs. Sometimes, with the vocals, not unlike the rest of the process, we would try out different things, different directions even once we knew we had something great, and while this would occasionally produce improved results, most of the time it wouldn't because Matthew's own first instinct was exactly right.

"In terms of the vocal mics, we would switch between different ones according to the song. I'm a big believer in that as well. For example, he sang 'TSP' into a [Shure] SM7 that I had — one of the advantages for many singers who do a lot of shows is that they can grab hold of the SM7, carry it around the room and do whatever they want without creating very much handling noise. To me, that sounds quite a bit better than your more typical SM58, which a lot of people might use in the studio. The singer can press his face right up against the microphone without any worry whatsoever, so we used that on a few songs, while we mainly used a C12 for Matt on most of the more sedate vocals. Then again, in the case of 'Endlessly', we tried out a few mics — we tried an RCA 44, but that was just a little too dark, so we ended up going with the 77.

"Matthew has tremendous vocal capabilities, and if anything he's still learning what those capabilities are. I think one of the things that he became more comfortable with during this project was the ability to sing in a little more reserved fashion. Like on the verses of 'Sing For Absolution', his tenor voice is very quiet and just beautiful, whereas normally he's pushing himself quite hard. Any time you work with a great vocalist it's pretty exciting.

"Matthew's styling determined, to some degree, what I'd want to do with his vocals. For example, when he's singing loud, part of his sound frequently amounts to clipping the mic pre — I'd deliberately clip the mic pre on 'Time Is Running Out' as he sang louder and louder, adding more intensity and grit to his vocal. Distorting a vocal is so commonplace nowadays that to me it's the same as distorting a guitar or a bass. And much of the time when I'm mixing records for other people I'm distorting the vocal... whether they know it or not!"

Things That Have Character

In the months between the AIR and Grouse Lodge sessions (see box), Matthew Bellamy did more songwriting and Rich Costey took care of overdubbing some of the first-batch songs at AIR: 'Sing For Absolution', 'Stockholm Syndrome', 'Hysteria', 'TSP' and 'Fury' (which would end up as a bonus track on the Japanese release). These were then completed at North London's Livingstone Studios during a 10-day period following the Christmas/New Year break.

"We used the custom vintage Neve console at AIR, and whenever possible I only monitor on ATC SCM20s, which they also had there," says Costey. "Every facility was booked at the last minute, and when you're going from studio to studio it's really a crap shoot as to what you're listening to. On the other hand, the console at Livingstone was an SSL G-series, and it made a big difference switching to that from the vintage Neve. We rented a bunch of Neve 1073s to use as front-end mic preamps, and I also brought my old Universal Audio 1108s with me to warm up the sound. The UA mic pres are Class AB, whereas the 1073s are Class A. I largely only record through vintage Neves, but in this case we couldn't find a UK studio with one at short notice, and while I wasn't able to completely match the sound, I didn't mind that. I find it tedious when records sound the same all the way through. I'm much more interested in things that have character, and so long as they sound good, that's all that matters."

Rich Costey and Matthew Bellamy in debate at the desk in Grouse Lodge. Photo: Tom Kirk

Matthew Bellamy's custom Manson guitars were mostly recorded through the aforementioned Diesel and Marshall amps running into a variety of cabinets. "The band played live together, facing each other in a semi-circle, and Matthew was singing, too, which he apparently doesn't normally do when they're cutting basic tracks," Costey explains. "Still, once we'd created those basics, it was a case of anything goes. I don't really believe in any hard and fast rules after that, and I don't necessarily like to go with one setup for a whole record. So, after we got the basics, we would try to push every single overdub to make it as interesting as possible.

"The way that I and the band chose to work — and I like to work this way, anyhow — was to concentrate on one song at a time for a while. I remember that we did quite a bit of work on 'Stockholm Syndrome' and 'Sing For Absolution' at AIR. We'd just put up a song, see what it needed, and explore it for hours, days, whatever, and then at the point where we felt we were slowing down we'd move on to the next thing. That process continued at Livingstone.

"On 'Sing For Absolution', I had a pretty clear idea as to what I wanted to hear on the chorus: big, broad-sounding guitars with a little bit of echo — it's hardly ever the case that something goes down without getting run through a [Maestro] Echoplex. I'm addicted to them, although recently both of mine unfortunately have gone ill on me. Still, I wanted the big, broad guitars with Matthew's voice just peeking out over them without being too far in front, keeping the chorus kind of subdued and real simple whereas the verses really needed to sound expansive and three-dimensional. We did some basic stuff at AIR on that song, and then when we got to Livingstone we spent time treating different pianos.

One of Rich Costey's much-loved Maestro EP4 Echoplex delays. Photo: Katy Alverson

"The main piano sound on that song was heavily treated. I laid nails, guitar strings and all sorts of metal objects on top of the piano strings themselves so that they rattled, and then I miked all that with a pair of C12s. I had the dry piano coming into the console and I then split the signal so that half of it went to tape and the other half went to a [Digitech] Whammy pedal. In fact, the Whammy pedal also got split, so that half of it went to — no surprise here — an Echoplex and the other half went to a [Lovetone] Doppelganger pedal. That achieved a fake stereo, with a dry attack front and centre, while the Doppelganger with the echo was on one side and the Whammy's echo was on the other. Then we doubled it, so that it wasn't even fake stereo any more; it was two performances, which made a lot more sense.

"Once we had that down, the song took on a much more melancholy sound, and thanks to the piano it also had kind of a broken sound which, I think, worked well with the lyrics. After that, we did some ambient passes of various synths running through different effects and doing volume sweeps while Matthew played throughout the song. We just wanted things to sweep in and out around the vocals."

Although the songs were all comped, with each of the band members performing a minimum of passes, Costey was keen to guard against too much editing. He typically treats Pro Tools as if it were a tape machine, not because of a retro mindset but simply in order to enhance the music by way of a more human touch, and he'd therefore utilise as much as possible of a single take before editing in parts only where this was absolutely necessary. The same applied to overdubs — he'd use as much as possible of complete takes, and never once was a performance flown into another section of a song.

"I made that mistake years ago," Costey admits, "and what ends up happening is that the record has a real thin veneer to it, almost like a genetically engineered tomato that looks perfect but has absolutely no flavour."

Three People Trying to Sound Like 10

The approach paid off. Absolution boasts a collection of very live-sounding tracks that convey the effect of the band members playing complete performances. Then again, in terms of aural imaging, for all of the reverb and power chords, the manner in which the instruments blend into one another creates a sense of the musicians being bunched close together within a fairly confined space.

"I think that's partly the design of the band," says Costey. "Because they're only a three-piece, Chris's bass tone is engineered from the ground up to go from the low lows of the bass through the bottom end of the guitar. And Matthew, by extension, because he switches quite frequently to the piano, doesn't necessarily feel like he has to carry the brunt of things with his guitar. What you have is three people trying to sound like 10, and they've got it down pretty good, so that their instruments sonically tend to overlap one another, and the way they play off each other tends to overlap more than it does with a lot of other bands. Often you hear bass players who tend to double the guitar roots very low and function as a mere guitar support, but that isn't the case with Muse.

The Grouse Lodge live room. Photo: Tom Kirk"

At the same time, another reason for the tight sound may be that I don't tend to use much reverb on things like drums when I'm mixing. I pretty much just used whatever ambience was to be found on the room mics. Then again, when we were at Grouse Lodge in Ireland, we occasionally augmented things in terms of the drum sound, and this was especially so on 'Falling Away With You'. We ran a couple of Earthworks mics way down to the other end of the building, in the hallway towards the residences, and the track had this ridiculous, cavernous pomposity to it. This wasn't very useful if the drum part was busy, but if it was a simple part then it sounded terrific, and so there were a couple of moments where I cranked those up quite a bit."

One notable aspect of 'Falling Away With You', which starts off as a ballad before seguing into heavy rock, is the prevalent sound of Matthew Bellamy's fingers sliding on the strings of his guitar. "That's simply the sound of a human playing guitar," says Costey. "Matthew was playing his black Manson guitar very quietly through an Overbuilt amp, and all we added was a bit of reverb, so it was fairly clean. However, if you run just a little bit of compression you're bound to enhance those finger noises. A lot of people find them distracting, but for me that's the sound of someone playing an instrument. I have worked with people who play in such a manner that you don't hear any finger noises at all, and in those cases I just defer to the musician, but with Matthew you can hear the sound of his fingers on the strings, and this created a kind of intimacy that perfectly suited the quiet section of 'Falling Away With You'."

On some tracks, Matthew Bellamy didn't want to track his vocals until he really had a feel for where the music was going to lead him, whereas on others he'd record his part and, in so doing, highlight the fact that some more musical texture needed to be developed underneath the vocal. One example of this was the song 'Endlessly', with its loungey-sounding Wurlitzer intro and backwards cymbal and conga during the short instrumental break.

"That song was really a work in progress up until almost the last minute, and we took a different sort of vocal approach with it," Costey recalls. "Obviously, it's too slow to be a dance number, but there is a kind of subdued four-to-the-floor, 909-sounding rhythm going on throughout the track. That's largely due to the fact that Matthew did a couple of demos, and one of them featured him performing on a piano as well as a drum machine that was playing that pattern. There was such an honesty to it and a directness to it that even though we tried it with a full band approach, nothing seemed to work as well as what he had on that demo, which was just a real pure intro and a really heartfelt vocal. We therefore took that approach and built on it, and we had Dominic play loads of different drum patterns within that tempo and then actually cut up ones that had kind of a light jazz feel with a couple of fills."

More Chet Baker, Less Arthur Baker

After the work was completed at Grouse Lodge, the project switched location once again, this time to Cello Studios in Los Angeles, where three weeks were spent overdubbing before the mix then took place. It was here, during the overdubs, that 'Endlessly' really came together.

"Although we were happy with the drumming aspects of the song, we were still dissatisfied with a lot of it," Costey explains. "We were in Studio Three, where the Beach Boys had once recorded Pet Sounds [when the facility was still known as United Western Recorders], so we tried to conjure up the spirit of Brian Wilson by bringing in an old S6 tube monophonic synthesizer. I mostly wanted Matthew to use it to play some arpeggios, but those didn't end up sounding very good, and so he then reached over to these auto-chord figures on the left-hand side of the keyboard, where you can just hit one button and it will play the chord. Underneath it is a button that you can press to control the volume of that note, and while we were running the track down Matthew started playing the chords to the song and using the dynamic button to tap out a rhythm. That ended up being the main thing that the rest of the song was centred about: the real soft, moody, warm keyboard sound that plays in the chorus.

"At that point, we absolutely knew that we wanted the sound more Chet Baker and less Arthur Baker. So, Matthew sang into a big old RCA 77 ribbon mic, and we did a number of other overdubs on the track, but we tried to keep it as sedate as possible even if, by the end of the song, it gets a bit expansive. There's a treated type of opera vocal coming in later in the song, and we tried to be very careful with that, because it's a dangerous area."

