#tweety 80

[dailylooneys]

Happy 80th Birthday Tweety!

“I Tawt I Taw a Puddy Tat!”........”I did! I did! I did saw a Putty Tat!“.

Happy Birthday to one of the most famous Looney Tunes/Merrie Melodies character, Tweety (or Tweety Pie), originally created by Bob Clampett and later taken over by the creator of Sylvester, Yosemite Sam and Porky Pig, Friz Freleng.

Originally named Orson and was left unnamed in his first appearance “A Tale of Two Kitties”, until Tweety’s second film, “Birdy and the Beast”. 

Tweety’s voice and characteristics were modeled after a then well-known fictional radio character “Junior, the Mean Widdle Kid” by actor as Red Skelton.

Clampett would go on to direct a couple more Tweety shorts until his depature. He originally planned to direct Tweety’s fourth cartoon, “Tweetie Pie”, but was taken over by Friz Freleng and won the Academy Award.

In a similar approach to Tex Avery, Clampett was more interested in one-shots (once stated, after a few Bugs Bunny cartoons, he became bored with the character), which may be the reason why he didn’t create as many characters as Jones, Freleng or even McKimson, aside from Tweety, there was also Beaky Buzzard.

Clampett’s original Tweety was intentionally sadistic while still maintaining his cutesy demeanor, whereas Freleng’s Tweety was later toned down significantly (very much like Jones did with Bugs and Daffy in the 1950s onward), making the character innocent, naïve and, for most of the part, unaware of the danger around, however, at least a few of Freleng’s Tweety short would include some of Clampett’s original characterstics, until Tweety’s sadistic nature was entirely gone. 

Freleng’s Tweety’s designed him with even less exaggeration. 

Freleng paired up Sylvester with Tweety, much to the disagreement with the cartoon directors’ new producer, Eddie Selzer, who protested that Sylvester and  the unnamed woodpecker from 1945′s “Peck Your Troubles Away”, Freleng refused and, according to him, he angrily placed a paper-and-pencil to his producer’s desk and stormed out. Later, Selzer agreed to have Freleng make a Sylvester and Tweety cartoon short, the first one with them, as stated, won the Academy Award, and the rest is history! 

Like there competitors, Tom & Jerry, Sylvester & Tweety became labeled as “one of the best duos in animation history”, and who can argue with that statement! These duos starred in some of the best shorts ever made!!!

[jrockzart]

Happy 80th Birthday to Tweety Bird!

[acmeoop]

Looney Circus House Ad (1980s)

[jackpaint]

80YEARS OF TWEETY 🐥🎨🖌 80years of TWEETY collaboration！ We will be exhibiting custom-painted statues! TWEETY生誕80周年コラボ！ スタチュー(立像)をカスタムペイントした作品です！ ・ ・ TWEETY80周年コラボ🐥🎨🖌 カスタムペイント作品の、各所の写真をアップします📸 LOONEY TUNESのキャラクター全部を散りばめ、イニシャルをストリートなボムスタイルで、ポップでカラフルにまとて描きました😆 グラデーションしたり細かな表現していて、ヌイグルミみたいな素材が大変で頑張りました🎨🖌 ・ 今回のアップには、 #ロードランナー #マービンザマーシャン #スピーディーゴンザレス #タズマニアンデビル #ポーキーピッグ #プッシーフット の部分をアップしコレで全部です🙆‍♂️ ・ ・ 「第14回渋谷芸術祭2022〜SHIBUYA ART SCRAMBLE〜」 Culture_connect「TWEETY／渋谷芸術祭2022」 🐥🎨🖌 ■Culture_connect「TWEETY | 渋谷芸術祭2022」 アニメ「ルーニー・テューンズ」に登場する黄色いカナリア、トゥイーティー！2022年に生誕80周年を迎えることを記念し、ワーナー・ブラザース コンシューマープロダクツとのパートナーシップのもと、渋谷芸術祭2022とのコラボレーションが実現！渋谷に集まるダイバーシティーに富んだクリエイター達による独創的デザインのスタチュー全22作品が、渋谷・原宿エリアの各所にて期間限定展示されます。 ＜展示アーティスト＞ 開催日時： 2022年11月3日（木）～11月23日（水）※会場により展示時間/期間は異なります。 アーティスト： SHINJIRO TANAKA、GAKU IGARASHI、福島 滉平、Ochiro、JACK PAINTON、山森冬美、Takayuki Sakai、SHOOHASHI / 大橋祥、ダコタ・ローズ、Chiba Yusuke、TaKuʻ ,n、クリスティーナ 新、佐々木ここあ、高崎聖渚、HOKUTO、文化学園大学 川原玲、文化学園大学 今野桃花、文化学園大学 江刺家瑠南、文化服装学院　ファッションテキスタイル科３年：苫米地美羽/河合あかね１年：伊原樹里/道林友梨子、田守美夏、リーバイパタ、吉田明恵（全22作品） 展示場所： ラフォーレ原宿、MIYASHITA PARK、WANDER COMPASS SHIBUYA、渋谷区観光協会、渋谷区文化総合センター大和田、渋谷スクランブルスクエア、shibuya-san、東京アニメセンターin DNP PLAZA SHIBUYA(渋谷MODI内)、東急プラザ渋谷、UPLIGHT CAFÉ、西武渋谷店（全11ヶ所） 料　　金：無料展示 主　　催：ワーナー ブラザース ジャパン合同会社 コンシューマープロダクツ @tnk02/ @gaku1121 @kouhey24 @ochirosart/ @jackpainton @fuyumi_15 @koti.rose @sara__0601/ @kokoa.1003/ @seina_xy_albage/ @hokuto.yoshino.16_official @looneytunes_jp @looneytunes @warnerbrosentertainment @warnerjp_official @city_shibuya_official @shibuyaculturescramble @play_shibuya @laforet_h/ @miyashitapark_ @shibuya_scramble_square @uplight_cafe/ @shibusei_seibu_shibuya ・ ・ #渋谷芸術祭 #渋谷芸術祭2022 #SHIBUYAARTSCRAMBLE #Culture_connect #TWEETY #TWEETY80 #TWEETY80th #トゥイーティー　#トゥイーティー80周年 #トゥイーティーコラボ #80YEARSOFTWEETY #カスタムペイント #custompaint 　#Ochiro #SHOOHASHI #大橋祥 #JACKPAINTON #ミヤシタパーク #miyashitapark #looneytunes ・ ・ ・ ＜JACK PAINTON schedule＞ 9/18(19) ※🌪悪天=延期／調整中 「コンテナペイント&キャンプ」プライベートイベント NNF（愛知県岡崎市） 12/18 『DE CULTURE SHOCK with SNEAKERS CONVENTION NAGOYA』ライブペイント ナディアパーク（愛知県名古屋市） 1/21 『』ライブペイント（愛知県名古屋市） 現在購入可能なアパレルやCD等デザインした物多数 ※各種ご依頼やお誘い等、個人もお気軽にお待ちしています♪ （各地に行きたいです) (Miyashita Park) https://www.instagram.com/p/ClyDmrVyzrR/?igshid=NGJjMDIxMWI=

[tip-top-cloud-surfer]

A Walk Down Memory Lane - Coyote

Pairing: Javy "Coyote" Machado / Bradshaw! Fem! OC | Reader

Word Count: 1.6k

Warnings: Bradshaw! Reader w/ a callsign (Tweety), no other descriptors, suggestive references, Third Person POV

This work, all of my other works, and my entire blog are 18+ Only.

Summary: Rooster and Tweety Bradshaw look through their mom’s belongings as Tweety’s wedding to Coyote approaches.

A.N. This was purely born out of a terrible joke. Since Tweety (Bird) and (Wile E.) Coyote are both Looney Tunes characters. And Tweety is a bird, so it's a Bradshaw callsign, obviously.

.....

I'll just escort myself out.

Master List

“Turn right here,” Tweety told Coyote, pointing at the upcoming intersection.

Coyote followed her directions and headed down the road to the storage unit facility. After their mom passed, Tweety and Rooster rented out a unit for the stuff from their childhood home. Over the years, Tweety and Rooster cleaned it out bit by bit, but there was still quite a mess left. And now that they were both putting down more permanent roots, it was time to finally clean it all out.

“Are you ready for this?” Coyote asked Tweety, who nodded in return.

“Yeah. It’s time,” she replied, staring straight ahead. Smiling over at her fiancé, she grabbed his hand and squeezed it. “Thank you for coming with me.”

“Of course,” Coyote replied, pressing a kiss to the back of her hand. “You let me know if you need a moment or anything.”

“I will,” Tweety promised him.

She directed Coyote over to their specific storage unit. Coyote backed up his truck, placing his hand on the back of Tweety’s seat to see better, before putting the truck in park. They got out of Coyote’s truck and Tweety pulled out her keys to the unit. With a quick flick of her wrist, Tweety unlocked the door and they pushed it up together.

There were several stacks of cardboard boxes and miscellaneous furniture scattered around the storage unit. A bunch of clutter blocked the manmade aisles between the boxes, but it honestly was not as bad as Tweety or Coyote was expecting it to be.

“Did you want to wait for Rooster and Mav?” Coyote asked, turning to his fiancée.

“No, I’m sure that they’ll be here soon.”

