in the hour or so it took me to draw this op turned reblogs off

CONCERT REVIEW: KATELYN TARVER W/ ROSIE DARLING AT THE WISE HALL - SEPTEMBER 9, 2023

Adorned with a canopy of lights, the high ceilings and cozy lighting of The Wise Hall were a fitting atmosphere for the Compliments Only Tour. It was an intimate crowd, but one that gave their undivided attention to both Katelyn Tarver and Rosie Darling on their Saturday night in East Vancouver.

I’d been familiar with Rosie Darling since her release “Nail in the Coffin” (with Boy in Space) appeared on my Spotify Discover Weekly earlier this year. Since then, I’d been getting acquainted with her music; therapeutic for both Rosie in her craft, and her listeners. She made her entrance to ethereal nature sounds and immediately invited the audience closer to the stage for opener “Reruns.”

Her music is very chill, singer-songwriter pop with an emotional gut-punch. Many of her songs are short in length, so they’re compact, but memorable. Her breathy edge is distinct in “Say Less.” “Villain” was released a couple of weeks ago, and while it’s aesthetic in sound, its message is even more important. About understanding and finding peace after the breakdown of a relationship, it references blame, responsibility and ultimately letting go. Rosie has a very calming presence as she moves on stage; she’s still coming into her own as a performer, using her free arm to bring in the audience. She’ll clutch at her torso on emotional lines and shut her eyes mid-track, imploring us to feel that ache with her.  

She sang “Nail in the Coffin” (sans Boy in Space) and “Witness.” The latter was introduced as an “older one” given its release in April 2021. Rosie’s keyboardist Mike Nardone (who I believe was also responsible for the programmed beats) genuinely looked like he was having fun, and I loved how her music was able to build in layers but still allow her voice to shine. The piano accompaniment was lovely, especially towards the end of the dreamy “Lost on You.” They weren’t wearing their matching red jumpsuits (or pantsuits) in Vancouver though, Rosie opting for a bronze silkier set; although still a penchant for the hair bow and oversized pajama pieces that give her a comfortable, chic style.

Since the release of her debut EP Coping (Nettwerk Records), she’s released a number of singles and the EP Golden Age in 2022. Her debut album Lanterns will be released November 10 (not mistakenly, a word woven into the lyrics of “Villain”). “Boxes” was introduced as an “emotional one [to] get through together,” and that we did. Her voice as lush and soothing as ever, breaking free from confines and learning to value herself.

She closed her set with the somber and much underrated “Coping.” Rosie has a delicate voice with a potent, effervescent kick. Her lyrical depth and visualization are notable, and her music feels like both an anthem and a lullaby. I was impressed by how close she sounded to her recorded music; Rosie Darling is one to watch.

Katelyn Tarver had an unassuming entrance; right into the keys for the beginning of “What Makes a Life Good,” before taking the microphone and working the stage. Instantly, you can see her connection with the music and the questions she poses (“Is it taking someone's broken heart and knowing how to fix it? Is it becoming a mother? Is it learning to be tougher?”). This is a prime example of the big picture outlook in her lyrics; they have meaning and are given much thought.

Throughout her set, she shifted between her trusty mic, keyboard, and acoustic and electric guitars. “Cinematic” was soft and sentimental, while “Hurt Like That” revelled in its instrumental breaks (and driving guitar lines). Katelyn had such a comfortable stage presence; she feels the words and music, and in doing so, allows herself to let go and dance. She’s a natural performer.

The soulful, R&B inflicted “Nicer” makes use of her piercing upper register, while “Shit Happens” is a weighty piano ballad. She spoke about the journey to write “Shit Happens,” in navigating the unforgiving music industry and wanting to make it. It was a special song on her 2021 album, Subject to Change. Katelyn spent time conversing with the audience, showing off her new boots and explaining the concept of ‘compliments only’ starting out as a joke between friends and family. “Compliments are underrated,” she remarked, before providing ones for guitarist Ryland Holland (who kindly steamed her shirt before the show) and drummer Chris Bellew (who was in Canada for the very first time, which she conceded was more of a fun fact than a compliment).