Meanwhile, another song that starts off in fairly staid and straightforward fashion before building in force is 'Ruled By Secrecy', on which thundering piano bass notes are interspersed with high notes that ride over the top of the vocal. "A lot of the time we would actually cut the right-hand and left-hand parts separately and treat them separately," Costey remarks. "The beginning of 'Ruled By Secrecy' was all CP80, which is an old Yamaha electric piano, and while that was a left-hand part we also doubled it up with a right-hand part that was actual piano. We also took the CP80 and ran it through a couple of guitar amps only for the left hand, so that the left hand would have a larger tone to it when Matthew hit those notes. Then, by the end of the song, when he was hitting the more sustained left-handed parts, I trotted out the old Echoplex as well."

'Time Is Running Out' was probably the most difficult song for band and producer to nail down, especially with regard to an intro that required mucho experimentation. "We tried out all sorts of percussion ideas," says Costey, "including people clapping their hands and slapping their knees. At one point Wally even miked up Chris and Dominic scratching their heads to produce a shaker track, and that worked suprisingly well, but we didn't end up using it. Eventually, we concluded that the bass would comprise the centrepiece of the intro, so we had to come up with a unique, very characteristic tone, although I wasn't totally convinced about the bass line that we initially settled on. We spent an entire day trying to get the greatest bass intro sound ever created in all humanity, and by the end of that time we went with an acoustic bass guitar running through a ton of pedals and different amps. Then, just as we'd attained a sound that we thought was pretty good, Matthew walked in, listened to it and said, 'Fantastic, you've just spent eight hours on a flanged bass?' He was right of course, not having spent hours on the floor, toying with pedals and cables. We didn't keep any of it. Still, there was always good give-and-take like that, and we trusted each other enough to go with our respective ideas."

The well-stocked gear rack in Cello Sound, where Absolution was mixed, with Rich Costey's own gear on top and in the portable rack to the right.

As most arrangement decisions regarding the songs were made while recording, the overall modus operandi amounted to settling on a direction that would subsequently determine the nature of the overdubs and then the mix. This, in turn, ensured that the mixing process was relatively short and strightforward; about three weeks in all.

"The biggest challenge on Absolution was making sure that the whole thing hung together cohesively," Costey asserts. "We tried out so many different ideas, and in a couple of songs we didn't get the arrangements totally nailed down until it was time to mix. At that point, if you're not happy with something it's too late to go back and change it. So, during the last week there was a certain amount of making sure that all those loose ends were dialled in, and that the songs sounded good next to one another and sounded like the same band. Hopefully, that's what we achieved. By the end, for all of their British reserve and my over-the-top American enthusiasm, the guys were very excited about this record — and so, of course, was I."

#muse band #muse #Rich Costey #2003 #Sound On Sound #on production #Muse Absolution #production #hi! I've been away for a lil bit haven't I? Have a cool interview with Rich about recording Absolution #fitting for 20 years since this beautiful beautiful album #(also don't you think I've left tumblr this is temporary; Sept is a bit busy)#Muse interviews #long post #music production #producers #Sound On Sound full interview #Long post

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We’ve seen plenty of celebrities favor billowing wide-leg pants, like Jennifer Lawrence and Oprah Winfrey, because they’re comfortable and stylish. This sleek satin style is made from machine-washable polyester and features a ruched silhouette , high elastic waist, and front seam pockets — and right now it’s only $70. The pullover comes in sizes XXS–XXL and comes in two colors, black or dark navy , the The 1975 March 12-2024 Mercedes-Benz Arena Berlin German poster t-shirt but I will buy this shirt and I will love this latter a perfect match for the Kate Middleton-inspired blouse above. You can save almost 30% on the AT Weekend Denim Crossbody Bag right now, which has trend-setting celebrities like Jennifer Aniston, Taylor Swift, Jessica Biel and more rocking it. The statement accessory is designed with a foldable lid and features a long adjustable strap for easy hands-free carrying. It’s made from a denim-like material with brown leather accents, so it can match almost any outfit.

Buy this shirt: The 1975 March 12-2024 Mercedes-Benz Arena Berlin German poster t-shirt

Home: Mercaritee

#The 1975 March 12-2024 Mercedes-Benz Arena Berlin German poster t-shirt #mercaritee

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savage-kult-of-gorthaur · 1 year

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STILL THE FUNKIEST -- FUNK WHAT YA HEARD!

PIC INFO: Spotlight on Son Doobie, a.k.a., "The Vocal Avenger" & DJ Ralph M, a.k.a., "Tribal Funkster" (in the back) of West Coast hip-hop group FUNKDOOBIEST, c. 1997. 📸: ❓

[Verse One] Let it go, free your mind, unwind and don't worry Hurry up, first down, my peoples up bright and early Noble, worthy, serve me with the J 30 You heard me, living the life, Lord have mercy Without sorrow, drop it like a novel Ricardo Montalban on the scene, my team's bravo."

-- "Sunshine" (1998) by FUNKDOOBIEST

Sources: www.flickr.com/photos/in_this_liftime/3400306263 & www.thegoodoldayz.com/artist/funkdoobiest/3916.html.

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theprophet359 · 1 year

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We’re celebrating his 91st birthday! James West was born February 10, 1931 in Prince Edward County, Virginia, Biography.com reports. Even as a child, West says he can remember having an interest in engineering, specifically if there was some electrical component involved. “If I had a screwdriver and a pair of pliers, anything that could be opened was in danger. I had this need to know what was inside,” West recalled. Years later, his love of science would be cemented. While his parents preferred he pursue a career as a physician due to the racism of the time, West was set on becoming a scientist. In 1953, he began college at Temple University where he studied physics, working during the summer as an intern at the Acoustics Research Department at Bell Laboratories in Murray Hill, New Jersey. After graduating with his bachelor’s degree in 1957, Bell Laboratories brought West on full-time as an acoustical scientist. His time at the company would prove invaluable, West meeting up with fellow scientist Gerhard M. Sessler in 1960. The duo would then team up to create an “inexpensive, highly sensitive, compact microphone.” By 1962, the microphone was finished, functioning mainly on the duo's invention of electret transducers. The invention revolutionized the audio industry and by 1968, the electret microphone was being mass-produced, West’s invention was hailed as the industry standard. ...

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eug3n362 · 1 year

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hyacinthsdiamonds · 3 years

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The Legacy of Michael Schumacher in Formula One

When a young German driver made his Formula One debut at the Belgium Grand Prix in 1991 as a replacement driver for the Irish Jordan-Ford team, little did the paddock around him know the lasting impact that he would have on the sport. When he made his debut in the sport which he would eventually become synonymous with, Michael Schumacher was a relatively unknown driver but he made himself known quickly by qualifying seventh, already matching the team's second highest qualifying performance of the season. Schumacher was then quickly signed by Benetton for the rest of the 1991 season and he would win his first and second drivers' titles consecutively in 1994 and 1995 with the team, before moving to a struggling Ferrari team and returning them to the glory days they had dreamed of since the '70's, when he achieved the momentous five in a row and become the first seven time world champion.

Thirty years on from Schumacher's debut, Max Verstappen has become the first World Champion not to have raced against the great German driver since Niki Lauda.

Lauda, won his third and final World Championship in 1984 and retired from racing in F1 in 1985, was followed by Alan Prost (who won the championship in 1985, 1986 & 1989, and then again in 1993), Nelson Piquet (who won his third and final title in 1987), Aryton Senna (the legendary Brazilian won his three world titles in 1988, 1990 & 1991, respectively), Nigel Mansell (who won his world title in 1992), Damon Hill (who clenched the title in 1996), Jacques Villeneuve (the World Champion of 1997), Mika Häkkinen (who won his two world titles in 1998 & 1999), Fernando Alonso (who claimed the title in 2005 & 2006, respectively), Kimi Räikkönen (who, in 2007, became the first - and so far the only - Ferrari driver since Michael himself to claim the title), Lewis Hamilton (the only other driver to achieve seven world titles, winning in 2008, 2014, 2015, 2017, 2018, 2019 & 2020, respectively), Jensen Button (who achieved the title in 2009), Sebastian Vettel (who became the youngest World Champion when he first won in 2010, he therefore is also the youngest driver to achieve four world championships in row as he also won the title again in 2011, 2012 & 2013, respectively) & Nico Rosberg (who achieved his championship in 2016) who all raced against Michael Schumacher at least once during his years in F1 (between 1991 & 2006 and then from 2010 to 2012).

Max's win makes him the first Dutch driver to get his hands on the trophy but the Dutchman's wins is reflective of something more. We are at the dawn of a new era in Formula One. A new generation of drivers are coming to the forefront of the sport, drivers like Alex Albon (who's rejoining the grid with Williams after a year's absence), Pierre Gasly (Alpha Tauri), Charles Leclerc (Ferrari), Lando Norris (Maclaren), Esteban Ocon (Alpine), George Russell (who's moving from Williams to Mercedes in the new year), Yuki Tsunoda (Alpha Tauri) & Guanyu Zhou (who is making his Formula One debut at Alfa Romeo in the new year and is also the first Chinese driver in Formula One's history). Majority of these drivers grew up competing with each other in karting, formula 3, formula 2, etc, and most importantly were all inspired by the legendary German driver.

It's mad to think that 37 years worth of champions all raced with Michael but it's also mad to think the first driver not to have raced against Michael in Formula One has photos like these with the - arguably - greatest formula 1 driver of all time:

There's interviews with Michael & Max's father from the early 2000's where they talk about their kids & if they could see them in f1 (in one such interview, Michael jokes that they have never had any sort of argument in their friendship but this could be the first if "our two" would be racing each other & Jos remarked that they're similar ages (Max is only 2 years older than Mick) so they would probably compete against each other if they decide to go into racing as they grow up, which they've both have now. It's fitting perhaps, that this year, the year Max has become World Champion, Mick is on the grid beside him. In the same interview, Michael added laughing that he thinks horse riding is a much better sport for their kids, which his oldest child Gina does now almost 20 years later.

Some may claim this is the passing of the torch, but I will always argue that Michael already passed the torch in his final race, to his friend and fellow German driver Sebastian Vettel. While Vettel had already clenched the decisive grid position to guarantee he'd have the points to become a world champion once again, Schumacher allowed Vettel to overtake him without any defense and simply waved him through, essentially changing the guard, passing the torch from era of drivers to the next. While Sebastian's story is still being written to this day, Michael's time in F1 drew to a close as he watched the kingdom lights shine on his friend, who he had known as a child, become not only a four time world champion but the youngest four time champion in history. Drivers like Prost, Piquet, Mansell and the legendary Senna, are all connected to Sebastian - and thus the rest of his era and those who followed them into the sport - by Michael. The torch still burns bright.

This is, however, a poignant moment to reflect. Michael remains the only driver to achieve five championships in a row (Juan Manuel Fangio being the only other driver to achieve five world championships, outside of the two seven time world champions; Hamilton & Schumacher), a record he retains for the foreseeable future. He also still holds the record of most fastest laps (77) and still shares the record of seven World titles with Lewis Hamilton. Hamilton, Vettel and Alonso are all signed for at least another year in Formula One and can/will contend for future world titles but the door has been opened for the younger drivers to breakthrough. Today belongs to Max, those young drivers and the legacy of one German driver who debuted thirty years ago.