And true to Tweety’s word, as she and Coyote started to pull out some of the cardboard boxes, Bradley pulled up in the Bronco. Rooster hopped out of his car and strutted over, still dressed like he was walking out of the ‘80s.

“Where’s Mav?” Tweety asked, putting down another cardboard box.

“He should be right behind me with the trailer,” Rooster stated, gesturing behind him. “Did you find anything good?”

“We just started,” Coyote stated, opening the box that he carried out. “This looks like a bunch of old records and everything.”

“Is the record player in there too?” Rooster asked, stepping up beside Coyote.

“Even if it isn’t, you can just find one online,” Tweety reasoned, pulling out a record.

The sound of a rattling trailer caused Rooster, Tweety, and Coyote to pick their heads up. Maverick waved to them through the window before parking beside the Bronco with his trailer facing the storage unit. Maverick slid out of his car and walked around.

“What do you have there?” Maverick asked, walking over to them.

“Some of Dad’s old records,” Tweety replied, holding out the record that she grabbed from the pile.

Maverick took the record from Tweety and let out a humorous noise to himself. Tweety and Rooster shared a confused look while Coyote handed Tweety some more of the records in the box.

“What?” Tweety asked her godfather.

“I’m pretty sure that this was your parent’s go-to album,” Maverick explained, causing Rooster to frown with confusion.

“What do you mean?”

“Their. . . you know,” Maverick trailed off, gesturing in a way that made Rooster and Tweety go green.

“Gah!”

“What the fuck, Mav!?”

“Please stop talking!”

“Burn that!”

“What songs are on that?” Coyote joked, leaning over to look at it.

“Javy, no!” Tweety yelled, pulling her fiancé away from the cursed record.

“What? It doesn’t hurt to know.”

“We already have a playlist. I’m not adding any of my parents’ sex songs to our playlist,” Tweety replied, causing Rooster to gag.

“Oh, my fucking—can you all just shut up!?”

“I’ll just set this aside,” Maverick chuckled, placing it back in the box.

“That whole box is contaminated now. One of you can take it,” Tweety stated, shaking her head.

After unpacking some more emotional trauma from finding their parents’ old sex song record, Tweety and Rooster started sorting through the contents of the unit with Coyote and Maverick’s help. The two Bradshaw siblings took what they wanted and whatever they didn’t want, Maverick set aside in a pile to take to a second-hand store or the dump.

“Hey, I found Mom’s wedding dress,” Rooster called from the back of the storage unit.

“Can you bring it out?”

Rooster set the slightly weathered rectangular box on the ground. Tweety kneeled down and cut through the tape wrapped around it. Sifting through the plastic, Tweety pulled out her mom’s wedding dress for all of them to see.

Though time had yellowed the fabric, the lace patterns of the bodice were still quite pristine given the circumstances. And maybe with a little treatment, Tweety would be able to salvage some of it for her own wedding dress.

“Are you thinking of wearing it for your wedding?” Maverick asked, stopping beside Tweety.

“I won’t be seven months pregnant at my wedding, so I don’t think that’ll work,” Tweety replied with a small smile. She pulled out the front of the dress to show the extra fabric. “See how much space Bradley’s fat head took up.”

“Very funny,” Rooster scoffed, crossing his arms over his chest.

“Did you happen to see the box with her veil and everything back there? I can’t wear her dress, but I was hoping to salvage the veil,” Tweety requested from her brother. 

“Let me look again.”

Rooster shuffled a few more boxes around before pulling out a smaller one from the stack. Together, the Bradshaw siblings shifted through the box. After a quick search, Tweety pulled out Carole’s veil, which was preserved in a thin cardboard box.

“Should I see this?” Coyote asked Tweety, who shrugged in response.

“It’s up to you. I already bought the dress, so that’s still a surprise,” she replied, sharing a smile with Coyote. “But if you want to wait until our wedding day, I understand.”

“I’ll just do some sorting over there. Let me know when you’re done,” Coyote decided after a moment.

He pressed a kiss to the side of her head and stood up, busying himself so that he was fully surprised on their wedding day. Tweety waited until Coyote was a few steps away with his back to her before pulling out her mom’s veil.

Tweety was relieved to find that her mom’s veil was still intact. It was a little yellowed, just like her dress was, and there were a few tears and runs here or there. But with a little bit of delicate bleaching and a few minor repairs, it would be perfect for her wedding.

“That’ll be beautiful on you, sweetheart,” Maverick assured Tweety, who tried to not tear up herself.

“I know. It even matches my dress,” she replied, running her thumb over the lace.

“Well, now I’m glad that I didn’t see it,” Coyote called, causing Tweety to smile over at him.

“You got a lacy dress?” Rooster commented, looking down at the veil.

“I’m not going to say,” Tweety stated, glancing over at her fiancé. “You were invited, Brad Brad, but you chose not to come.”

“You insult my fashion sense every other week. Why would you want my opinion?”

“Hey,” Tweety snipped, pointing a finger at her brother. “I insult your fashion sense every week, not every other week.” Grinning to herself, Tweety packed away her mom’s veil. “And besides, I wanted you to come to take pictures of Maverick’s reactions.”

“Is it true that you cried?” Coyote called to Maverick from inside the storage unit.

“A little bit,” Maverick admitted, waving his hand to the side.

“A lot,” Tweety corrected Maverick before putting away her mom’s veil in Coyote’s truck. “Javy, honey, it’s put away.”

Coyote walked out of the storage unit with some more boxes to sort through. But when he stepped beside Rooster, he lowered his voice.

“Phoenix sent me the video of Maverick crying,” Coyote whispered to Rooster, like he was trading government secrets.

“Can you send it to me?” Rooster immediately asked him.

“‘Course.”

They finished sorting through the storage unit and started to pack up for the day. And once everything was swept up and tied down, it was time to say goodbye.

“Well, I guess that’s the end of an era,” Tweety sighed, staring up at the storage unit.

“Think of it as a start to a new one,” Maverick stated wisely, standing between the two Bradshaw kids with Coyote standing on Tweety’s other side. “I mean, you’re getting married in a few months, Tweety. And Rooster is . . .” Tweety tried to hide a giggle as Rooster turned to Maverick with a lightly annoyed expression. “. . . leasing a new apartment on his own and—”

“—Really, Mav?” Rooster interjected, very much offended.

Tweety let out a laugh and leaned against an amused Coyote as Maverick fumbled for a recovery on that verbal disaster. Coyote pressed a kiss to the top of Tweety’s head and grabbed her hand.

“Are you okay?” he asked her, just checking in.

“Yeah, I’m good,” she assured him, smiling brightly. “Thank you for coming with me.”

“Anytime,” Coyote replied softly. “I can’t wait to see you in that veil.”

“Just the veil?” Tweety quipped, resting her chin on his shoulder.

“Maybe after the wedding,” Coyote stated, causing Tweety to grin.

“We can still hear you!” Rooster announced loudly, ruining their moment.

[uglythug22]

all gen X know is laugh at tweety bird quote Ferris Beuller and listen to top hits from the 80s

[twinkpoll]

Does Tweety count? not nominating him, but google says he's 80 :/

You tell me, anon. This is on you, I want no part of it.

[rappaccini]

arachnophobia ch 8/epilogue fic notes

chapter title

from 'evolve' by the warning

a band made up of three mexican sisters, all in their teens or early twenties at the time of this post. genuinely incredible performers who in all rights should be the future of the rock genre. and the drummer's energy is so gwen. if you're looking for contemporary approximations for the mary janes, these girls are be it.

and the subject matter. remaking yourself into something more dangerous than your surroundings during a time of hardship, even though it's painful and it might make you less marketable, because it'll save you from being dehumanized into a vessel, and needing help to accomplish it. the wordplay of "is it wrong or right to evolve" sounding a lot like "it's a woman's right to evolve" is very clever.

it's what the gwens in this chapter choose to do during the era of the spider-society (... of spiderverse synergy, where the character of spider-gwen is on the verge of being reduced to a marketable vessel for miles's spider-babies), and it's what spider-gwen does for gwen stacy. a feminist song for a feminist story.

fic title

from 'athena', also by nova twins

nova twins. the most recent band on the list, and a spectacular one. felt important to try and sequence the bands a bit. we've had late-70s rock, late 80s protogrunge, 90s riot grrl, 00s postpunk, 10s pop rock, and we're closing it out with the new female rock sound of the 2020s.

the film mary janes are zoomers in the early 2020s. their sound would be different. i figured nova twins was a solid contemporary approximation that also happens to fit the musical aesthetic of the films. (plus, my first thought on seeing movie em jay and glory was 'they look exactly like georgia and amy.')

this one specifically reinterprets the arachne myth as one of pyrrhic empowerment. sure, she was turned into an insect, but athena's going to be afraid of her forever and arachne can spend the rest of her life tormenting her in revenge. she gets the last laugh.

initial quote

from the myth of arachne from ovid's metamorphosis.

aside from it being the literal origin myth of the spider in greek mythology, in context arachne's myth can be interpreted one of two ways: arachne was a spoiled mortal girl who insulted the gods and was punished by being made into a spider....... or arachne was the only mortal with enough balls to tell the gods they were tyrannical, specifically towards women, and her punishment is a sign that the gods are unjust.

tying this into the fic title: this is a fic about a girl who calls out the misogyny inherent in her placement in the story, which may or may not be considered divine, who is alienated for it and dismissed as a villain and nuisance, but uses that power to get back at the powerful people who disenfranchised her and become a constant thorn in their side. unlike in the myth, there's a happy ending to this one.

guin and stacy

'various aliases' -- didn't plan for this to have eight chapters so i ran out of codename theming. hopefully this slaps a band-aid over it.

it's a world with looney tunes logic. therefore, funky physics, architecture and tweety concussion birds.

i don't know if 65-venom is omnivorous, but symbiotes are often carnivorous. and since carnage is the more bloodthirsty of the 65-symbiotes, i figure it would make sense for that to translate to it needing meat.

guin and stacy were a riot to write. i figured they'd have a vibe kind of like ham and noir's.

spider-guin is real, and a minor member of peter porker's world. her personality is basically invented for this fic.

and detective stacy, spider-woman of earth 617 is a composite of:

what if? dark's spider-gwen, from an unnamed universe where peter dies on the bridge instead of gwen, and she takes up his mask and her dad's gun and goes to get justice, and along the way decides to keep heroing. i'm taking that backstory and powerlessness, and combining it with

gwen-617 (for which her world is named), the middle-aged detective who's mutualistically bonded with her venom, albeit fic-617 doesn't have a symbiote.