I loved getting to hear my favourite KT song, “Starting to Scare Me,” live. It’s dark and blunt, but has the most incredible rhythm and flow. “Love Alone” was on her debut EP, A Little More Free, circa 2011. She noted its importance as her first original work and having that ownership over her music. This was a beautiful song, just Katelyn and her acoustic guitar. With this song in particular because of its age, I can see her growth as a musician. I’ve seen an older rendition where she sounded more strained vocally to reach the higher notes, but she sings a softer version now that is gentler and uses her warm spirit.

She sang a powerful cover of Paramore’s “The Only Exception” (a song she loves so much, that she recorded and released her version last year), before moving to her new material. “Ignorance is Bliss” was released the day prior. I’d liken it to a bittersweet pop cut that makes us question our reality, and possibly enter an existential crisis. Katelyn reassured that the new music meant she is heading towards a new album, Quitter (Nettwerk Records), which drew cheers from the crowd.

“One Without the Other” was the missing link for the album to feel complete, while the title track was an upbeat charmer about reflecting on the past, present and future, and living for herself – not for others. I could tell she was excited to share the new music in her first headlining tour. She expressed that gratitude a few times through her set, stating it’s still “weird” to do what she does for a living and put herself out there, but thankful that fans have stuck with her.

Closing with the recently released “Parallel Universe,” she capped the night off perfectly. The use of shakers during the verses added character and I liked the subtlety. There were a couple moments where both the drums and guitar kicked in and I felt like it overpowered Katelyn’s voice (like during “Out of Excuses”), but for the most part, it remained clear and vivid. Her music is both compelling and poetic, and she embodies her stories as a performer.

It was a great night of music at The Wise Hall by two angel artists. I say angels as both were gracious and stayed to meet and interact with fans post-show. It’s by no means mandatory nor expected, but it says a lot about an artist’s integrity and certainly adds to the concert experience to get to speak with the musicians outside of any minor stage interactions. Both were receptive and kind, and I can’t wait until Katelyn and Rosie make their returns to Vancouver.

Written by: Chloe Hoy

The mischaracterization of people from PJO is so funny, but ESPECIALLY from HOO onward like.

“Hazel’s such an innocent little angel. She’s always nice and kind and confused.”

Hazel, who’s always ready to fight in the same way Percy is? Hazel, who made it explicitly clear she probably would’ve rocked Octavian’s shit had he not been blackmailing her? Who gets so angry on behalf of the people she loves, to the point where she doesn’t forgive those who have wronged them? Who Percy described as cursing up a storm in one of their first interactions? Who’s been shown time and time again to be FAST to anger? That Hazel?

Or Nico, who’s “a misunderstood emo. A small bean. Cute like a wet cat and innocent like a bunny.”

Nico, who’s cannonically described by most characters as “scary and unnerving?” Nico, who, for a long time, is one of the angriest characters in the series? Who’s only sassy and sarcastic because it took him FOUR YEARS to mellow out? Who’s described as being one of the most powerful demigods, who a lot of people still consider the scariest? Who’s come into his own as a character from TTC to TSATS? That Nico?

Or Annabeth who’s, “cold and calculating. Doesn’t show emotion or express herself”

Annabeth, who’s the most expressive person in the series? Who cries in EVERY book in the OG series? Whether it be for Luke, or Thalia, or Percy, or Chiron, or a literal DOG? Who expresses passion like no other when it comes to architecture and her other interests? Who’s expressed compassion for people she didn’t know? People who at times posed a threat to her? Who isn’t afraid to be angry, or happy, or snide, or rude, or excited, or scared, or ecstatic? Who’s been unapologetically herself since the moment the series started? That’s who doesn’t show emotion? That’s Annabeth?

will you welcome your extinction in the morning rays?