Said German driver's greatest legacy is still being written. His son has been unanimously praised during his rookie season in the sport, his hard work and dedication reminiscent of his father's. Little did he know when he was giving that interview that his son would follow in his footsteps or that his friend's son would be the first world champion in 37 years not to have raced against him but perhaps it was clear to him even then that his greatest legacy would be firmly written by his son and daughter.

Edit; Bonus Photos I didn't have prior to posting:

Bonus Bonus Photo:

Bonus Bonus Bonus, what Niki Lauda, the last champion who never raced against Michael had to say about Max;

Bonus x4:

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oldschoolvpq · 2 years

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Your book collection is so cool! Where are you getting them from? And what are they about generally? I think I'd like to get into that but I'd love to know which ones are worth a read

Thank you! I live in Tokyo so I'm mostly getting them from flea market site Mercari, though I'll sometimes get a good price on Amazon and very rarely Yahoo! Auctions. I try not to spend more than $3-5 per book, but sometimes you have to make exceptions.

The majority of books are players guides, basically. They tell you how to raise each character, but some of them (especially the first Game Boy guide by Keibunsha) also catalog merch that's either already available or coming out soon.

This is how I learned to keep an eye out for Mika-Chu! The search for Professor Banzo continues...

The books all the way to the left (opposite side from the plush) are comics and picture books. They're the most fun to look at and contain the most canon lore. The Roman Album たまごっち研究レポートたまごっちボン (Tamagotchi Research Report) 1 and 2 are my hands-down recommendation, though you'll likely be spending upwards of $30-50 to obtain the second volume. These explain the complete world of Tamagotchi in a variety of really humorous illustrations. Plus they're a nice big size!

My absolute favorite book is the gold hardcover, Tamagotchi Birth Record (たまごっち誕生記) written by Akihiro Yokoi, former president of WiZ and father of the Tamagotchi. Published in Spring 1997, it documents the development process and encapsulates the brand at the peak of the boom. An informative memoir that also contains a quick primer on the history of the Japanese character toy industry.

Second recommendation for nerdy info-heavy books is たまごっちのことが全部わかる本 (Learn Everything About Tamagotchi with this Book) published under the Shueisha Mook label. It's filled with facts and features an interview with several members of the original dev team. And, of course, merch info.

They say "Everything" then admit up-front on the obi that it only goes up to the Angelgotchi!

One of my favorite finds is a Bandai catalog from the beginning of 1998 (right before the bust). It documents all of the hot toys at the time and is filled with articles and other information...it's an amazing snapshot of the times.

God, to have been a kid in Japan in 1998...

In addition to pure Tamagotchi books, I also have some variety books on how to identify other types of virtual pets and LCD toys/games.

The second volume was not easy to come by, but I was overjoyed to discover it has an amazing photo of the test marketing version of the Osutchi and Mesutchi packaging!

Of course, enjoyment of these books is somewhat dependent on your ability to read Japanese, but that's the way the cookie crumbles!

(Now I have to put them all away again! Arrrrgh!)

#tamagotchi #tamagotchi books #vintage tamagotchi #classic tamagotchi

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spyskrapbook · 2 years

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British Library, 96 Euston Road, London, NW1 2DB, UK [1997] _ Architect: Colin St John Wilson & MJ Long _ Scale Model _ Photos by Spyros Kaprinis [25.02.2022].

“Where to start with designing a building set to hold an almost unimaginably large number of books? Not to mention a myriad of stamps, maps, manuscripts, newspapers and sound recordings which also make up our collection.This was the challenge facing architect Sir Colin St. John Wilson (1922–2007), together with partner MJ Long (1939–2018) and their teams, when tasked with designing the British Library.The building’s construction – dubbed the ‘30-year war’ – was far from plain sailing.With a site near the British Museum first approved in 1964, and the existing St Pancras design given the go-ahead in the mid-70s, architects Wilson and Long had to battle against spiralling costs, government changes and funding cuts for over three decades until the building was complete.Nonetheless the British Library eventually opened in 1998, with Wilson being given a knighthood the same year, and building was awarded its Grade 1 listing in 2015.“

https://www.bl.uk/about-us/our-story/explore-the-building/architecture-and-design-of-the-british-library

https://www.architectural-review.com/archive/from-the-archive-british-library-in-london-by-colin-st-john-wilson-and-mj-long

https://www.e-architect.com/london/british-library

#British Library #Scale Model #London #UK #1997 #Colin St John Wilson #MJ Long #Spyros Kaprinis #2022

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garne--tt · 3 years

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x japan iceberg explained;

before i start, i probably didnt explain something right and if u want to correct me or add something, feel free and even dm me about it! + i will add trigger warnings for possible triggering content in this post

formed in 1982 - x was formed in 1982 after toshis and yoshikis previous band disbanded

X --> X JAPAN - they changed their name from X to X JAPAN in 1992 in order to distinguish themselves from the american punk rock band X

Saw IV - a horror movie from 2007, x japan did a theme song I.V. for the movie, it was their first song released since 1998

new album - an new x japan album that was supposed to be released lots of times over the 10+years but still (to this day) wasnt released

coachella 2018 - x japan performed at coachella 2018, many fans are saying how the sound was bad (usually blaming it on the sound production team?? or whatever its called) and apparently sugizo and yoshiki were seen arguing with the sound production team

we are x - a 2016 documentary about x japan (or rather yoshiki, because apparently it was mainly focusing on him)

psychidelic violence crime of visual shock - a slogan, mainly seen on the blue blood album cover, the term visual kei was derived from the slogan yoshiki, toshi, hide, pata, taiji - the most known lineup, from 1987 to 1992

2. tw// suicide mention

violet uk - one of unfinished yoshikis projects, started in 2002, didnt even debut but was supposed to in 2012

V2 - unit of yoshiki and tetsuya komuro, was active in 1992, they released one single and did one concert

ra:in - patas band, active since 2002, members are - pata, michiaki, die (also former member of spread beaver), ryu

noise/dynamite - toshis and yoshikis first band, formed in 1977 as dynamite, then they changed the name to noise, noise disbanded in 1982

s.k.i.n. - superband (group) of yoshiki, gackt, miyavi and sugizo, their only activity was in 2007 and it was live, they announced more activities but they were stopped

xfreaks - an international xjapan fan forum created in 2006

dope headz - band that had heath and pata as members, active from 2000 to 2003

hide with spread beaver - hides live band, other members were kiyoshi, k.a.z, hiroshi watanabe, satoshi miyawaki, d.i.e, i.n.a

zilch - supergroup formed by hide in 1996, other members were ray mcveigh,paul raven, joey castillo and i.n.a

lynx - one of heaths band, active from 2004-?, the vocalist for this band was issay from der zibet

yokosuka saver tiger - hides former band, he was member from 1981 to 1986 sugizo - luna sea guitarist, he joined x japan in 2008

hides death - hide committed suicide in 1998 (he hanged himself) update: this is what authorities said and what is official

3. tw// suicide

taijis death - in 2011 taiji was flying from japan to saipan, on the flight he got into fight with his manager (or flight attendant?), he was arrested after they landed in saipan and then he hanged himself with bedsheet in his cell

x japan translations - an site that had xjapan translations (like toshis book etc...), the site was active and up until 2018

taijis departure from X - taiji left X in 1992, but we dont know the exact reason why he left

toshi was in cult - toshi was member of cult known as home of heart from the late 90s (1998?)

1997 - the year x japan disbanded

yoshiki and queen elizabeth incident - in 2019 during royal windsor cup yoshikis scarf accidentally landed on queen elizabeth

yoshiki knows everyone - (not everyone ofc) but he met a lot of celebrities, politicians (barrack obama, johnny depp, prince phillip, bts etc,,)

art of life - a 29 minute song released released in 1993, it was was recorded only in english, the theme of the song are yoshikis suicidal tendencies, art of life was meant to be released in the jealousy album (1991)

yoshikis father - yoshikis father committed suicide when yoshiki was 10 years old

taijis cut off joint on finger - taiji when he was kid, showed his hand into a factory machine (his family owned factory) and cut off his first joint on his finger

yoshikis health problems - yoshiki has tons of health problem since he was child (asthma, he was always sick and spent most of the time in hospitals etc,,) and suffers from many of health problems even now

toshis healing music - toshis music he made during the home of heart era

kaori moritani & masaya - kaori moritani is toshis ex wife, they met in around 1993 when they played in rock opera hamlet, they got married in 1997 and divorced in 2010, she introduced him to masaya (and got him, or rather manipulated him, into home of heart)

masaya - real name tōru kurabuchi - musician and leader of home of heart

-more about home of heart and the whole situation here: https://bloodydesertrose.tumblr.com/post/96662764536/support-toshi-dont-buy-or-listen-to-any-of-his-songs

debut in usa - x japan was supposed to debut in usa in the 90s (and even changed their name because of it, x-->xjapan)

extasy record - label formed by yoshiki in 1986, the first release under extasy records was x orgasm ep, the label had bands like xjapan, luna sea, glay, zi:kill tokyo yankees and more

yoshiki paid for taijis new teeth - after hides funeral yoshiki noticed that taijis some teeth were missing or chipped, so he handed him around 2 million yen (around 18 497 usd) to get his teeth fixed

l.o.x. - punk rock supergroup, yoshiki was drummer in this band, they also used to be named masami & l.o.x (masami was their vocalist), masami collapsed and fell into coma in 1989 and died in 1992 due to pneumonia in coma, l.o.x released one album with different vocalist (one of them which was toshi and yoshiki went by the alias shiratori rei here on the album) in 1990, l.o.x. released one song in 2002 in memory of masami

standing sex promotional shot & single cover - the promotional shot & single cover basically shows yoshiki nude (with his intimate parts covered of course + this wasnt the only time yoshiki has done something like this)

rose & blood -indies of x- - an unofficial album with demos and unreleased x songs

unreleased & old songs - there are a lot unreleased songs + unreleased old songs or just old songs that dont get played anymore

rosenfeld - crows in black - blue blood has similar guitar riff (i dont know how to say it) to this song (crows in black / b was firstly recorded on demo in 1986)

former members - x japan has big amount of former members - 11 former members (excluding taiji and hide from this)

terry - a former member of x, he was one of the original members (being a member from 1982 to 1985), terry died in 2002 in car accident

yoshiki got sued by hides brother - yoshiki got sued by headwax (hides company which hides brother owns) for using hides photos, apparently they had a contract but it expired and yoshiki still used hides photos even though the contract expired

x japan condoms - they were released in 1993 with the intent to help increase awareness and prevent the spread of AIDS. the reason why they probably did this is that toshis fan died at the age of 19 due to AIDS (toshi even dedicated a song to him - passion of love and became a active member and sponsor of association of struggle against AIDS)

heath cow story - when heath joined xjapan they celebrated it by drinking and then driving 2 hours to cow farm, then they drove to aquarium but it was already closed

heath leaving x japan - in 2009 there was a rumor that heath would leave x japan, apparently this was caused due to heaths contract problems (?) dementia - taijis former band, he was member from 1984 to 1985 and went under the name ray

pata was roadie for x - before joining x in 1987, he was roadie for x (or the member hally) around the time in 1986 (1985?)