[hence the shoutout to getting a symbiote in stacy asking gwen for her firstborn]

(however gwen-617's canon personality's been distributed to a and b in terms of the dead dad angst, inspiration to change her fate after meeting another spider-gwen, and being a cosw mastermind.)

617 in particular is real fascinating from a meta perspective. in the comics, she appears at the very end of gwen's original run, in an extremely meta storyline where the watcher that forced the siat gwiles kiss is observing earth-65, and complaining that it's unoriginal and full of uncompelling characters, and that they ought to get rid of it. [... which feels like commentary on the members of the audience and possibly editorial staff who wanted to strip gwen of her world and just shove her into a relationship with miles already]

then gwen-617 literally crashes in to tell him to fuck off.

gwen-8 is very much what the spider-man writers want gwen to be: the ultimate prize. a spider-gwen who marries spider-man, has his superbabies, has no symbiote, and never says a word about how she feels about having to abandon everyone and everything she loves in order to have a life she wouldn't be interested in. and naturally they park her at age 38, so she's still fuckable. a palatable spider-gwen well within the male gaze.

gwen-617 feels like the spider-gwen creator's take on what he wanted gwen 65's future to look like: a woman well into middle age who's showing signs of aging, no longer in a leotard, still bonded to and deeply connected to her symbiote, single and childless, and a cunning, snarky detective who gets her hands dirty to protect her and other gwens' autonomy. a spider-gwen who gets to defy the gaze and exist on her own terms.

(also, she and gwen-8 are brunch buddies and the 8-kids love her. wholesome! the opposing visions of gwen's future get along!)

at any rate i hope gwen65's future does turn out like gwen617's. my big fear is her getting gwen8... which i'm like 60% sure is what'll happen to movie gwen. gross!

back to the fic.

8311's physics are brought up in web warriors iirc, where it's discussed that you can literally vaporize people if you punch them too hard. and weblines connect to midair! fun!

the booze is looney tunes booze. it works like it would in an old tom and jerry cartoon. stacy's been hitting it hard.

gwen617's world collapses in the comics too. i hope she survived it.

full fucking salt here: of course the world where spider-gwen gets to hit middle age, stay powerful, and not have to answer to a man about it is the world that gets canned. thanks marvel!

included here because it was a way to incorporate the spot, give gwen a moment of pity for miguel, and set up how far the society's fallen.

unnecessary detail that's nowhere in this fic but i believe strongly: guin's an adelie penguin, because they have strong fuck-with-me attitudes.

i figured a cartoon animal world wouldn't let its characters swear. guin would resent this strongly.

spider-guin writes dadcop fanfic in canon. since she's hanging out with a detective, i figure stacy would peer review it.

guin's place

shellsea= pun on chelsea.

spider-guin plays the drums for the mary cranes in the comics.

spider-guin is peter porker's crimefighting partner as well.

the pork her joke derives from me misreading 'partner' on the wiki as romantic and not hero related, and having a split second of pure panic at the thought of.... peter porking her.

very interesting that spider-ham doesn't seem to be a society member in the movies. in this fic at least, him sharing a world comfortably with a spider-gwen is one of the reasons why.

they accidentally kidnapped peter-73. oops.

peter and gwen-e's blocking is meant to resemble gwen and hobie's in chapter 5.

gwen's watching another reciprocal partnership between a gwen and a spider-man develop. this peter's like hobie and miles-8. he's giving her what she needs to save herself (a web shooter, a portal watch, a radioactive spider) and trusting her to use it.

and from a meta perspective: can this kind of relationship between a gwen stacy and a spider-man exist in canon? or only off-page, in imagination and fanwork, without writers and audiences to demand it take on the usual conventions?

gwen8's touching her hand because it's where the spider bit her. she's thinking the same thing as gwen b. they're the only two who've had this kind of relationship but have come to opposite conclusions about it.

gwen8 ultimately accepted the constraints of her narrative and only subverts in the margins. now that the cat's out of the bag, she's backpedaling.

gwen8 and gwen617 aren't quite friends in the fic, since they only just met and stacy's furious about the death of her world. and gwen8 is only interested in her self. she made no effort to stop the collapse, only to grab stacy and run. and she's guilty about it.

gwen457 is from the ultimate spider-man cartoon. in this world, she's another powerless girl who chooses to be a hero, even when miles is already spider-man. she builds herself a tech-heavy suit to compensate, and doesn't bother teaming up with miles. very iconic of her. hence, she doesn't do invitations.

i figured since she's building it from robocop parts and doesn't have a healing factor, it'd need to be armored. and since her wallcrawling is reliant on magnetic gloves and boots, they'd need to be pretty big to hold her weight.

457's lair is in a sewer. and she's a girly girl. thus, the perfume.

she also seems to be very young in the cartoon. adapted here.

in the ultimate cartoon, peter encounters an alternate world where he died and miles (and gwen) is spider-man. referenced here. i imagine ultimate cartoon pete was recruited, gwen noticed his tech, and since she's a whiz, reverse-engineered it. and she went exploring simply because she felt like it.

457 gwen uses homemade cookies to win over her father. i thought it'd be fun to nod at that here.

as the only daughter of a single cop dad, gwen probably took on a lot of household responsibilites at a young age. 457, given how insanely strong her willpower is to become a superhero with no powers, probably got a bit of that unusual maturity from that.

this scene's a full-circle moment: gwen at the very start of this fic meets a dead gwen-with-an-e and processes the implications in an icy graveyard. now she's found a living one, and they can unpack it all together. also in a location made of stone and ice, that's basically a big symbolic fridge.

gwen keeps getting killed in purple and green. big 👀 at the atsv concept crew only considering gayatri and gwen in those colors.

spider-girl was the original idea for spider-gwen's name. bad idea! thank god they didn't use it!

the argument

gwendolyne's only chill about this because she hasn't processed that this isn't a temporary adventure. she's getting it now.

earth-8311's mary jane is mary crane. and look i HAD to have a gwenjay pairing here somewhere. it was almost stacy, but her being single was too important (also, didn't love the implication of the one gwenjay getting lexa'd).

spider-guin is a creature of great violence. i feel this deeply.

what if? dark's gwen stacy isn't a killer. i feel like 617 gwen would though. and fic-617 gwen's just had the worst week of her life, so i think it's on the table.

and really: the original gwen stacy from 616 HATED spider-man for his involvement in her father's death. she went to her grave resenting him. she has the exact same motive harry osborn did when he went villain. it's wild that no one's thought of resurrecting gwen as a villain.

gwen8's only plan all along was to hide the displaced gwens. which isn't enough for gwen b.

she's also in panic mode because taking peter means that the society's going to keep looking for them. peter parker's too valuable to them. she wants him sent back fast, and the others scattered.

peter-73 is not down with this situation.

comics-gwen-65a is a social butterfly. she loves meeting and bonding with alternate gwens.

she also loves dumb puns. hence porker and gwenergy.

recluse is a very obscure spider-hero. it's also a pun on the spider species, and the word literally means 'hermit'

ham's babysitting the kids, like he does in the comics.

and technically gwen8 hasn't been made, since she's covered for by her reputation and her miles.

gwen73 is very much in the vein of gwen616 in terms of characterization. confident, spirited, a little annoying about it, but very endearing.

look using death imagery with the gwens is so much fun.

gwen8 is still ultimately... gwen8. she is the palatable, male-gaze spider-gwen. she's the one who survives by going along with what they ask of her. in a sociocultural sense, she's the woman who plays ball with the patriarchy and sneaks what privileges she can out of it. yeah, you'll survive, but you won't be happy. and you won't be able to protect anyone else from it, including your kids.

gwen8 is so focused on survival that she can't imagine never having to do that.

the entire conflict over whether to hide or disband is a bit of salt about the council of spider-women in the comics.

the council of spider-women: an all-spider-gwen secret society devoted to protecting their own... who don't lift a finger to help anyone else. they sit back and hide out during the inheritor wars, and they haven't been seen since the end of the latour run.

out of universe: the writers forgot about it.

in-universe: they know the other spider-heroes won't do shit to help them, and that cynicism is ingrained deep in the organization.

hey girl i get it. but this fanfic's trying to imagine a happier ending, so we have to defy that.

more salt! about the other meta gwen plots from the comics. currently she's had two back-to-back event miniseries about meeting a group of alternate gwens, where they just repeat the same shit about deserving better, then go right back to the status quo.

look there are a ton of great gwen puns.