I was writing up a post to help encourage folks who’ve always wanted to start a webcomic to dive in- and that they shouldnt have to fear ‘being perfect’ to start one And as I was going along, it made me sad to realise that.. there is an expectation now in the webcomic sphere, as much as I want to deny it (and that it should NOT stop folks from creating!!! please keep creating, no matter your level) I’m bummed out about the changes in the webcomic sphere over the past 5 years, i’m disappointed that there has been changes to this medium that was KNOWN for all of the different skill levels and flavours of so many different creators. I want to combat that. I want to see more beginner art, I want to see that excitment and embracing of growth. I want to see what made webcomics so accessible to so many creators and readers flourish again. Hopefully, if you see this post, and you’ve always wanted to make a webcomic but felt you weren’t ‘good enough’ : Make one anyways. Have fun even if you don’t know all the ‘ins and outs’ of comics. Make one because you’re obsessed with your characters and you wanna share them with the world. Make one just because you can, and not because it has to fit in some impossible standard we’ve forced onto ourselves because of the changing landscape. Start one, and have fun doing it for YOU!

The whole "breasts shouldn't be politicized because the primary purpose of breasts is to feed babies!" can be a fine jumping-off point, but I really wish people thought deeper than that when we talk about the ways in which bodies are politicized and restricted.

Like, why's it that when we talk about breasts, they must have some Higher Purpose? It's true that breasts aren't inherently sexual, but they aren't valuable solely because they can potentially feed a baby. A human body doesn't have to serve a Higher Purpose in order for it to not be legislated against or policed, and I just wish people would remember it isn't always about babies, about other people, about anything else other than the people who have that body.

HIGH SCHOOL MUSICAL TRILOGY (2006-2008) in RED

Anti-technology people who insist they're not ableist crack me up. What about people who rely on machines to breathe, eat, keep their heart functioning, or otherwise stay alive? "Well not that technology, obviously!" Ok what about AAC users, people who use hearing aids, or otherwise use technology to interact with the world in ways they otherwise couldn't? "Not that technology, obviously." Okay, my mobile phone is my memory, my sense of time, my sense of direction when I get lost, my ability to contact someone when I need help. It is my personal freedom because without it I would need full time care and supervision. But yes, that technology, right?

I hate how technology is made and utilised under capitalism as much as the next guy, but to pretend that technology doesn't greatly improve the lives of countless people, or even allow them to continue being alive, is to be willfully ignorant to the existence of disabled people. A world without technology is a world where a lot of disabled people don't get to survive. Capitalism is the problem, not the technology. Technology can (and should) exist just fine without capitalism.

I’m fucking crying

Something I think about way too much is how Chuuya’s accelerated healing & (for the most part) physical invulnerability probably reinforced his beliefs that he isn’t human for a long time. And even now, it’s probably still a plaguing thought that he has to fight against.

The fact that one of the only things that causes him to sustain physical damage is the very power that he feels segregates him from humanity.

The fact that during one of the only times that Chuuya is physically vulnerable— for that short period after corruption— Dazai is the only one who gets to see him like that. And how it’s in those moments that Dazai is most tender with Chuuya.

@naffeclipse orcas beach themselves to hunt seals orca!eclipse beaches themself to hunt y/n :)

page full o' hobies 🎸

top pose inspired by @spectra-bear

process pics under da cut ↓

Now that someone has actually killed themselves in protest of the war, I’m already seeing pro-Palestine people glorifying his actions and calling it a sacrifice, martyrdom, and heroic. Like… are you guys okay? Mentally? You guys are literally becoming a death cult. And then complaining about the cop pointing his gun at him—that guy could have run and started setting other people on fire, it was right to be prepared for that—and they’re turning it into a narrative of the Evil Zionists trying to keep him down with the cops, which the Evil Zionists control.

This is a really scary development. Linking your antisemitic narratives with an actual suicide? If that man had indeed run at people and set them on fire, would their deaths be viewed as “justified to the end of stopping genocide”? Lionizing this guy is an implicit call to self immolate in protest of Israel. This man’s death is a tragedy—it is not an example to follow or something to be proud of. The fact that the pro-Palestine movement is taking it as a sign of their own righteousness and celebrating it is a testament to how radicalized and dangerous they have become. It isn’t just an antisemitic movement anymore—they’re drifting into becoming a death cult too.

Buttons looking through telescope: No angst in sight! Only fluff ahead!

The Boy and The Heron, 2023.