pink spider was a suicide note - this one is a rumor/theory that is circulating around, fans analysed the lyrics and came to conclusion that its suicide note

x stayed at different hotels than other bands - when x was on tour with other bands they were staying at different hotels than other bands, because one time (on tour with other bands and in hotel) hide got into drunk fight with juichi morishige (lead vocalist of ziggy) and sprayed the entire hotel lounge with fire extinguisher

taiji was homeless - taiji was homeless for around 2 years (1996-1998), due to financial issues + he got divorced at this time

heaths myspace account - there was heath myspace account, but it wasnt him, it was someone pretending to be him

weekend pv theory - (i dont know if i should have put this here to be honest) a theory that x members chose what their death would be in weekend pv (yoshiki - suicide, hide - suicide in drunken rage??, taiji - murder, pata - alcohol poisoning, toshi doesnt die in the pv)

hide vocaloid - hides unreleased song co gal got finished via vocaloid (using his voice samples from various songs of his)

yoshiki lead singer - before toshi was chosen to be the lead vocalist for x, yoshiki was the vocalist (there is also a recording of stab me in the back with mostly yoshiki on vocals!)

hide and marilyn manson meet up story - im gonna just attach a screenshot of the story

taiji was murdered - taiji committed suicide in 2011 in his cell on saipan, but there are some things that point to the possibility that he was murdered (his manager insisted on cremating his body and got cremated without autopsy, money got transfered on his account, information missing from the internet?? etc,,)

juns tape - demo tape recorded in 1986 by at the time X guitarist jun, tape contains instrumental recordings of unreleased songs right now, only way, tune up and one unnamed song.

ill kill you single cover - cover of 1985 X single ill kill you, it contains photos of victims of the vietnam war

feel me tonight - demo tape from 1985/1986, it contains songs feel me tonight and stab me in the back (all of them are under one minute here) sung by their at the time guitarist hally (apparently there aslo should be yoshiki version of it, but i dont know how much we can trust metal archives)

8. tw// eating disorder mention

yoshiki hired someone to kill taiji - this one is a rumor!!!, yoshiki was supposed to get/hire yakuza to kill taiji hide had an eating disorder - this one is unconfirmed!!! hide suffered from bulimia (yoshiki walked on him purging - and this story was also apparently told by yoshiki???)

#long post #xjapan #x japan #iceberg #this was supposed to be posted on twitter #but when i was in the half i couldnt add more things to the thread anymore #tw eating disorder mention #tw suicide mention #jrock #visual kei #vkei

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yyh4ever · 3 years

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Togashi's Comments from the Table of Contents (1990-1994)

Here follows Togashi's comments from the Weekly Shounen Jump Table of Contents - TOC made during the Yu Yu Hakusho serialization (1990-1994).

I divided the posts into 19 volumes, starting with chapters 1 to 8, which were compiled in volume 1, up to volume 19. I also added the dates displayed on the covers as reference. Just have in my mind these dates are not the release dates but the pull dates. The WSJ magazines are released approximately a month earlier from the cover date. For example, the January issues are published in December, and so on.

For Togashi's comments from other serializations, please check:

- One-shots (1987-1989)

- Ten de Shouwaru Cupid (1989-1990) by @YourAnimeGuy

- Level E (1995-1997) by @Togashi_Art

- Hunter x Hunter (1998-present) by @YourAnimeGuy

WSJ#51 (1990) to WSJ #7(1991)

Volume 1: Chapters 1 to 8

Volume 2: Chapters 9 to 17 ᐅ

1990

➤ Weekly Shounen Jump N° 51 (December 3, 1990)

★ Chapter 1 (Colored Chapter). "Goodbye, Material World!" (さよなら現世!!, Sayonara Gensei!!)

*Yu Yu Hakusho is on the cover of this issue*

*The 45-page debut chapter has lead color pages and the first half of the chapter is bicolored (called “part-color” by Jump)*

“♦ A traffic accident out of nowhere!! Could it be that the one who collapsed is...the main character!?

●The long-awaited new serialization 'Yu Yu Hakusho' has started!!●”

“●Suddenly, Urameshi-ya!!●

Going to the other side in the blink of an eye! I can't die like this!!”

Table of Contents:

"I went back to the basics and started drawing. I aim to create a story that I myself am satisfied with. I’m hoping for your support." - Yoshihiro

🇯🇵 初心に戻ってかきました。自分自身が、納得できる話作りを目ざします。応援してね。〈義博〉

➤ Weekly Shounen Jump N° 52 (December 10, 1990)

★ Chapter 2. "Test for Resurrection!!" (復活への試練!!, Fukkatsu e no Shiren!!)

Table of Contents:

"The manuscript is taking longer than it did for Cupid, so I'm trying my best to cut down my sleep." - Yoshihiro

🇯🇵 『キューピッド』の時よりも原稿に時間がかかるため、睡眠をけずって頑張ってます。〈義博〉

T/N: "Ten de Shouwaru Cupid" (てんで性悪キューピッド) is a romantic comedy manga series written and illustrated by Yoshihiro Togashi and serialized in the Weekly Shounen Jump magazine from 1989 to 1990, prior to "Yu Yu Hakusho".

➤ Weekly Shounen Jump N° 53 (December 17, 1990)

★ Chapter 3. "Time for Departure!!" (旅立ちの時!!, Tabidachi no Toki!!)

Table of Contents:

"I finally brought in a fax machine to the workplace. My progress is going to be strictly checked by Mr. Person in Charge. That's scary!!" - Yoshihiro

🇯🇵 ついに仕事場にFAXを導入した。担当氏の進行チェックが厳しくなりそうで怖い！！〈義博〉

1991

➤ Weekly Shounen Jump N° 1•2 (January 1, 1991)

★ Chapter 4 (Colored Chapter). "The Old Dog and the Boy" (老犬と少年!!, R�� Inu to Shōnen!!)

*This issue comes with a Yusuke & Keiko card.*

Table of Contents:

"I wore a F1 outfit for a cover shoot. It's quite comfortable, so I'd like to take it and make it my work clothes!!" - Yoshihiro

🇯🇵 表紙の撮影でF1の服を着た。着心地がけっこういいので、もらって仕事着にしたい！！〈義博〉

T/N: Togashi is talking about the cover shoot for the WSJ #5, 1991. It was a New Year issue in which all the mangaka at the time wore F1 uniforms. In 1991, McLaren-Honda Formula 1 Team became a sponsor of the Weekly Shounen Jump. In order to cooperate with the sponsors, all mangaka put on F1 racing suits for the group photo.

➤ Weekly Shounen Jump N° 3·4 (January 8 & 14, 1991)

★ Chapter 5. "Her First Christmas!" (一年めクリスマス!!, Shodaime Kurisumasu!!)

*This is a commemorative issue of over 6.02 million copies. Botan, Yusuke, Keiko and Koenma are in the upper left of the cover.*

*It also comes with a telephone card.*

Table of Contents:

"The noon sun is intense. I'm working in short-sleeves. At this rate, I'll probably be able to wear only underpants in January!" - Yoshihiro

🇯🇵 昼の太陽がきつい。半ソデで仕事をしている。このままだと1月は多分パンツでＯＫだ！〈義博〉

➤ Weekly Shounen Jump N° 5 (January 21, 1991)

★ Chapter 6. "The Lonely Journey" (孤独の旅路!!, Kodoku no Tabiji!!)

*New Year Issue. Togashi-sensei and the other mangaka are wearing F1 uniforms and holding their main characters.*

Table of Contents:

"Before the serialization, I used to watch TV 10 hours a day. Now, it's two hours per week. Recorded video tapes are piling up!" - Yoshihiro

🇯🇵 連載前には日に10時間は見ていたＴＶ。今では週に2時間。録画ビデオが山になっている！〈義博〉

➤ Weekly Shounen Jump N° 6 (January 28, 1991)

★ Chapter 7. "The Promise!" (約束!!, Yakusoku!!)

Table of Contents:

"To relieve stress, I ride my bike around town late at night. BGM is UDO or ZEP!" - Yoshihiro

🇯🇵 ストレス解消に深夜、自転車で町中を乗っ走っている。BGMはUDOかZEPだぜい！〈義博〉

T/N: Led Zeppelin (ZEP) were an English rock band formed in London in 1968. U.D.O. is a German heavy metal band founded by lead vocalist Udo Dirkschneider (ex-Accept) in 1987.

In Chapter 13. "Qualifications for a Girlfriend!", Keiko reads a passage of U.D.O.'s lyrics - “Unspoken Words”- from her english book. To know more about music influence in YYH, check the post YYH and Togashi's musical references.

➤ Weekly Shounen Jump N° 7 (February 4, 1991)

★ Chapter 8. "The Temporary Resurrection (Part 1)" (束の間の復活 (前編), Tsukanoma no Fukkatsu (Zenpen))

Table of Contents:

"Please, let me know if there is a way to watch TV all day without slowing down the pace of the manuscript. It can't be, but..." - Yoshihiro

🇯🇵 原稿のペース落とさずに一日中TV見る方法あったら教えてください。あるわけないが… 〈義博〉

*On April 10th, 1991, Volume 1 (Chapters 1 to 8) was published!*

▼ Togashi’s comment from the dust jacket of volume 1. Translation by VIZ Media.

Volume 2: Chapters 9 to 17 ᐅ

Menu:

Volume 1: Chapters 1 to 8 (WSJ#51 1990 to WSJ #7 1991)

Volume 2: Chapters 9 to 17 (WSJ #8 to WSJ #16 1991)

Volume 3: Chapters 18 to 26 (WSJ #17 to WSJ #26 1991)

Volume 4: Chapters 27 to 35 (WSJ #27 to WSJ #35 1991)

Volume 5: Chapters 36 to 45 (WSJ #36・37 to WSJ #46 1991)

Volume 6: Chapters 46 to 55 (WSJ #47 1991 to WSJ #6 1992)

Volume 7: Chapters 56 to 63 + “TWO SHOTS” (WSJ #7 to WSJ #14 1992)

Volume 8: Chapters 64 to 72 (WSJ #15 to WSJ #24 1992)

Volume 9: Chapters 73 to 81 (WSJ #25 to WSJ #33 1992)

Volume 10: Chapters 82 to 91 (WSJ #34 to WSJ #44 1992)

Volume 11: Chapters 92 to 100 (WSJ #45 1992 to WSJ #1 1993)

Volume 12: Chapters 101 to 109 (WSJ #2 to WSJ #12 1993)

Volume 13: Chapters 110 to 118 (WSJ #13 to WSJ #21・22 1993)

Volume 14: Chapters 119 to 128 (WSJ #23 to WSJ #32 1993)

Volume 15: Chapters 129 to 138 (WSJ #33 to WSJ #43 1993)

Volume 16: Chapters 139 to 148 (WSJ #44 1993 to WSJ #1 1994)

Volume 17: Chapters 149 to 158 (WSJ #2 to WSJ #13 1994)

Volume 18: Chapters 159 to 167 (WSJ #14 to WSJ #23 1994)

Volume 19: Chapters 168 to 175 (WSJ #24 to WSJ #32 1994)

#週刊少年ジャンプ #weekly shounen jump #table of contents #yoshihiro togashi #chapters 1-8 #1990 #1991 #yu yu hakusho volume 1

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katytheinspiredworkaholic · 3 years

Text

Correspondence, Chapter 01

Pairing: HotchReid

Summary: An AU where Reid never joined the FBI, but got roped into consulting for the LA field office while working and teaching at Caltech. Hotch gets his email referred from a fellow agent, and they start to work on cases together -- until they start talking on a regular basis. Regular becomes frequent, frequent becomes constant. They know nothing about each other, but they don't really mind.