>introducing the term 'rotten' to build up to its use in a few pages.

why's the death of gwen stacy the thing that holds the concept of canon together? it takes the most understandable human impulses: longing to be special to someone, to love them, to keep them safe, and it poisons them. it takes that someone, and dehumanizes them. once you accept that someone you love is just a martyr to make your suffering special, all the rest follows.

which means that if you disprove that idea, everything else comes down with it.

and as seen with hobie, peter b, miles, miles 8, ham, peter, on and on it goes-- it is possible to change. you just need to believe it's possible.

(which, meta again: it is possible for spider-gwen to be her own protagonist without having to wall herself off away from the spider-men. she can even fall in love with them without losing her agency. the only reason why she keeps getting shoved in the girlfriend box is because the writers and audience don't realize the girlfriend box doesn't have to exist at all.)

the cosw in canon are absolutely reclusive. here, they aren't. because they can never enact any change unless they let outsiders in.

jess's absence: refusing to go along with miguel's gwendetta is the first indication that the treatment of her can make the society fall apart.

but gwen isn't a wrecking ball. gwen stacy ultimately is not the character that can shatter people's expectations of canon.

what she is, though, is rot. there's something rotten about the way she's treated by canon, and by the people who consume it uncritically. and if enough of it collects, everything falls apart.

callback to earth-138, and the 'i'm not the only one' mantra from atsv. gwen's spent the entire fic learning everything she needs to create an antidote to the society-- she's studied the organization while shadowing miguel, and how to unravel them while spending time with hobie. she's gathered all the motivation, and now she has people to help her do it.

'because they don't see us as people, they won't see this coming'-- callback to chapter 4, when gwen decides to yeet miguel.

'no need to get spider-man involved...' -- callback to chapter 1, and gwen's very first impulse when entering the multiverse.

but they will let him in the room. the goal isn't just to secure their individual survival, it's to make it possible for them to coexist with spider-men as equals.

having to try, and getting back up after they fall, and trying again. bringing that back too.

gwendolyn's expression: callback to the end of 1, and the look hobie gets when he decides to help her.

starting a band

peter73's too much of a spider-man to stay away from his world forever. i figured he'd have to return.

the implication in him handing gwendolyne's hw in is that they're regularly in contact.

and she's a take on gwen616. that girl doesn't miss an assignment.

gwen in chapter 2 desperately wants a gwen to mentor. now she gets one.

in the movie, inside gwen's bass drum, beside her spider-woman gear and that polaroid, is a birthday present from her mother. it's where she keeps her most important possessions, the things that remind her of the people she loves.

gwendolyne was always going to go home, just like gwen does. she stays away to gain the skills she'll need to be able to protect herself if the society shows up again (i think they probably do). and as soon as she's got the hang of it, she's coming back.

anyway in earth-73, an invention for this fic, spider-man and spider-woman are a team. and it's possible for peter and gwendolyne to have a happy ending, or at least to fall apart on their own terms. whether they end up together or not doesn't matter as much as whether they get to exist in the same world. they do.

with the appearance of man-wolf, gwen b's continuity is starting to shift into the mcguire era.

harry woke up offpage after the mcguire run ended. he does here in gwen a's world.

starting a band-- from the bottom of my heart: there's nothing canon-busting or story-redefining about gwen stacy leaping into action for her male love interest. it's far more subversive for her to choose to save herself instead.

also movie gwen being unable to connect to her all-female band and trading them in for a group of mostly-dudes (and two girls who are only there for miles), who she only assembles for the male protagonist she's the love interest of? gag. no. don't like that.

so here, her band is made up of girls, and she assembles it for them.

comics-gwen loves and recognizes the value in all gwens. clones, alternate spider-gwens, ordinary gwen stacys, even villainous versions of her. small nod to that here.

but this fic needed to limit the cast, and keep the scope on spider-gwen specifically. justified in-story as them not wanting to pull civilians into a dangerous situation (and in a broader sense, canon being so trimmed and strict that gwens that aren't the girlfriend at all don't get to exist-- like gwen goblin).

the gwens:

13122: lego gwen! supposedly from an alternate version of legoworld.

17628/marvel spider-man 2017 cartoon: from a cartoon that's disliked by the fandom, this is a gwen who also gets spider-powers, is a geneticist and science nerd who works as a team with peter, miles and anya.

people really hate this cartoon. idk why, it's cute! lampshaded here as gwen8 and the society turning up their noses at it.

spider-witch: there's basically no info on her other than that she exists, is vaguely scarlet witch-adjacent, and is affiliated with evil; she's from a fighting videogame, that's really the best you can hope for with those. but the idea of a gwen-as-reality-witch is cool, extending the olive branch to every single version of themselves no matter how evil is important, and it was funny to me about there being a spider-gwen who's only lurking in the council discord, so to speak. just because she's a gwen doesn't mean she'll play ball with the others.

"we all have a little bit of villain in us" is a quote from the shadow-clones gwen mini.

TRN684/marvel rising cartoon: from a far more low stakes world, being that it's a children's cartoon, but still important. (fun fact: she's why all the new spider-gwens have pink dip-dye; the animators mixed her and gwenpool up and so the design alteration was made) also the second i saw those gliders on her suit i knew i wanted a line about teaching them how to fly.

18157/marvel action: these comics are aimed at a younger readerbase, so i figured making her the most inexperienced (pre-gwendolyne) gwen worked. this gwen's still got a punk/counterculture style, but is primarily a reporter. and this one's friends with her miles and peter. which is what gwen needs to see to finally restart her friendship with miles.

all were chosen for the fic because they have distinct enough personalities or looks (not too many alt-spider gwens do; there's mostly just an indication that she exists), and have something the team could benefit from.

and msm and action gwen were specifically included because i know they're looked down on in the fandom. no elitism about which gwen is better; all of them matter and all of them deserve consideration.

council

the council of spider-women were named before ghost-spider was made her new codename. i'll recontextualize that here as a tactical move: conceal who the council actually are behind the assumption that it could be a bunch of spider-women.

i'm thinking the council structure is in opposition to the society: invite everyone, no matter how 'lame' people find them, everyone votes on action and there's no true leader, no set hq either.

that being said, it's gwen's band. she's the protagonist, she's the one who spearheads the council's creation. if there's an informal leader, it's her.

hq: the suite is gwen8's. the garage is gwen684's. the warehouse is gwen a's. the bullpen is gwen 18157's. the biotech startup is 17628's. the sewer is 457's.

at any rate they're declaring war on the spider-society. they don't want to ensure the survival of all gwens, just a fighting chance. and with canon being shaped the way it is, that can't happen.

the gwens selected for this fic were also chosen for their skillsets. all the most fleshed-out spider-gwens that currently exist just so happen to have the right skillset to form a strike team. whaddya know.

instead of isolating themselves, they enlist allies.

the first is hobie, who loans his place for a meeting and offers genuinely useful advice, (... and stays after to do some non-pg13-rated stuff with gwen b,)--- a callback to 5's distraction conversation.

others include:

gwen's dad, who at this point is the dad of all of them.

gwen a's mary janes, who already know her identity and have helped her with heroing before

peter porker. (the hot dog discourse is hilarious. look it up)

miles, margo (after seeing gwen457 my first thought was 'these two would be great friends') and miles g.

miles-8 and peter-73. two more partners.

aunt may 457 is gwen's crimefighting partner in the cartoon. she's her 'guy in the chair' so to speak.

peter and miles 18157, teenage boys who are gwen's friends and competitors at the bugle.

peter, miles and anya 17628. peter and miles, who are friends and coworkers. anya, who is gwen's girlfriend, because the gwenya vibe in msm17 was off the damn wall.

=all people who care about their gwens and see them as people.

so many people care, they just need to know how to.

they won't win a fight head-on, so making the society so inconvenient thatit starts to implode is their strategy.

miguel's hair going gray: ref to chapter 3, where gwen wonders if her death will amount to a white streak in his hair someday. not quite death, but a ton of mayhem from a ton of gwens will do the job just fine.

weird fact about earth65 technology: all the phones have minesweeper installed. i like to think gwen8's bonding with her son via beating each other's high scores.

peter b can definitely tell something's going on, but he is keeping it to himself.

gummy spider surveillance finally pays off. also it's my way of trying to justify the more omniscient pov-- technically, if you squint, gwen's observing the society goings-on through her gummies.

the brunch club joke is from the comics. not shitty at all there, for what it's worth.

i simply think that detective stacy and spider-guin deserve to kill. that is all.

so. shit's rotting.

the society as an institution is irredeemable, but it's full of good people who are misguided and confused. and realizing how misguided they've been, and how harmful their actions are (so harmful that the ghosts of their dead first loves are trying to destroy them), is triggering an internal breakdown.

web imagery: miguel's portals look like an orb weaver's, so i figure that's his approach to canon-- neat lines that are easy to arrange in a pattern. so he wants the web/multiverse to eventually resemble that concept.

in reality, it's supposed to be messy and chaotic, and being manipulated so heavily is going to yield a violent counterreaction.

gwen doesn't trigger it. she's a gwen. canon can rot because of her, but it won't break open.

she's not the wrecking ball. miles is. he's the one whose creation blew open the doors on the idea that anyone can be spider-man and his story doesn't have to follow peter's.