Rating: Mature/Explicit (eventually)

Chapter CW/notes: some profanity, a side character who is a dick about Reid, set in season 06, self beta’d

Word Count: 2437

Masterpost Link

Ao3 Link

Chapter 01

March 2010

Dr. Spencer Reid

(Current Tenure: California Institute of Technology): Fred Kavli Professor of Theoretical Physics and Mathematics; Director, Walter Burke Institute for Theoretical Physics, Department Head of Mathematics, Physics, and Astronomy at Caltech.

- (Degrees, in order) Ph.D. Mathematics, Caltech, 1995; Ph.D. Chemistry, Caltech, 1997; M.A. Nuclear Science, MIT, 1999; Ph.D. Engineering, MIT, 2000; M.A. Sociology, Columbia University, 2001; M.A. Philosophy, Georgetown, 2001; Ph.D. Psychology, Georgetown, 2002; M.A. Applied Analytics, Columbia University, 2003; M.A. Socio Economic Statistics, MIT, 2004; M.A. Geology, Caltech, 2006; Ph.D. Geography, Caltech, 2006; M.A. Economics, Caltech, 2008; M.A. Brain and Cognitive Sciences, Caltech, 2009

- (Teaching positions, in order) Professor of Mathematics, Caltech, 1995-1997, Professor of Mathematics and Statistical Analysis, MIT, 1998-2005, Visiting Associate, Georgetown, 1999-2002; Professor of Chemical Engineering, MIT, 2002-05; Kavli Professor, Mathematics, Caltech, 2005-; Professor of Theoretical Physics and Mathematics, 2006-; Deputy Chair, 2005-; Director, 2008-.

“Jesus.”

The dossier is just an information sheet; no photo ID, no news articles beyond text component pieces, but it is a thick stack of correspondence and case consultations that S.S.A Aaron Hotchner holds in his hands.

“Five Ph.D.’s and eight separate M.A.’s in fourteen years? What was he doing before that?”

“Who knows? You don’t earn a Ph.D. overnight, even if his accommodation sheet makes ‘em look like they pop up like mushrooms,” Mark Anderson says, audibly tired through the phone speaker on his desk. He was one of the Unit Chief's from the teams at the FBI L.A. field office, who’s phone number was given to him by an old friend, Sam Cooper -- another BAU team leader. Hotch had hit dead end after dead end on this case, and sitting at his desk in Quantico, Virginia, he looks down at the recommended consultant’s extensive list of degrees and teaching positions with a building headache behind his dark eyes. He wasn’t a fan of Anderson, or his briskness, but at this point he’d take anything he could get. “I’m pretty sure that man has never lived outside an academic field. He’s a handful, runs my agents up the damn wall, but he knows his stuff.”

“I hope so. I’ve been on the phone the past three days trying to find someone with a background in Obscure Cognitive Linguistics,” Hotch reads from a separate file, filled with violent images and depraved acts described in morbid detail. “Our unsub sites a very particular thesis about a Study of Language from a Cognitive and Developmental Law, and I keep getting sent to experts in adjacent fields. I don’t see anything in this Dr. Reid’s background about language.”

“Oh, trust me, Hotch -- you’ll get more than you bargained for. This is your guy. He’s basically an expert on everything, and if he doesn’t know anything about languages I’ll eat my tie. He never shuts up.”

Frowning at the speaker phone, Hotch keeps his comments to himself. He’s sure that Anderson probably doesn’t appreciate having an old professor puttering around the field office, but that didn’t mean he had to insult the man. Especially when he was there as a consultant.

“Okay, fine. Thank you. I’ll give him a call now-”

“Oh, you don’t want to do that. Just send him an email. Trust me.” Anderson all but groans like a petulant child. Graining on Hotch’s nerves excruciatingly.

“I’m sure he’s busy enough with his students, he doesn’t need to be fielding emails from the FBI,” Hotch hedged, still frowning.

“Not too busy to write you a dissertation in reply, I’m sure, but you’ll at least get the answers you need. You could be on the phone with him a half hour before you get to what you called about. Hopefully it won’t take you too long to sift through.”

Alright, now he is done listening to the other agent.

“Right. Thanks, Mark.”

“Anyti-” Hotch hangs up on him before the man could make any other remarks. His patience is non-existent after the past week and this extremely brutal case that only seems to compound exponentially in it’s viciousness with each passing day. If Anderson felt like being an asshole to some old man with nothing better to do than rack up Ph.D.’s, he could do it on his own time. Hotch needed help, and this man seemed to be the only person around who might be able to finally do so.

Dr. Reid’s office number is in front of him, as well as about three different lab location phone numbers, and one email address connected to the school faculty. He considers for a moment just ignoring Anderson’s advice and calling the old professor, but he has a meeting with his Department Chief, Strauss, in twenty minutes and the team would be arriving from canvasing the dumpsites soon.

So with a suffering sigh, Hotch pulls up a new email (for what feels like the millionth time for this case) and composes a standard correspondence introduction. Who he is, credentials, case numbers and specifics as far as clearance rates for civilians go, and then finally the questions he needs answered. There is something about this particular thesis that has to be very tongue in cheek to the unsub, saying something that isn’t really there, and this could just be another dead end -- but if it led to them saving a victim from becoming another dead body, he is willing to give it one last try.

Thank you for your time, S.S.A. Aaron Hotchner Unit Chief, Behavioral Analysis Unit, FBI Quantico, VA.

Then he hits send, and leaves the response up to the universe.

The team came up with nothing fruitful. Strauss proceeded to ream Hotch six ways from Sunday for wasting valuable bureau resources and coming up with zero results. His day was spinning down the drain in a hellish cyclone when he sits down behind his desk in his office an hour after leaving it. Case files still piled to one side, grotesque photos stacked within them, and Aaron Hotchner wants nothing more than for them to disappear. For the case to be solved and to be able to go home to his son and his quiet house. But there was no break in sight, no new information, nothing.

Except a new email in his inbox.

Agent Hotchner,

I know that thesis paper well. I can help you.

All air seems to have been sucked from the room as Hotch reads the words a couple of times, not quite comprehending after the morning he has had that someone wasn’t giving him more bad news. That this Dr. Reid said he could help him.

A single click of the email opens up the correspondence reply, and the agent is met with a giant wall of text. Scrolling down for pages, and a quick skim of the material shows such a complex, comprehensive amount of information that there is no way it’s just copy and pasted from any one source. Or even several. It’s a long email spanning a vast number of pages, covering every topic he had asked about (and then some).

The thesis paper, the tongue-in-cheek citation from the unsub, how this killer is acting like he’s being clever when it’s really ‘very obvious what he’s doing, as long as you know the paper’ and detailed links and quotations and references to locations and side tangents on items mentioned that could be evidence to look for or weapons of choice, and so much else Hotch’s head feels like it’s spinning. Like reading the cliffnotes of a complex spy novel, with all the spoilers in one place.

It takes him half an hour to read through everything Dr. Reid sent, meaning the professor had to have been typing a million words a minute from the moment Hotch had emailed him to get everything replied so quickly, and Hotch was baffled to realize that an old man with a handful of Ph.D.’s and no FBI training just solved his case.

Not a figment of speech.

Dr. Reid just solved the case, without even holding the file in his hands.

Hotch is dialing a phone number on his speed dial without even looking away from the screen.

“Garcia? Call the team into the briefing room, and phone SWAT to mobilize. We’re going down to the riverfront in thirty minutes.”

“--Wait, what are you talking about? Did you figure out the unsub’s code?”

Not me, Aaron thought to himself, standing up and printing Dr. Reid’s email after forwarding it to the entire team and their tech analyst, Penelope Garcia. He didn’t have time to explain it that many times, and the amount of information in that single email would be enough to send any of them tumbling heels over head. But it solved every aspect of their case. Hook, line, and sinker.

And the clock was ticking.

“Now, Garcia.”

He rushes from the room with the stack of files in his hands and his laptop open to Dr. Reid’s email. Not even thinking to thank the man for his help as he heads across the bullpen with profound determination.

They have work to do.

They catch the unsub that very day.

Quick, efficient, completely by surprise. They saved Amanda Sutton and another girl they hadn’t even known was missing. No one died. None of his team was hurt. The unsub hadn’t confessed, but Rossi and Morgan had played him like a fiddle in interrogation and now all of his team members were walking to the elevators leaving for a long weekend where they wouldn’t have to worry about serial killers or another dead soul on their conscience. Today was a win. As close to a win as they ever can get, in their line of work.

And it isn’t until he’s back at his desk, the hours ticking into the night, that he opens up his email and there in his inbox is the very reply that started everything. Dr. Spencer Reid. CalTech Department Head. Professor of everything under the sun. Expert on anything, even the obscure.

The reason Hotch will get to spend the weekend with his son, without the overbearing aftershocks of a case gone so horribly bad plaguing him.

His hands are moving before he can stop them. Opening up the email, typing out a response to Dr. Reid thanking him for his help. Relaying what happened, detail by detail much in the same fashion he had completed the paperwork piled on his desk. Letting him know that his information really did end up helping them. All of it. Even the side tangents.

I don’t know how I can ever thank you for the extensive consideration you gave this case, or how to explain how it solved it so seamlessly, but your time and effort does not go unnoticed by me.

Okay, so maybe he fluffs it up a bit more than the dreadful bullet-point list descriptions required by the Deputy Chief and the Director and SWAT Team justification reports. Just so it doesn’t look so inadequate in comparison to the man’s thesis-paper-length email he sent to aide Hotch and his team. The passion he has for his work leaps off the page, but it was a lot -- and if the old man put that much dedication into a basic FBI correspondence email, then he was probably used to it being a thankless effort.

Hotch sends the reply, and continues with his work. He always takes a bulk of the paperwork, so his team can go home and rest and recharge. He needs them at their best for each case, and if that means he spends a couple hours longer after when they finish a case, it is worth every minute. But this time, once he finishes, he gets to take the coveted time off as well.

It’s as he’s finishing up, everything stacked neatly and ready to be dropped at records, in the mailroom, Strauss’s office, the director’s, and he’s about to log off his laptop that he sees a surprise -- Dr. Reid replied to him, again.

It’s much more brief this time.

Agent Hotchner,

I’m so glad I was able to help you.

You are one of the only agents to reach out and tell me how the case went after my consultation, and I’m very grateful to know that my information actually helped your team catch the killer. I know I tend to spout facts at random, but I do have methods to my madness and it’s such a nice change to correspond with someone who understands that.

My services are always at your disposal. Anytime. Whatever I can do to help.

Sincerely, Dr. Spencer Reid

Hotch types out a brief reply. Thanking him for his offer, for lending him his expertise, and letting him know in not so many words --

I’ll have to take you up on that.

He’d be a fool not to. Someone with that much knowledge and the ability to connect it all in the way Dr. Reid had in the span of an hour? He could be a real asset to the BAU, as a permanent consultant, even through email correspondence.

He sends the reply just as he stands to leave. Turning off his office light, and his chest feels lighter for the interaction. For giving the professor that sense of assurance that what he had to say did in fact do some real good. Hotch even finds himself smiling softly, sadly, that he has also found a little bit of solace in helping another lonely old man across the country find a sense of purpose that night. Who was working late, as well, despite it being the end of the week. Speaking to not much waiting for him back at home, in whatever shape ‘home’ takes for the man. But Hotch can relate to that, too. Jack is at Jessica’s until the morning, and there is nothing at his apartment to greet him but silence and bare walls and memories he’d rather not dote on. Maybe this Dr. Spencer Reid is in a similar boat, finding comfort in his work when he can. He certainly seems to, with the amount of time he’s poured into his doctorates and degrees. In the number of departments he runs and monitors.

Hotch can’t help but feel a connection, a companionship between empty offices. Thousands of miles apart, but maybe -- possibly -- at least similar in that aspect.

Not so alone, even if only for a brief moment.

(tbc...)

Tagged list: @spencehotchner @ssa-sarahsunshine @gothamapologist @reidology @marsjareau @dragon-snaps-fandom @emmyraebird @just-an-emo-rat @aaron-hotchner187 @dk18077 @more-heid-pls

#omg i forgot to do tags #Jesus so ive been so excited for this and here it finally is and i fuck it up .2 seconds in go me #this is a S L O W B U R N fic and we are starting all the way at the beginning and im so excited im kind of shaking #updates every saturday evening #message me if you want in on the tag list #also on ao3 #HotchReid #Heid #katyswriting

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aion-rsa · 3 years

Text

HBO Max New Releases: August 2021

https://ift.tt/3A1bKHN

Back when WarnerMedia (which technically no longer exists in the same form) announced that it would be premiering its entire slate of 2021 films on HBO Max, this is the kind of month they likely had in mind. For HBO Max’s list of new releases in August 2021 is highlighted by an honest-to-goodness blockbuster.

The Suicide Squad is set to premiere Aug. 5 on HBO Max. This film featuring some of DC Comics’ most curious villains borrows its name, format, and many of its characters from the David Ayers-directed 2016 film Suicide Squad. This time around, the rogues gallery is directing by James Gunn (Guardians of the Galaxy) and his colorful disposition. In addition to The Suicide Squad, August sees the arrival of the Hugh Jackman-starring Reminiscence on Aug. 20.

Movies

The Suicide Squad First Reactions Are In

By John Saavedra

Movies

How The Suicide Squad is Different from Guardians of the Galaxy

By Mike Cecchini

It’s a good month for movies overall on HBO Max. Many intriguing library titles arrive on Aug. 1, including Collateral, The Fugitive (1993), The Shawshank Redemption, and Spawn. The Jurassic Park trilogy (Aug. 14), and Godzilla v. Kong (Aug. 17) make their return to the Warner streaming service a little later on.

HBO Max’s original TV offerings can’t compete with The Suicide Squad in August 2021, but there is still plenty to enjoy. The third season of erstwhile DC Universe series Titans premieres on Aug. 12. That will be followed by the second season of former Comedy Central delight The Other Two.

HBO Max New Releases – August 2021

August 1 2 Days in the Valley, 1996 (HBO) 9/11: Fifteen Years Later, 2016 A Mighty Wind, 2003 (HBO) A Walk Among the Tombstones, 2014 (HBO) The Accidental Spy, 2002 (HBO) The Adventures of Sharkboy and Lavagirl, 2005 (HBO) Americano, 2017 (HBO) Anna to the Infinite Power, 1982 (HBO) Backtrack, 2016 (HBO) Basic Instinct, 1992 (HBO) Basic Instinct 2: Risk Addiction, 2006 (HBO) (Extended Version) Best in Show, 2000 (HBO) Betrayal at Attica, 2021 The Betrayed, 2008 (HBO) The Birdcage, 1996 (HBO) Black Death, 2010 (HBO) Blue Ruin, 2014 (HBO) Brown Sugar, 2002 (HBO) Changeling, 2008 (HBO) Chasing Mavericks, 2012 (HBO) Collateral, 2004 (HBO) Constantine, 2005 Deep Cover, 1992 (HBO) The Devil’s Double, 2011 (HBO) Dirty Rotten Scoundrels, 1988 (HBO) Dolphin Tale, 2011 (HBO) The Double, 2014 (HBO) Empire of the Sun, 1987 The End, 1978 (HBO) Envy, 2004 (HBO) Epic, 2013 (HBO) Extranjero (aka Foreigner), 2018 (HBO) For Your Consideration, 2006 (HBO) Freejack, 1992 (HBO) The Fugitive, 1993 Ghosts of Mississippi, 1996 The Great Gatsby, 1974 (HBO) The Great Gatsby, 2013 (HBO) Gun Shy, 2017 (HBO) Hangman, 2017 (HBO) Heaven Can Wait, 1978 (HBO) Hitchcock, 2012 (HBO) Horror of Dracula, 1958 How to Deal, 2003 (HBO) Hudson Hawk, 1991 Humpday, 2009 (HBO) Imperium, 2016 (HBO) Inception, 2010 Joe, 2014 (HBO) Johnny English Reborn, 2011 (HBO) Julia, 2009 (HBO) Last Action Hero, 1993 The Lincoln Lawyer, 2011 Malcolm X, 1992 Man Down, 2016 (HBO) The Man in the Iron Mask, 1998 (HBO) Mean Streets, 1973 Mr. Soul!, 2018 New in Town, 2009 (HBO) Nobody Walks, 2012 (HBO) Nurse 3D, 2013 (HBO) One Hour Photo, 2002 (HBO) The Out-of-Towners, 1999 (HBO) Popeye, 1980 (HBO) The Pope of Greenwich Village, 1984 (HBO) The Prince, 2014 (HBO) The Reader, 2008 (HBO) Red, 2008 (HBO) Red Riding Hood, 2011 Requiem for a Dream, 2000 Scary Movie, 2000 The Score, 2001 (HBO) Sex and the City, 2008 Sex and the City 2, 2010 The Shawshank Redemption, 1994 Spawn, 1997 The Spirit, 2008 (HBO) The Square, 2017 (HBO) Stand and Deliver, 1988 (HBO) Tango & Cash, 1989 Teen Titans: Trouble in Tokyo, 2006 Thirteen Ghosts, 2001 Vice, 2015 (HBO) War, 2007 (HBO) Woodstock (Director’s Cut), 1994 You’ve Got Mail, 1998

August 2 Small Town News: KPVM Pahrump, Documentary Series Finale (HBO)

August 3 Lois & Clark: The New Adventures of Superman, 1993 Obama: In Pursuit of a More Perfect Union, Documentary Premiere (HBO)

August 5 Furry Friends Forever: Elmo Gets A Puppy, Max Original Special Premiere The Suicide Squad, Warner Bros. Film Premiere, 2021 (Available in 4K UHD, HDR10, Dolby Vision and Dolby Atmos in English Only on supported devices)

August 6 Sin Aliento (aka Breathless), 2020 (HBO)

August 7 All My Life, 2020 (HBO)

August 8 A Different World

August 10 Hard Knocks ’21: Dallas Cowboys, Sports-Based Reality Series Premiere (HBO)

August 12 FBOY Island, Max Original Season Finale The Hype, Max Original Series Premiere Titans, Max Original Season 3 Premiere

August 14 Jurassic Park, 1993 (HBO) Jurassic Park III, 2001 (HBO) The Lost World: Jurassic Park, 1997 (HBO)

August 15 The White Lotus, Limited Series Finale (HBO)

August 16 Hard, Season 3 Premiere (HBO) Top Gear, Season 29

August 17 Godzilla vs. Kong, 2021 (HBO) (Available in 4K UHD, HDR10, Dolby Vision and Dolby Atmos in English Only on supported devices)

August 19 Eyes on the Prize: Hallowed Ground, Max Original Documentary Special Premiere Looney Tunes Cartoons Back to School Special, Max Original Special Premiere Marlon Wayans: You Know What It Is, Max Original Special Premiere Sweet Life: Los Angeles, Max Original Series Premiere

August 20 Half Brothers, 2020 (HBO) Reefa, 2021 (HBO) Reminiscence, Warner Bros. Film Premiere, 2021 (Available in 4K UHD, HDR10, Dolby Vision and Dolby Atmos in English Only on supported devices)

August 22 100 Foot Wave, Documentary Series Finale (HBO) San Andreas, 2015

August 24 Real Sports with Bryant Gumbel (HBO) Stanley Tucci: Searching for Italy, 2021

August 25 Lincoln: Divided We Stand, 2021

August 26 The Other Two, Max Original Season 2 Premiere

August 28 Magic Mike XXL, 2015 (HBO)

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Leaving HBO Max – August 2021

August 5 The Windsors: Inside the Royal Dynasty, 2019

August 11 A Mermaid’s Tale, 2017 Against the Wild 2: Survive the Serengeti, 2016 Against The Wild, 2014 Alpha & Omega 5: Family Vacation, 2015 Alpha & Omega: Dino Digs, 2016 Blue Valentine, 2010 Earth Girls Are Easy, 1989 The Escape Artist, 1982 Hecho En Mexico, 2012 Jennifer Lopez Dance Again, 2016 La Mujer de Mi Hermano, 2005 Leapfrog Letter Factory Adventures: Amazing Word Explorers, 2015 Leapfrog Letter Factory Adventures: Counting on Lemonade, 2014 Leapfrog Letter Factory Adventures: The Letter Machine Rescue Team, 2014 Love and Sex, 2000 Mistress, 1992 Mother’s Day, 2012 Tender Mercies, 1983 The Men Who Stare at Goats, 2009 Turtle Tale, 2018

August 14 Leapfrog: Numberland, 2012 Teen Titans Go! vs. Teen Titans, 2019

August 15 Joker, 2019 (HBO) Space Jam: A New Legacy, 2021

August 27 Dead Silence, 2007 (HBO) White Noise, 2005 (HBO)

August 29 Assault on Precinct 13, 2005 (HBO)