(... but fwiw, the 'not the only one' section also refers to the spot.)

miles and gwen, together but not together, are what's necessary to break things open.

miles tangent

as stated repeatedly before, one of my goals for this fic was making sure miles still gets his canon arc. i think it's exactly what his character needs, and i don't want to flatten him or assassinate his character and throw him away after shooting gwiles dead. so he's still getting all his atsv development, just at a much slower rate and offpage.

it goes as follows:

may: he joins the society on a trial basis for a month (excused as 'well gwen's obviously an anomaly and yet she got to join, so miguel's clearly persuadable'). his first mission's still mumbattan, but it's really just gwen showing him the ropes; the spot just fell off the face of the earth or some shit, he doesn't show up here. miles spends a month reconnecting with gwen, peni and peter b, befriending pav, hobie, margo as well.

he still learns about the captain death event, but jeff doesn't get his promotion until august, so miles just thinks that his father's death is possible if he becomes captain. thus, he doesn't panic and try to get home to protect him; the threat is distant and it isn't even clear if it'll happen at all.

june: he shoots his shot with gwen and shoots himself in the foot. he avoids the hell out of gwen and hobie, doubles down on his friendships with peni and margo, and starts getting mentored by peter b. he also starts asking about the other mileses because his existential crisis is just beginning, and triggered by gwen: he fully assumes her rejection of him is a rejection of him and not a relationship with him. miles wants to be a great spider-man, and a great spider-man should be able to save his gwen, so he thinks she thinks he's bad at it (cue the dead dad angst). that combined with miguel's reluctance to let him in has him trying to figure out what about him is 'wrong.'

(... which leads to him learning about his anomaly status, and the prowler)

august: dad gets promoted. mumbattan happens-- but it's miles interfering with singh's death just because of dad angst and with zero spot involvement.

then he's suspended. something similar to the hq confrontation, but less severe, because the spot (a nuclear threat to the multiverse) isn't involved. i imagine miguel lays into him in front of everybody, and prepares to fire him, but peter b pulls rank to get it down to an indefinite suspension.

~during his suspension he, margo and peni head to earth 42 to meet his shadow self. as in canon, miles gets his ass kicked by g. and the girl who likes him has to call in friends to help. difference is, now the girl is margo and he went to 42 with her and peni. anyway he and g work it out. and miguel decides not to let him back in over this.

also he and margo get together romantically during this time. i love flowerbyte! good ship! it's what they need and deserve!

in january, he reunites with gwen on earth-73, formally quits the society and has enough closure to fully move on.

may: the spot turns up on his doorstep at the end of the school year as miles weighs how to break some coming-of-age revelations to his parents ('i want to be an artist, not a physicist', 'i have a girlfriend from another dimension now', 'i'm spider-man').

back to the plot

so. the spot turns up after a year of blasting holes in the multiverse, finally ready to get his revenge, and the society wants to stop it. they're spider-people; they want to help.

and they receive concrete proof that they aren't when miguel refuses.

peter b. seems like he was one of miguel's first recruits. and they were, at one point, friends. i figure that's why he keeps sticking around. he has trouble letting go.

jess, in contrast, is here for the mission. she cares about keeping the multiverse safe, and has finally had enough with the society's incompetence.

everyone gathers to protect miles's world, including his mentor, his friends, and gwen, who rallies a band of her own together to do so.

differences being: peter's the one who says 'fuck the society, we need to help him' because i'm salty about him being so hands-off towards this kid he mentored so well in itsv.

and gwen does not start her band for a spider-man; she does it for herself.

but using them to help him is important. it's gwen wanting to save her friend, but it's also all the spider-gwens acting to save a fellow anomaly and affirm his existence and status as the protagonist of his own story. it's that arc of self-definition miles had that their organization now has too: 'you should have the ability to choose your own destiny and not be punished for it too'.

plus stacy's got beef with the spot so it's personal.

the one-two punch of miles and gwen breaks the society: acknowledging that miles and his world matter and deserve to exist, and seeing with their own eyes that turning gwen stacy into an object was unbelievably wrong.

whiplash!

pavitr

this was supposed to be an epilogue, but it got tacked on. forgive me the pov shift.

so. final timeline update: it's been another month. it's june now.

jess is still at it. there is something valuable about the society intervening to send people back to their dimensions before they glitch. only now, the philosophy is more search-and-rescue than policing.

most people don't have portal watches anymore, so transdimensional travel has died down, but it's still around in some capacity.

pav's still hanging out with miles and hobie, albeit not together at the same time.

rotten foundation.

aside from showing the passage of time, it's moody as hell, and it's appropriate theme-wise for pav to be in the society ruins. he needs to humble himself, and to calm down a safe distance away from everything so he can come to the right conclusion.

i like to think hobie drops by the ruins sometimes too. hence the graffiti.

hobie's beheaded his pm and taken a step into his public era as spider-punk, but remains cognizent of the work still to do.

hobie's great at keeping secrets, but dude needs to work on communicating. it's one of his most compelling flaws. if the guy just told miles 'don't join the society, they're gonna hurt you' instead of dancing around it, so much shit could've been avoided. same goes for telling gwen he's working on a bootleg portal watch for her. i figure he keeps things from pav too.

so pav's been out of the loop re: gwen since august. given how things went with him and gwen and all the shit that happened afterwards, i think they were too uncomfortable to approach each other, then things got too busy with the council on gwen's end.

and ultimately, he had to come to her. he wasn't ready to do that until now.

he wants to be friends with her again, and to get that old friend group together and see if they still work, but something else has to come first.

(sidebar: pav came to the spot fight with peter and the society defectors, not gwen. she turned up later.)

he's mad about the mumbattan incident, but he also misses her, and understands why she did what she did. time's given him the perspective he didn't have earlier.

pav's innocence and naivete are some of his most winning qualities. they are also a serious problem, because yes, you shouldn't have to be traumatized to be considered legitimate or mature, but if you never have a hard time, you're not going to be able to empathize with people who are.

ergo, during the past year, pav's screwed up big with gwen (and miles, for that matter). he fundamentally could not understand where they were coming from, and couldn't give them the advice they needed.

he gets that now.

spider-man is a coming-of-age story, and part of growing up is making mistakes, suffering losses, having a hard time. and pav has to grow up at some point, so it's going to start getting harder for him. because he doesn't know what that's like, it's gonna hit especially hard for him.

starting with gayatri. the same old story's playing out, right down to the goblin and the bridge, and pav knows how this goes. and because he spent months convinced he'd be the exception, he did nothing to prevent this from happening.

but now that canon's in pieces, he's able to reevaluate, and let go of all those impulses that cause spider-man to fuck this up: he accepts that he might not be different after all, he might make a mistake, he might not be the right person to help.

in short, he woke up from the 'spider-man gets the girl' dream.

this section is meant to show a spider-man having that revelation.

gwen's appearance: time's marched on, and she's grown up.

(hair tangent: it's longer because time passed and the undercut's complete because she's fully through the door miles first opened. the dye's purple specifically because 1) gwen's original costume wasn't pink. it was purple. as she became more popular, they changed the accent to the Girl Color, which 2)... is the girl color. little girls are socialized to assume they should like pink most. usually, they switch to favoring purple first as they get older and start to question all the trappings of girlhood. gwen, not a girl anymore but not quite an adult, who's done the same. 3) the other spider-gwens who dye their hair all do it in shades of pink. gwen's taking another step towards being something unique. 4) it's the color of carnage's tongue.)

gwen's a step ahead of spider-man. pav's grown enough to be comfortable with that. he's okay with not being as mature as her, because he knows he'll get there at his own pace. and he doesn't want trauma to be what sends him there.

you know shit's bad when pav's hair isn't perfect.

callback to chapter 3: pav doesn't know if things will be different.

he's spider-man. he has to try-- but now he knows that he needs to try something new.

so: he's here to ask gwen to help him save gayatri. closure for him, and closure for her.

gwen hugs him because she does miss him and want that reconciliation.

spider-man catches gwen stacy one last time. then he lets her go, and defers to her judgment. and doing that works.

(i like to think that pav and gayatri will work out. he's bringing her what she needs to save herself, and he's going to let her do it.)

end quote

from jason latour's radioactive spider-gwen. spoken in context by gwen 617, as she (on behalf of the council of spider-women) encourages the watchers (in-universe, and you, the reader) to let gwen 65 develop as her own person, rather than repeating someone else's arc. or existing as someone's girlfriend.

[termiteterraceclub]

Termite Terrace Club - June 14th

Honoring Arthur Davis (1905-2000)

1933 - Bosko the Sheep-Herder - Dir. Hugh Harman

1947 - Along Came Daffy - Dir. Friz Freleng

TV

2011 - The Looney Tunes Show Season 1: “Casa de Calma” (The Laff Riot pilot reworked into the first produced episode of the show, with some additional material for the sitcom format.)