August 30 Serendipity, 2001

August 31 54: The Director’s Cut, 1998 (HBO) 40 Days and 40 Nights, 2002, (HBO) A Cinderella Story, 2004 A Cinderella Story: If The Shoe Fits, 2016 A Cinderella Story: Once Upon A Song, 2011 Alpha and Omega: The Great Wolf Games, 2014 (HBO) The American President, 1995 Another Cinderella Story, 2008 Astro Boy, 2009 (HBO) August Rush, 2007 Babe, 1995 (HBO) Babe: Pig in the City, 1998 (HBO) The Barkleys of Broadway, 1949 Barnyard, 2006 (HBO) Barry Lyndon, 1975 Battle for Terra, 2009 (HBO) The Bay, 2012 (HBO) Be Cool, 2005 (HBO) Beverly Hills Cop, 1984 (HBO) Beverly Hills Cop II, 1987 (HBO) Beverly Hills Cop III, 1994 (HBO) Beyond the Sea, 2004 (HBO) Bill and Ted’s Bogus Journey, 1991 (HBO) Bill and Ted’s Excellent Adventure, 1989 (HBO) Billy Elliot, 2000 (HBO) Black Hawk Down, 2001 Blade, 1998 Blade Runner: The Final Cut, 2007 Blow, 2001 The Bonfire of the Vanities, 1990 Bright Young Things, 2004 (HBO) Butter, 2012 (HBO) Cannery Row, 1982 Capricorn One, 1978 (HBO) Carefree, 1938 Charlie and the Chocolate Factory, 2005 City of God, 2003 (HBO) City Slickers, 1991 (HBO) City Slickers II: The Legend of Curly’s Gold, 1994 Clifford, 1994 (HBO) Closer, 2004 Code 46, 2004 (HBO) Cold Creek Manor, 2003 (HBO) Cold Mountain, 2003 Countdown, 1968 The Crow, 1994 (HBO) The Crow: City of Angels, 1996 (HBO) The Crow: Wicked Prayer, 2006 (HBO) Daddy Day Care, 2003 Dave, 1993 The Dirty Dozen, 1967 Dream House, 2011 (HBO) Eight Legged Freaks, 2002 El Chata (aka The Sparring Partner), 2019 (HBO) Freddy vs. Jason, 2003 Free Willy, 1993 Free Willy: The Adventure Home, 1995 Free Willy: Escape from Pirate’s Cove, 2010 Free Willy 3: The Great Rescue, 1997 Frequency, 2000 Get Shorty, 1995 (HBO) Gone, 2012 (HBO) The Hard Way, 1991 (HBO) Harry and the Hendersons, 1987 (HBO) Heidi, 2005 The High Note, 2020 (HBO) The Hobbit: An Unexpected Journey, 2012 Home Alone 4, 2002 (HBO) Home Alone: The Holiday Heist, 2012 (HBO) Hudson Hawk, 1991 The Hundred-Foot Journey, 2014 (HBO) Innerspace, 1987 Inside Moves, 1980 (HBO) The Interview, 2014 Jack The Giant Slayer, 2013 Jackie Brown, 1997 Judy Moody and the Not Bummer Summer, 2011 (HBO) The Last Exorcism, 2012 (Extended Version) (HBO) Lay the Favorite, 2012 (HBO) Let’s Go to Prison, 2006 (HBO) Life is Beautiful, 1998 (HBO) Live by Night, 2016 (HBO) Logan’s Run, 1976 Lolita, 1962 Look Who’s Talking, 1989 Malice, 1993 (HBO) Man on a Ledge, 2012 (HBO) Menace II Society, 1993 Miss Congeniality, 2000 Miss Congeniality 2: Armed and Fabulous, 2005 Monkey Trouble, 1994 Mr. Nanny, 1993 National Lampoon’s Christmas Vacation, 1989 National Lampoon’s European Vacation, 1985 National Lampoon’s Vacation, 1983 No Eres Tu Soy Yo, 2011 Ocean’s 11, 1960 The Omega Man, 1971 On Golden Pond, 1981 (HBO) On Moonlight Bay, 1951 Osmosis Jones, 2001 Our Brand Is Crisis, 2015 (HBO) Over the Hedge, 2006 (HBO) Parental Guidance, 2012 (HBO) Pathfinder, 2007 (Director’s Cut) (HBO) The People vs. Larry Flynt, 1996 Pinocchio, 2012 Point Blank, 1967 Popstar, 2005 Prometheus, 2012 (HBO) PT 109, 1963 Replicas, 2019 (HBO) Running on Empty, 1988 Ruta Viva, 2018 (HBO) Saw, 2004 (Extended Version) (HBO) Saw II, 2005 (Director’s Cut) (HBO) Saw III, 2006 (Director’s Cut) (HBO) Saw IV, 2007 (Director’s Cut) (HBO) Saw V, 2008 (Director’s Cut) (HBO) Saw VI, (Director’s Cut) (HBO) Saw: The Final Chapter, 2010 (Director’s Cut) (HBO) Shall We Dance, 1937 Sherlock Holmes, 2009 Sinbad: Beyond the Veils of Mist, 2000 (HBO) Sling Blade, 1996 (HBO) Some Came Running, 1958 South Central, 1992 Spies Like Us, 1985 Spooky Buddies, 2011 (HBO) Steel, 1997 Still of the Night, 1982 (HBO) Striptease, 1996 Stuart Little, 1999 Stuart Little 2, 2002 The Stunt Man, 1979 (HBO) Summer Catch, 2001 Sweet November, 2001 Swimfan, 2002 (HBO) The Tank, 2017 (HBO) This Must Be The Place, 2012 (HBO) Tim Burton’s Corpse Bride, 2005 The Treasure of the Sierra Madre, 1948 Turbo: A Power Rangers Movie, 1997 (HBO) Twister, 1996 Un 4to de Josue, 2018 (HBO) Unforgettable, 2017 (HBO) Unlocking the Cage, 2017 (HBO) Vegas Vacation, 1997 Wanderlust, 2012 (HBO) Wedding Crashers, 2005 Within, 2016 (HBO) Wolves at the Door, 2017 (HBO) The Year of Living Dangerously, 1983

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architectureandfilmblog · 4 years

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20 MOVIES WHICH FEATURE BEAUTIFUL ARCHITECTURE

Part # 1: HOUSES

The purpose of this blog has always been to explore, through film, buildings that we may not have the chance to visit in person. With many of us stuck at home right now, that kind of cinematic escape feels more appealing than ever, so here’s a bumper list of some of my all-time favourite residences in movies.

1. I AM LOVE (2009) A Jill Sander-clad Tilda Swinton is the matriach of a wealthy Milanese family, living in Piero Portaluppi’s 1935 Villa Necchi.

2. A SINGLE MAN (2009) Architectural enthusiast Tom Ford teams up with a Mad Men production designer, and casts John Lautner’s 1949 Schaffer Residence in a starring role.

3. COLUMBUS (2017) Along with several other Modernist icons, this sylish indie beautifully showcases Eero Saarinen’s Miller House.

4. CONTEMPT (1965) Adalberto Libera’s Casa Malaparte stars as the island home of Jack Palance’s sleazy movie producer, and the venue for his seduction of Brigitte Bardot’s Camille.

5. BEGINNERS (2010) Neutra’s Lovell Health House (which also appears as the home of Pierce Patchett in LA CONFIDENTIAL (1997)) is here cast as a much-loved family residence, a role rarely assigned to modern architecture in films.

6. FRACTURE (2007) Peter Tolkin’s Sherman Residence stars alongside Ryan Gosling and Anthony Hopkins in this legal cat-and-mouse tale.

7. THE BIG LEBOWSKI (1998) Modernist architect John Lautner provides the villian’s Lair: Jackie Treehorn lives in the 1969 Sheats-Goldstein Residence.

8. THE GIFT (2015) This engaging twist on the home invasion genre unfolds almost entirely within David Clark’s Mid Century Sherman Oaks House.

9. BLADERUNNER (1982) Frank Lloyd Wright’s 1924 Ennis House provides the exteriors for Deckard’s apartment, and its Mayan-inspired blocks were used as a design cue for many other elements of the production.

10. NORTH BY NORTHWEST (1968) The Modernist Vandamm house remains one of cinema’s most iconic villain’s lairs. It was actually an elaborate set, designed to resemble the work of Frank Lloyd Wright, whose style Hitchcock wanted to evoke, but whose fee he could not afford.

11. THE GIRL WITH THE DRAGON TATTOO (2011) As per usual, the bad guy lives in a stark, minimalist mansion - in this case John Robert Nilsson’s beautifully-sited 2009 Villa Överby.

12. BOTTLE ROCKET (1996) In Wes Anderson’s first feature, “rich kid” Bob Mapplethorpe lives in Frank Lloyd Wright’s 1958 Gillins House.

13. GHOSTWRITER /THE GHOST (2010) The contemporary residence where this atmospheric thriller takes place was actually not a house, but a set, built amongst sand dunes.

14. FERRIS BEULLER’S DAY OFF (1987) Cameron lives in the A. James Speyer- designed Ben Rose House, built in 1953. The pavilion was added in the 70′s as a showcase for the actual owner’s sports car collection.

15. THE ICE STORM (1996) The Carver family’s 1970′s glass and steel residence is of the Philip Johnson knock-off variety, but still offers beautiful views through plate glass to surrounding woodland.

16. MON ONCLE (1958) In this, as in several of Jaques Tati’s films, modern architecture is beautifully showcased, yet simultaneously cast as the butt of the joke.

17. MY NEIGHBOUR TOTORO (1988) The first time i saw this, I coveted the idyllic Japanese country house as much as any ‘real’ building i’d seen on celluloid, with its adjacent bathhouse and study opening into the garden.

18. EXHIBITION (2013) The story of two artists’ relationship with their Modernist London townhouse, this beautifully-shot film is striking in its austerity, minimalism and restrained pace.

19. PARASITE (2019) A minimalist hilltop mansion in Seoul becomes a vessel for a cinematic exploration of social inequality.

20. DIAMONDS ARE FOREVER (1971) Reminiscent of a early-Bond Ken Adam set, John Lautner's Elrod House provides the venue for some acrobatic vengeance from scantily-clad villains Bambi and Thumper. Photo: Casa Malaparte by Francois Halard

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hanniiesuckle17 · 4 years

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i would like to bless your followers and dash, sooo can you give me a crash course in noir 😊😊

OMG YES OFCCCCCC💖💖💖💖💖💖💖💖

OKAY SO HERE IS THE DEAL

NOIR is a nine-member boy group under Luk Factory

(Not really pleased with how they are promoting my boys but imma get over it one day!)

Our fan name is Lumiere (or Lumi) and we don’t have any official colors or a lightstick yet.

Noir debuted on April 9th of 2018. With the mini-album Twenty’s Noir. Their title debut song was Gansta (SUCHA GOOD VIDEO)

They also had a predebut song called As a Star and it makes me so soft.

Their next comeback is on the 27th (THIS MONDAY!!!!!!) The album is called Up the Sky and the title track is called Lucifer

IM SO FUCKING EXCITED YOU HAVE NO IDEA

MEMBERS

Shin Seunghoon

Shin Seunghoon is our precious leader!!!!

(He was what got me into Noir. I saw a video about the best leaders in kpop and I was like)

He is 27 years old. His birthday is May 30th, 1993 (He is a Gemini)

Boy is tallllllllllllllllllllll

like he’s 5′10.

but in pictures by himself he for real looks like he is 6′2

istg he is like 65% legs.