Merrie Melodies: “Casa de Calma”

Road Runner and Wile E. Coyote: “Sail Fail”

2022

“King Tweety” - Dir. Careen Ingle. Tweety is next in line for the throne in the Canary Islands. This direct to video film is specially commissioned for Warner Bros.’ 80 Years of Tweety campaign.

[crystalnet]

Lana LP1-4 Reviews

Here I will be listening through the first 4 LPs of Lana Del Rey for the first time, as a late-in-life super fan (Post-NMR poser). Sorry for anything perceived as hate, I do love this woman. 

Born to Die (2012)- This is when the trip hop beats feel a bit canned and temporally displaced from their English, 90s origins in an awkward way, and the strings feel a little canned too— reaching for Zimmer-esque grandeur but falling short. She also uses voices on this that eventually disappear completely from her repertoire, sometimes evoking weird freak-folk stuff like CocoRosie but in a bad girl poet context. She does a Lolita or Little Orphan Annie thing on track 2 Off to the Races, and becomes a weepy tweety bird lush hiccuping her way through Blue Jeans, and I do not bemoan the loss of this slutty b-tier Bond girl schlock she would eventually shed and become more direct about critiquing. It was probably always critique of the male gaze all along, but the lines are blurrier in the beginning for sure when she isn’t willing to so eloquently describe the dimensions of her containment within a patriarchal system. 

I imagine how much this must have spoken to the “bad” yet vaguely creative-seeming girls I knew in high school. Lana offered them a clarion call to actualization. By the time this came out though, I was in college working at an Urban Outfitters, and I remember distinctly that the cover photo with the sheer collared blouse and the anal-y coiffed, voluminous Auburn-dyed hair. It just seemed like a in-store promo. “this must be the UO special edition” I thought to myself. 

But no, this is how Lana presented, and it happened to coincide with a stupid new idea of the “hipster” that flourished under Obama. Irony, and something about the 60s and 80s and mustache memes all coincided in a fresh new hell that Lana could slot into. But she wasn’t neat and tidy like, say, Vampire Weekend. She was a bad girl. But was it just a bad girl character on par with early Gaga with her vacant party girl shenanigans? Was it new? Ultimately Lizzie Grant will of course go on to reveal the artifice in full, proving the authenticity of the bit as artifice and then go on to remove the mask and invite us in forreal, not just into another one of her haunted mirror labyrinths of lust. 

But as I already knew, Lana is less interesting here when she is refusing to take off the mask. This character could definitely speak deeply to someone who sees themselves as actually living a life comparable to that of this Lana Del Rey creation, and the stunning vividity with which the bit is rendered can be engrossing on its own. If all I can hear is the bit, the character, the “mask”, though, well then it’s all artifice without the true artistry she would harness later on and I question what lies beneath without much of an answer in sight. Video Games might come the closest as obvious as it sounds. The critique of her own character and of the culture at large becomes a little more defined. 

The contours of MTV’s idea of reality and its failing in the broader context of the 20th century, so tacky and Ed Hardy-ized compared to this misremembered flapper era opulence she insists on reminding us of, it all feels like the ultimate Punk-ing. To dog us all like that while also presenting as the ultimate specimen of a post MTV world. What would you have us do Lana? Go back to the 20s, be rich and white? Go back to the “Gay 1890”s and live for crystalline jazz singers hanging from chandeliers as champagne showers over us, absolving us of our post-industrial, Walmart-ified sins and burning us in a holy conflagration. Nice try Lana, but you’re gonna need to try again next time. Game Over. 

7.2/10 (Little more about the music… the writing, the beats, everything is serviceable here, the production helps things never become sleepy, which her vocal stylings might have eventually done. She does not hold back in terms of describing every cubic inch of the world-view of this Lana character. This is not just instagram filter music. It is deeply realized and sometimes novel-esque, if only in terms of seeming like a 11th grader’s slightly last-minute book report on Gatsby. But the ultra textual-density is all already there all along, sheer lyrical depth on par only with conscious rappers. You will not normally find this many words on any other pop records in 2011, that I can almost guarantee. And you also will not find such an utterly and deeply realized aesthetic world, unlike anything any other starlet was even attempting at the time.)

Ultraviolence (2014)

She’s singing softly again, like she always does. 

She’s coming on to me, (the gay male listener). 

After work, she pulls me in close by my blue paisley-patterned tie and I’m overwhelmed by her Chanel. She’s pulled me back into her world again and I’m hers completely, again and again and again~

This is the one where Lana steps out of the filtered instagram images evoking an abstract past and into the technicolor world of reality, where the Pygmalion of Lizzie Grant’s mind walks full-figured and flesh-covered from out of the mall displays like Kim Catrall in Mannequin (1987). But instead of a bright new future for Lana, this newfound realness comes more in the form of the specificity of a monochromatic, noir landscape and a world utterly described. 

Right off the bat, atmosphere seems to have taken on new importance. On her first outing, Lana was proving she was a real girl who could walk and talk. But on UV, now she has a whole windswept seaside to herself to pal around— she isn’t just Off to the Races anymore, but instead insists that every grassy lawn that exists in America is part of her vivid world, which now includes the aesthetics of the films of Lynch and Tim Burton as touchstones. The way they too revel in revealing the decay hidden by suburban facade through film, is also intrinsic to Lana’s music. 

This tension too is a part of her world, alongside all the F. Scott Fitzgerald signifiers— sometimes she even seems to be singing to us from the snow globe of Citizen Kane. A starlet tripping the light fantastique in Gotham’s red light district, but now speaking more directly about matters of the soul than merely of the body. And to really Make it Real, she extends her references explicitly: 

They think I don't understand

The freedom land of the seventies

I get down to Beat poetry

And my jazz collection's rare

I can play most anything

I'm a Brooklyn baby

(on Shades of Cool). Well okay then Lana, maybe you are more than a mood board. Maybe you like Didion and Kerouac, that tracks. Does she actually like Nabokov or is Lolita entirely useful to her for surface-level reasons? In early interviews she speaks of Cobain and Cash and Dylan, the greats of every genre. And here she does seem more genre-minded… if the trip-hop on LP1 seemed almost out of place under her Jazz age affect, then by leaning into the noir and the gothic that someone like Portishead always channeled, she brings her work closer to something of undeniable substance. Whether she is a trust-fund kid yucking it up in Brooklyn and cultivating a personality made up of vapid cultural cherry-picking, or if she is in fact slyly making fun of that girl is besides the point. She’s real now and she’s here and she’s taking (some) questions. 

She tells us on Sad Girl that she’s “a sad girl”. Not just in the summertime then? Do we take her word for it, or is this simply clarification. But we should have known that a being trapped in nostalgia like her early incarnation so clearly is, that she could not possibly be happy constantly looking back like that (or else looking in the mirror). That’s what fast sex and Chiffon is for, always has been, to distract from always looking to find one’s future hidden somewhere in the past. 

Generally, we’re introduced to a laconic Lana here. Gone mostly are the peppy, borderline creepy Lolita-isms, and most of the higher BPMs. Now there is darkness and there is violence in its wake. But whether it’s the literal violence of the darkest of relationships or the violence of what ensues when a Fame Monster begins to consume and digest an individual, as it had thoroughly begun to do to Lana, well that all depends on perspective. 

Lana had had her awkward SNL performance by now. She had already moved past the discourse around ideas that she was merely an “industry plant”. Something about the times back then and how Adele was the only pop star we allowed to write in a singer-songwriter mode had us truly questioning if this unique artist could possibly be real. “Fucked My Way to the Top” says to stuff all of that, that it’s not that deep. And we’re inclined to believe her. 

Lou Reed is mentioned. The beats too. But so is Axel Rose. And the drugged out Lolita returns roughly one time, on Florida Kilos, towards the end. But she’s mostly resolved to stay in ballad mode. She leaves bread crumbs, but the destination isn’t the point. Lana’s artistry here by merely existing as it does seems to say over and over to stop the meaningless discourse. To just shut up. ‘Here is some art that I made, that i needed to make’, she seems to say. And if the mood board seems more varied and specific this time than just ‘The Great Gatsby,’ well I think we’re inclined to keep believing her. She could have truly pulled back and become pure caricature after LP1. Instead she leaned in, slowed it down, clarified herself, and spoke of an all consuming darkness. A decade later and she’s still finding light amidst all the death and the violence of a Cruel World. 

8.3/10

Honeymoon (2015)

Well, so I have a confession to make. A bit of a mask-off moment for myself after so much talk of character and artifice. It turns out, embarrassingly enough, that I simply have trouble getting into or distinguishing a lot of early Lana. I say that as a super-fan of the recent 4 LPs, but that may not qualify much. Those who go all the way back with Lana are the real ones. And now that I think of it, more of BTD may have stood out to me than LP2 and 3. Despite the sunny cover featuring our honey looking glamorous in a sun hat, this album mostly continues the thread of dark glamour and decayed opulence she began to focus on between her debut and this 3rd full length outing. 

A bit of background: As is the case with many recent bangwagoners, Norman Fucking Rockwell is the moment I went from being a sometimes curious spectator to full stan. Specifically, with the initial utterance on that record (Goddamn, man child/ you fucked me so good that I almost said I love you), Lana had kicked down a backdoor in my mind and ever since that day, she has been with me. Even in 2019, that last summer before COVID, when the greatest ruled both my mind and my piano alike, I remember thinking: Oh, I should go back to her older LPs, right? But even then I knew the answer. It simply might not be for me, that earlier stuff. 

And why? The answer either does not exist clearly or is an uncomfortable one. NFR bandwagoners like me should almost feel a need to explain clearly that we are not actually just stans of Jack Antonoff’s production. It might feel that way given the data... he starts working with on her on LP5 which is the first to make a serious ripple on tastemakers’ AotY lists after years of resistance. And then he has been a mainstay collaborator ever since. But that can’t be it. I refuse to give a man credit when the majority of the words and melodies are hers. So what is it? Well, that is something to speak of when I do get to NFR and the material that followed. 

For now, I will focus on Lana’s honeymoon phase, even if it is a honeymoon as tragic as her Ultraviolence days. Much of this glides by my ears, and unlike post-2018 material, neither the melodies nor the lyrics often truly grab me. Now to be clear, nothing is bad, nothing is offensive... it’s all often so lovely. And on-brand. But it’s more than beautifully on-brand, right?

Well if the first two LPs had me thinking so much of the character of Lana, well then Honeymoon is the record that has me thinking more about the listener. The listener that Lana imagines when writing, the one she is singing to. Both the imagined one and the literal actual one. She is a girl between the ages of 14 and 24 I believe. She may or may not have had dog-eared copies of Gatsby or Lolita on her dorm-room desk. A poster of Gustav Klimt’s The Kiss on the wall. Does she have crystals? Thoughts about astrology? (yes). 

Does she have a troubled past and upbringing? I think she likely does. That this platonic listener of my dreams, whose spirits still haunt r/lana and r/lanita alike, that she truly receives from beyond through these records, of that I am sure. That there is healing for that girl inside of these songs, positive. 

I know that several times this girl has moved on from Lana only to return when she needed her most. After a big breakup, or a big meltdown or a really, really bad day at work. But Lana’s songs are also there in the good moments. Nothing here is so blatantly “sad” that it cannot also just mostly be “pretty,” beautiful and transcendent of being emotionally one-note. Fodder for a road trip to the Grand Canyon. Or a time in her life when everything is calm and she can’t believe that death and violence is behind her now. Lana has and will soundtrack all of that for her. New songs to paper over the walls of her own mind with every year or so.

And so now something like Honeymoon is alive for me again. Because I understand at this point, that this is a conversation. And if I am not always one end of this two-way, than I am lucky enough to hopefully (and not intrusively, unwantedly) take part. Maybe some things, for some people, should stay behind glass. It might not be for me per se, and that’s ok. 

7.0/10

Lust for Life (2017)

She looks the most like my mom on this cover photo. And this is the first time she’s so clearly gone for a 60s thing... specifically a 1967, Summer of Love thing, Haigh-Ashburry, San Francisco, She’s Leaving Home kind of thing. It’s all right there on the cover and in that smile, and the daisies in her hair, if not always the actual music. 

So then this is the far-flung future for Lana. If her music and image and her character was always so haunted by some kind of vague 20s-through-the-50s specter of the recently Old World, then now she’s inhabiting a time that some of our parent’s might actually remember. And to make her intentions clear, that vibrato’d out surf guitar bass on opening track ‘Love’ screams Nancy Sinatra. And the white lace chiffon 

[in-thrifting-color]

Back again with pt.2! This is a ali exclusive find! She took the little one with her to one of the many flea markets and found this absolute gem of a vintage shirt! This is a heavy cotton shirt with an awesome houndtooth pattern woven into it, solid steel Warner Bros. Buttons and the back has this glorious fully embroidered scene of Looney Tunes characters including; Bugs Bunny, Marvin the Martian, The Tasmanian Devil, Tweety Bird, Sylvester the Cat, Roadrunner, Willy-E Coyote, and Daffy Duck. And to top the whole 80's/90's vibe, the letters are embroidered over denim! We would have kept this one for ourselves if it was just a bit smaller. ----------------------------- Available now on our Poshmark, link is in our bio ----------------------------- #thriftedshirts #thriftscore #thrifted #thrifting #thriftedclothes #thrifftedfashion #thriftstoretreasures #thriftstorefinds #vintageshirt #vintageclothingforsale #vintageclothes #vintagesale #vintage #looneytunes #looneytunesvintage #vintagelooneytunes #vintagelooneytunesshirt #looneytunesmerch #poshmark #poshmarkseller #poshmarkstore #poshmarkshop https://www.instagram.com/p/CpX-jZYJsIt/?igshid=NGJjMDIxMWI=

[femalesonicexe2]

I posted 1,771 times in 2022

61 posts created (3%)

1,710 posts reblogged (97%)

Blogs I reblogged the most:

@incorrectlooneytunesquotes

@ariel-s-awesome

@angelic-mp4

@lepetitbitch

@walking-among-the-stars

I tagged 80 of my posts in 2022

#marvin the martian - 29 posts

#looney tunes - 18 posts

#bugs bunny - 12 posts

#lexie's art 2.0 - 12 posts

#daffy duck - 10 posts

#jellystone - 9 posts

#jellystone! - 8 posts

#baffy - 6 posts

#secret squirrel - 4 posts

#el kabong - 4 posts

Longest Tag: 93 characters

#can melvin just be memphis tennesse from the sonic 06 dub because i think that would be funny

My Top Posts in 2022:

#5

I saw the Daffy version so I made one for Marvin

47 notes - Posted August 24, 2022

#4

My first tiktok

50 notes - Posted August 23, 2022

#3

THEY KNOW

61 notes - Posted November 22, 2022

#2

I put a bit of my fanfic into an ai

64 notes - Posted June 22, 2022

My #1 post of 2022

Chris pratt this Jack Black that

ERIC FREAKING BAUZA OF BUGS BUNNY DAFFY DUCK MARVIN MARTIAN AND TWEETY BIRD FAME IS THE VOICE OF THE KOOPAS

878 notes - Posted October 7, 2022

Get your Tumblr 2022 Year in Review →

[ceroporcientoblog]

LOS 7 DELFINES: En la espera del Broadway.

Entrevista: Juan J. Fontana (jj@velvetrockmine.com.ar)

Fotos: Joaquín Amoia (joaquinamoia@hotmail.com)

Los 7 Delfines hicieron un alto en los ensayos previos a sus presentaciones en el Teatro Broadway, para recibir a Velvet Rockmine.

Nos contaron qué preparan para estos días, a lo que se suma el próximo lanzamiento de un DVD, con material grabado en el Broadway. También nos comentaron acerca de sus preferencias musicales de estos días: Ciclic Machines, Beta Band, Kasabian, Modest Mouse, Moby, The Orb y Rinocerose. Además, aportaron su opinión sobre de la música de los ‘80 en la actualidad y el ineludible tema post-Cromagnon.

EL BROADWAY

“…habíamos planteado para el 2005 salir de los bares y tocar en algún teatro, como para hacer un show distinto.”

Richard Coleman: Con Los 7 delfines estaba pautado de tocar pocas veces por año en Capital, incluso el año pasado tocamos una sola vez, y habíamos planteado para el 2005 salir de los bares y tocar en algún teatro, como para hacer un cambio de visual, hacer un show distinto. Entonces apareció la posibilidad de tocar en el Broadway que está muy bueno para lo que estabámos buscando; es un lindo lugar, y ahí nos decidimos. Va a estar Tweety González, nuestro productor, como invitado en teclados, en algunos temas, como para redondear la parte del último disco.

Estamos preparando un show largo, ensayando unos 28 temas, ya que es muy probable que hagamos dos shows y que los dos sean distintos, y no sabemos cuándo vamos a volver a tocar en Buenos Aires. No es que no vamos a estar más, pero no sabemos cuándo vamos a tocar de nuevo; y si lo hacemos va a ser algo completamente distinto.

EL DVD

“Entonces vamos a juntar este material nuevo con el que tenemos, y vamos a ensamblar el proyecto visual.”

R.C.: Tenemos bastante material registrado de las últimas temporadas que estuvimos tocando, entonces hacemos un teatro, que es más lindo para filmar, desde mejores ángulos, el escenario, todo. Entonces vamos a juntar este material nuevo que grabamos ahora con el que tenemos, y vamos a ensamblar el proyecto visual.

Germán Lentino: El Broadway tiene un escenario muy importante, y parece más grande de lo que realmente es en cuanto a número de butacas, pareciera como muy bien diseñado.

EL ROCK POST-CROGMANON

“En la medida que le corten los lugares para tocar a las bandas nuevas, va a haber muchas bandas que van a desistir antes de seguir tocando”.