ALSO MAN AS A RIPPED CHEST SORRY BACK TO REGULARLY SCHEDULED NOIRING

He is the leader, main rapper, and also sometimes a vocalist (but the rappers in this group pretty much fo everything)

HE SPITS FIRE when he wants to.

Really good at freestyling

He makes mixtapes on youtube on Noir’s channel. (I think he has 5 out now)

He is a college-educated man!!!! (He went to Korean National Open University

He took taekwondo when he was younger

The man trained for 8 years

He and Hoyeon compose and format a lot of their songs with a team of producers from LUK

(I often think he and Chan from skz are really similar.)

Seunghoon is legit a father of 8 soft crackhead kids. istg he is so done with them most of the time

We call him our koala because he looks like one <3

Seunghoon is obsessed with accessories and wearing them to the point where stylists literally have to take them off of him. (I have never not seen picture of him not wearing jewelry. )

he is actually in the military right now and i miss him so fricking much TT

All in all hot boy on screen and soft dad in real life

Kim Yeonkuk

this boy I cant

Kim Yeonkuk. Damn.

he was on Produce 101 season 2

he was eliminated on ep.5 :(

He is the lead dancer and a vocalist

Yeonkuk is 25 years old. His birthday is February 8, 1995 (An Aquarius)

is totally the aegyo king but denies it

he seems cold at first but has a big ass bright personality its so freakin adorable

my personal favorite clip of him is and the boys dancing around on vlive to big bang and him saying fantastic baby (its sounds so cute when he says it)

He is also a 5′10 tall boy

he trained for 3 years

THIS BOY IS SO FREAKING SKINNY SOMEONE PLEASE EGIVE HIM A HAMBURGER OR SOMETHING TAKE HIM TO TACO BELL

not kidding

his waist is so fucking small its scary.

Yeonkuk=stringbean

literally a walking meme.

pause in any interview and he is pretty much gonna give you a memeable face

this boy is so loveable and goofy

also if this boy doesn't post like 8 photos of him doing something on insta im convinced he thinks that it just didn’t happen

he never posts just one photo its always like 6-8

also I was highkey afraid he was gonna go bald last comeback when they legit turned his hair into smurfs pubes

Lee Junyong

Lee Junyong. When i say i love this man with my whole heart

also 25 years old

his birthday is March 1st 1995 (Pisces)

another 5′10 king

Main vocalist.

he is a former member of INX

his brother is Seungyong from N.CUS

he trained for 4 years

THIS MAN IS TOO ATTRACTIVE FOR THIS EARTH

vocals for days. VOCALS.FOR.DAYS.

Did a cover of BTS’s The Truth Untold with Siha and literally gives me chills.

He has little crooked front teeth so when he sings he has this tiny little breath in some of the words so his voice is even more distinct

BUT LIKE JUNYONG HAS THE CUTEST SMILE EVER (I love his teeth in that's a weird thing to say but i think they are so cute)

he is 1/2 of the Highnote Belting Club

talks. all. the. freaking. time.

he goes live alot

boy is obsessed with Yunsung someone save yunsung from him

total crackhead when not doing real interviews

never fails to make me smile

he is said to be the moodmaker of the group

APPARENTLY HE WAS IN ONE EPISODE OF MY FAVORITE DRAMA AND I HAD NO IDEA

he was in episode 6 of The Liar and His Lover

overall he is just so sweet and funny and its so easy to love him

Nam Yunsung

Yunsung is the Lead vocalist and Visual

24 years old His birthday is August 29, 1996

He is a virgooo

MAN IS 6FT EVEN

lead vocalist and LOOKS IT

he is the king of intense eye contact with the camera

he looks like legit prince charming

2/2 of Highnote Belting Club

weird af

istg he is the biggest crackhead

very extra. (as you can see in gif)

he calls himself a vampire because of his super pale skin

he trained for 4 years

he raps part time

HE ACTUALLY ENJOYS EXCERCISE

he hides snack between his bed and the wall but apparently daewon and junyong steal them

I think he rooms with junyong? not sure

Someone save him from junyong. boy is going to be smothered to death

ngl their relationship is really cute

he was also in Produce 101 S2 but left bc of health issues.

cutest thing ever and then turns into a devil onstage

a literal puppy

he is big fan of ateez and he and another member actually went to the groups first concert in korea

he is just so precious and weird

Kim Siheon

oml this smol bean

Kim Siheon god damn

He is 23 years old

Birthday is December 23, 1997 (Capricorn like meeeee)

also 5′10 babyy

Vocalist but also a rapper (he rapped suga’s part in their remix of BTS Fake Love)

LIKES TO BIAS WREKC FREAKING EVERYONE

Beware the Siheon

He has a hot older sister, Hanbit, from a group called Hot Place (Their debut song is called TMI and its pretty good.)

HOTNESS RUNS IN HIS FAMILY

he trained for 5 months

he really likes drawing and does caricatures of his members

he is the eyebrow king

idk his eyesbrows are just....

stylists do things to his eyebrows anf it just fucks everyone up

high key has the best fashion sense

others boys willshow up to vlive in like hoodies and he is wearing a freakin casual suit

BOY PLAYS TO WIN’

he is like a boss at every kind of game

claims himself to be sweet like “Heonie”

“Hi! I’m siheon! Heonie Heonie Siheonie!”

he is a litter quieter than the other guys

BUT he is so funny

he doesn't like spice on his food for some reason

yeah he's crazy

he trained for 5 years

he's just precious and hot and hot and really hot

Ryu Hoyeon

THIS MAN HAS GIVEN ME SO MANY PROBLEMS

Ryu Hoyeon.

So he is my bias wrecker. Boy climbed up my bias list so freaking fast

He is the main dancer, vocalist, and a rapper (he also composes and arranges with Seunghoon)

He is 22 years old

His birthday is February 6, 1998 (Aquarius)

anontherrrrr 5′10 babbyyyy

cheekkkkkbooonnneeeessss

SHARK BOYY

He says he looks like a shark and i agree

HE HAS A NICE FUCKING TORSO

There was a predebut photo of him half shirtless it was awesome

he was also on Produce 101 S2

eliminated on ep.5 :(

he trained for 2 years

He, yeonkuk, and seunghoon were in the Japanese tour of the musical Altar Boyz with Teen top’s Niel,2PM’s Chansung, and many others

he has a semi viral video of him

when he was a trainee / on produce 101 he was dancing to nct127 cherry bomb and had an unfortunate but quite hilarious accident (just look it up its funny)

sucks ass at games. every game. ever.

he is a low-key crackhead. he is a calm crackhead lol

VERY ATTRACTIVE

he used to have a youtube channel

you can still see his insta (leaderyoo) its so freaking cute and has predebut stuff of all the boys

he made their entire remix of fake love

he choreographed their song Diamond and also their cover of Taki Taki (which was very hot)

becomes a beast when dancing

he has an original chore to WEight in Gold that is very.......(insert eyebrow wiggle here)

has that dorito torso

(tiny waist and broad shoulders)

also thighs god damn

He is also a HUGE Vixx fanboy

Alter ego is DJ Ironman

He is very close with Siha, Siheon, and Yeonkuk

they turned him into a traffic cone for the Doom Doom comeback

he speaks a little bit of English (just a little bit)

all in all I'm completely in love with this man

Yang Siha

THIS MAN IS SO FINEEEEEEE (he's my bias btw I have never been so in love with a man other than jisung)

Yang Siha is just uugghghhh god damn

22 year old babyyyy

Birthday is March 9, 1998 (Pisces)

Lil baby is 5′7″ oml i love him

MAIN VOCALIST AND DESERVES IT

he likes watching youtube videos and anime

He trained for 1 year and 1/2

looks good in every freaking hair color

his voice does NOT MATHC HIS FACE

but not like in a Felix level way

He says his most attractive features are his “feminine features” (he says his unpronounced Adams apple and his small noes and doe eyes

HE HAS SMOL EARSSSS and i lovethem

close with Hoyeon and Siheon

but like his voice though

its so freaking pretty

it gives me chills

everything about him is perfect

he has tiny lips lol

he can play guitar

legit i swear his entire closet is black he rarely wears color

legit EVERYONE LOVES HIM

if someone is hugging anyone in a vlive or something

its siha

its always siha

everyone cuddles siha

i wanna cuddle siha. fuck.

for some reason I've just noticed this

the boy likes to wear long sleeves idk why

he also always seems to wear this one necklace Idk why but its so pretty and i really love that he does idk

he says his favorite song by NOIR is Travel (its also my favorite. its on their debut album and omg his part <3)

he is just so pure oml everything he posts on insta just makes me so soft

he is just so freakin cute and makes me switch lanes so fast

Kim Minhyuk

ooooof this cutie

Kim Minhyuk is something else

i just don't know what he is lol

Lead rapper and lead dancer

22 years old

His birthday is March 18th, 1998 (Pisces)

5′11 boy yes sir

ALSO A COLLEGE EDUCATED MAN

He went to Seoul Arts College

he has an older brother

apparently he cooks in the dorms

he trained for 1 year

he likes to play basketball

he really loves taking photos on his camera

he HATES bugs. its kind of funny ngl

he also is deathly afraid of balloons (i will not apologize for laughing at this one)

He and yunsung loooove ateez. they went to their first concert.

HE SERVES LOOOOKKKSSS

I think he is the most versatile member (look wise) because sometimes its hard to recognize him with each comeback because they change his style

he has these really cute big circle glasses he wear and just uwu

he kinda looks like Simon or Theodore from Alvin in the chipmunks in the best way.

he has a thing about jumping

like whenever he gets excited or happy he just starts jumping

he smiles like sunshineeeeee

even though he is the second youngest a lot of the members say that they go to him for advice

(probably cause he has permanent hold of one of the 3 braincells noir has)

he looooves girl group dances

especially twice

TIKTOK KING

He owns Noir’s tiktok pretty much. also their insta

he's a precious chipmunk

Kim Daewon

Thhis baby oml

Kim Daewon is the cutest thing since that fluffy little dog whose name i cant remember

20 years old

Birthday is April 18th, 2000 (Aries)

Lead Dancer, vocalist, maknae

PROTEC THIS BABY BOY

In pictures he looks tall af

actually...

5′7″ but looks like 5′4″

the cutest thing everrrrr

HIS CHEEEKS

the biggest fluffiest cutest cheeks

everything about him is smol except for them thighssss

trained for 1 year

he has one older sister

THE BOY NEEDS MORE LINESSSS LUK FACTORY GIVE HIM MORE LINESSSSSS

he goes off in the chorus of their b-side track “Between” though like fuuuuuuucccckkkk (lowkey one of my favorite songs by them)

literally one of the funniest people you will ever see

extra crackhead energy

makes all the boys laugh

he loves chicken and snacks (gotta keep those cheeks in top shape)

literally the softest boy

he's good at everything i swear

he likes to shimmy.

has a cute butt lol

he talks in tiny

literally the cutest maknae ever oml

I hope this helped guys!!!!! I really hope you can stan noir and support them in their comeback this Monday! I hope this helped @distrikt9 if you need videos or anything feel free to ask! I love sharing my boys. They really are so underrated. I did this so fast ngl. I've never typed so fast

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