R.C.: Más allá las discusiones, de las razones, de la injusticia, de quiénes son los culpables, yo considero que esto le a hacer un agujero a lo que es la generación de nuevos grupos, puntualmente Buenos Aires, que es una ciudad de mucho rock, con muchas gente con ganas de tocar y de ver bandas nuevas. Y en la medida que le corten los lugares para tocar a las bandas nuevas, yo creo que lo que va a pasar es que va a haber muchas bandas que van a desistir antes de seguir tocando, se van a quedar en el camino o se van a quedar grabando. Yo tengo miedo que la gente se confunda, los nuevos músicos, jóvenes, se confundan y piensen que grabar es el mayor porcentaje de lo que es el proyecto de un grupo de rock, que en realidad donde más se foguea es en el vivo, por más que toques en un lugar para 40 o 50 personas; así se va desarrollando el artista en cuanto a su relación con el público y a la integridad del proyecto. Y así es como hay bandas que quedan, y no se bancan esta situación.

G.L.: Y más adelante se va a notar el efecto de este agujero. Supongamos que en un año tenemos esta situación y al año que viene arranca más o menos normal. Entonces, en un año muchas bandas van a desistir de tocar, o van a creer que la cosa es diferente; y en ese tiempo se va a notar que no hay tanta afluencia de cosas bien hechas, como antes.

LA MUSICA DE LOS 80’s

“No sé si acá hay un lugar para una radio que pase selectivamente movidas underground de los ’80”.

G.L.: La plastificación de la música de los ‘80…

R.C.: ¡Aspen ha plastificado toda la música de los ‘80! Esa es la superficie, es el mainstream. Yo no sé si acá hay un lugar para que haya una radio que pase selectivamente movidas underground de los ‘80, o de los ‘90. La radio es la radio, y en los ‘80, lo que se escuchaba en la radio no llamaba la atención. ¡No había radio, directamente!

G.L.: Igual a veces hay que tener cuidado con eso porque durante los ‘90 se creyó también que pasar rock nacional en la radio no servía, no vendía. Pasaban muy poco. Y resulta que en un momento vino alguien y puso una radio toda de rock nacional, y pasó a ser la radio más escuchada. Podemos discutir la composición artística, si es representativa o no, pero la realidad es que empezaron a pasar rock nacional, y es la radio de más audiencia. Quién te dice que un día alguien empieza a pasar música underground de los 80…De la vieja estructura de la vieja Rock & Pop de, el “London Calling” de los domingos pasó de ser algo que no escuchaba nadie a ser lo que escuchaba todo el mundo, que en realidad estaba enfocado en las bandas dark de los ‘80. Es un poco impredecible hacia dónde se puede volcar una audiencia. Ese es un ejemplo muy claro de que muchas veces la industria de los medios creen que lo que más gusta es una cosa, lo hacen durante años, y algo que dejaron de lado pasa a ser lo que más éxito tiene porque alguien agarró lo que estaba descartado por el resto. ¡Así que tengamos esperanza!

RC: Igualmente, cuando yo escuche Cocteau Twins en un ascensor, ¡Ahí me voy a preocupar!

[acmeoop]

Looney Stand-Off

[jackpaint]

80YEARS OF TWEETY 🐥🎨🖌 80years of TWEETY collaboration！ We will be exhibiting custom-painted statues! TWEETY生誕80周年コラボ！ スタチュー(立像)をカスタムペイントした作品です！ ・ ・ TWEETY80周年コラボ🐥🎨🖌 カスタムペイント作品の、各所の写真をアップします📸 LOONEY TUNESのキャラクター全部を散りばめ、イニシャルをストリートなボムスタイルで、ポップでカラフルにまとて描きました😆 ・ 今回のアップには、 #バックスバニー #シルベスターキャット #ワイリーコヨーテ #ダフィーダック #ローラーバニー の部分をアップしました🙆‍♂️ ・ ・ 「第14回渋谷芸術祭2022〜SHIBUYA ART SCRAMBLE〜」 Culture_connect「TWEETY／渋谷芸術祭2022」 🐥🎨🖌 ■Culture_connect「TWEETY | 渋谷芸術祭2022」 アニメ「ルーニー・テューンズ」に登場する黄色いカナリア、トゥイーティー！2022年に生誕80周年を迎えることを記念し、ワーナー・ブラザース コンシューマープロダクツとのパートナーシップのもと、渋谷芸術祭2022とのコラボレーションが実現！渋谷に集まるダイバーシティーに富んだクリエイター達による独創的デザインのスタチュー全22作品が、渋谷・原宿エリアの各所にて期間限定展示されます。 ＜展示アーティスト＞ 開催日時： 2022年11月3日（木）～11月23日（水）※会場により展示時間/期間は異なります。 アーティスト： SHINJIRO TANAKA、GAKU IGARASHI、福島 滉平、Ochiro、JACK PAINTON、山森冬美、Takayuki Sakai、SHOOHASHI / 大橋祥、ダコタ・ローズ、Chiba Yusuke、TaKuʻ ,n、クリスティーナ 新、佐々木ここあ、高崎聖渚、HOKUTO、文化学園大学 川原玲、文化学園大学 今野桃花、文化学園大学 江刺家瑠南、文化服装学院　ファッションテキスタイル科３年：苫米地美羽/河合あかね１年：伊原樹里/道林友梨子、田守美夏、リーバイパタ、吉田明恵（全22作品） 展示場所： ラフォーレ原宿、MIYASHITA PARK、WANDER COMPASS SHIBUYA、渋谷区観光協会、渋谷区文化総合センター大和田、渋谷スクランブルスクエア、shibuya-san、東京アニメセンターin DNP PLAZA SHIBUYA(渋谷MODI内)、東急プラザ渋谷、UPLIGHT CAFÉ、西武渋谷店（全11ヶ所） 料　　金：無料展示 主　　催：ワーナー ブラザース ジャパン合同会社 コンシューマープロダクツ @tnk02/ @gaku1121 @kouhey24 @ochirosart/ @jackpainton @fuyumi_15 @koti.rose @sara__0601/ @kokoa.1003/ @seina_xy_albage/ @hokuto.yoshino.16_official @looneytunes_jp @looneytunes @warnerbrosentertainment @warnerjp_official @city_shibuya_official @shibuyaculturescramble @play_shibuya @laforet_h/ @miyashitapark_ @shibuya_scramble_square @uplight_cafe/ @shibusei_seibu_shibuya ・ ・ #渋谷芸術祭 #渋谷芸術祭2022 #SHIBUYAARTSCRAMBLE #Culture_connect #TWEETY #TWEETY80 #TWEETY80th #トゥイーティー　#トゥイーティー80周年 #トゥイーティーコラボ #80YEARSOFTWEETY #カスタムペイント #custompaint 　#Ochiro #SHOOHASHI #大橋祥 #JACKPAINTON #ミヤシタパーク #miyashitapark #looneytunes ・ ・ ・ ＜JACK PAINTON schedule＞ 9/18(19) ※🌪悪天=延期／調整中 「コンテナペイント&キャンプ」プライベートイベント NNF（愛知県岡崎市） 12/18 『DE CULTURE SHOCK with SNEAKERS CONVENTION NAGOYA』ライブペイント ナディアパーク（愛知県名古屋市） 1/21 『』ライブペイント（愛知県名古屋市） 現在購入可能なアパレルやCD等デザインした物多数 ※各種ご依頼やお誘い等、個人もお気軽にお待ちしています♪ （各地に行きたいです) (Miyashita Park) https://www.instagram.com/p/ClqZJOUyhOh/?igshid=NGJjMDIxMWI=

[owocmgjive]

I’ve just arrived in Northeast Florida. I went to Walmart and everyone there smiled at me and said hello. The girl I went with said to me,

“Does everyone here look weird to you because you’re not from here?” And I said no. But after she said that, looking at the people in that Walmart made me want to go behind the deli counter and stick my face on the meat slicer. I thought, what are the odds one of these people in this Walmart in Southwest Jacksonville has a bottle of oxycodone on them? What are the odds I can rob them of it?

We kept going up and down the aisles, putting our items in the cart. A value size bag of mini M&M’s, Bryer’s peach cobbler ice cream, a twelve pack of Diet Coke. The girl I was with’s card declined, so I put it on mine, and we walked out into the parking lot to wait for our Uber home. A black Kia Soul, driven by Renée. Thank you Renée. The sun outside was strong and it was already at least 80 degrees out at 10 a.m. I thought, maybe I won’t have to stick my head on this Southwest Jacksonville Walmart’s meat slicer. But I do need to find some drugs.

Back at the house, the girl I went to Walmart with and I are sitting on the back patio smoking and smoking our Newports, sipping our Diet Cokes that have already turned warm and syrupy in the heat. I say to her,

“I think we should try to pickup. Doesn’t seem like it’ll be that hard around here.”

“Don’t be retarded,” she said narrowing her eyes at me a little and taking another sip. “Why’d you come down here just to fuck your shit up again anyways? I can tell this ain’t your first rodeo.”

I didn’t say anything back, I just looked into her peat moss eyes, noticing now how pinned they are.

“What dose do they have you on?” I asked, jealous.

“160, but it took me damn near 6 months to get there. Fucking sadists.” Even the strange, detached buzz from a Methadone dose that high sounded real nice to me then. I kept thinking, this is not my life, this is not my real life, I am not actually living through this. I am not actually sitting across from a girl, 5’3 105lbs soaking wet, with a Tweety-Bird tattoo on her forearm, and feeling nothing but jealousy over her Methadone dose. I thought about my sister. When I felt that stinging, hot feeling crawling up my throat, and my eyes starting to fill up, I put out my Newport and walked back inside.