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that-lazy-snail · 1 year

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What is it about Avatar (the movie) that when people are trying to find ways to discuss the harm it does to indigenous they feel the need to make up things instead of using the arguments that are actually supported by the problems with the film? I'm specifically talking about when people are looking to criticize the film in regards to it (and James Cameron's) treatment of marginalized people.

I'm not going to argue whether or not the film does harm to indigenous people, there are enough people who claim it does for that to be true. Although I don't think it's as bad as people make it out to be, as most white people who watch the movie walk away rooting for the Na'vi, not the humans and that is the point of the film and the movie inspired positive views towards native people from my conservative relatives who are in all honesty racist af normally. So the movie does have the potential to further people's desire to engage with actual native voices if nothing else. However that doesn't mean the depictions aren't harmful. Intent vs impact and all that. There's some really great short video essays on tiktok by @/connorbeardox that I think really nicely describe in accurate ways how elements of Avatar can be harmful, and while I don't agree with him on all of them, I value his perspective and criticism as it is well thought out and clear and he makes his argument using facts and evidence.

That's not the case for what I've seen everywhere else, particularly the viral boycott post that's been going around. I honestly can't and don't want to defend what Cameron said in that quote and I won't. Although I think the guardian article it's pulled from works against the argument that he's anti-indigenous (you can read it here) but what he said is genuinely awful and I'm not going to argue that. And by all means if you want to call people to boycott the film because you think it has a harmful depiction of Native Americans please do, but don't use the argument that the indigenous characters are played by white people, because they aren't. One of the things I personally love about Avatar is that all the Na'vi are played by bipoc, and usually indigenous bipoc. The only real exception to this is Kate Winslet in the new movie, whose casting is one of my least favorite parts of the film. If you took enough time to actually look at the cast list you would see that. The Avatar drivers are white because they're meant to be the invadors, the wolfs in sheep's clothing, and the reality of the avatars is that regardless of the fact that they look like the Na'vi, they're clearly not and the Na'vi recognize them as not indigenous, so the argument that they get to "dress up as the indigenous" I find to be pretty weak although it can be made. Jake only starts to "look" like them after he is accepted into the clan and allowed to learn. The Avatars don't really look like the Na'vi, that's kind of the point. But that aside, all true indigenous characters, are played by bipoc (excluding Kate Winslet).

Cliff Curtis who plays Tonowari in the new movie is Maori, which is the tribe the Metkayina are inspired/based on, and he was consulted in their movements, the use of things like Haka and their tattoos as well as other cultural advisors which you can actually see in the credits. The two Metkayina boys are played by a Philipino and another Maori actor. Tsireya, the Metkayina girl, is playing by Bailey Bass who is black. This same logic follows for the first movie as well, the lovely Zoe Saldana who's Dominican and Puerto Rican. The actor who plays Eytukan (the clan leader) is Cherokee native, tribal member. The woman who plays Mo'at (the Shaman) is a native woman from Africa. The actor who plays Tsu'tey is black. The argument that they cast white people in Native roles is simply factually incorrect.

I guess you could argue that Jake's son's aren't played by bipoc, however I don't find this to be as big of an issue as Jake is white, though they could have gotten mixed kids, or indigenous child actors. Trinity Jo-Li Bliss however, who plays his daughter Tuktirey, is a person of color.

Recently I was also told by someone that they didn't credit the person who invented the Na'vi sign language, which is so blatantly untrue that I was baffled. He's directly credited under Paul Frommer (who created the Na'vi language) in the credits, I saw it, I watched them. He's also all over the Avatar YouTube channel and Instagram. They introduced him and have him doing promotion for the movie. He's also a deaf individual. They hired a deaf black actor to write and design the Na'vi sign language, I'm not sure if you can get more inclusive than that. His name is CJ Jones, and he's 100% credited.

Basically, I'm really tired of people using false arguments or even outright lies to argue for why the film is bad. Look there are plenty of things you could actually use to argue for why the film is harmful to natives, as connorbeardox does, but please do your research before you open your mouth and say something untrue.

Misinformation is a plague, don't be a carrier.

#avatar #avatar the way of water #avatar movie #avatar 2009 #avatar 2 #james cameron #avatar james cameron

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bollywoodactressin · 3 years

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Village girls Saree science in Pooja hegde

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epilepticreggie · 3 years

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Okay, I don't want to sound dumb, but I wasn't on tumblr for a few days and then I come back and there's all this discourse about Bobby's last name? And a book? I'm so confused, is it okay if I ask you what's going on? I've just seen you reblog a lot of stuff so I kind of assumed you know what's going on haha. Thanks!

wouldn't it be funny if I was just reblogging without knowing anything? lol (I do know tho)

first of all, you are never dumb for asking questions, having questions is always cool in my blog

anyway, the Bobby thing and the book are related actually. idk if you were around the fandom in december, back then we got a book called "Edge of great" which was basically the show but in a novel form and narrated by some main characters (i'm not sure who exactly got a POV, i never read it), the book was official but there were details that were slightly different from the show i.e. the willex hug was a very quick thing, this was because the book was based out of the script, and those details were decisions made during filming.

basically, we are getting other two books, and there are previews available

one book is "Whatever happens" which is another novel that starts after the hug, but according to a reviewer is mostly flashbacks to when Julie's mom was alive, when the guys were alive, etc.

then, the other book "We got the music" is a look inside Julie's notebook and it's more like a scrapbook, here is where the Bobby discourse starts, because inside Julie's notebook there's an article about the guy's deaths, which contained the line "The surviving band member, rhythm guitarist Bobby Shaw, declined to comment". So we have a last name for Bobby, which a lot of people don't like and we go many routes from here

people saying the last name is bad because is monosyllabic, which is lowkey racist (many asian last names are monosyllabic)

people who wanted an asian last name since Taylor Kare (Bobby's actor) is philipino, which... it's a whole thing because Steve Bacic (Trevor, aka the same person lol) isn't philipino so with any last name we're going into a territory where this is either a case of a poc playing a white dude, or a white dude playing a poc (which tbh i prefer the first one but i don't feel i have the authority to say too much since i'm not asian)

people not liking that Bobby's initials are BS, but for what I have seen this one is mainly a meme

people debating if this is his official name or not since the first book had some differences with the actual show

people who think it's just a name

there's some debates about "whatever happens" as well, but it's not as big as the Bobby discourse, they are mainly about the fact that it looks like it's going to be too juke centric since the first chapter is literally Alex and Reggie going to look for Willie, while Luke stays with Julie and sappy talk ensues

hopefully they do give attention to the rest of the characters too, but we can't know yet, we can only imagine the chaos of Luke working at a diner (which is mentioned in that book, he used to work at a diner, no i won't let it go)

anyway, I hope this made thing clear! I'll leave yu the links to the previews: whatever happens | we got the music

#julie and the phantoms #jatp #we got the music #whatever happens #bobby shaw #mercer.ask #anon

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anhed-nia · 4 years

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BLOGTOBER 10/4/2020: SOCIETY

Without having a survey to back me up, I feel comfortable asserting that as a horror fan, you go through different phases with SOCIETY. It’s a basic fact of life, and yet it morphs and mutates underneath you, shocking you anew just when you think you’ve got a grip on it. You never forget your first time, because there is simply nothing like it. Then, after you get over the initial shock of its patented brand of body horror, you start to take it for granted; it's so broad and monolithic that it becomes something like the Grand Canyon--when it’s not right there in front of you, you begin to experience it more iconically, as part of the wallpaper of existence, rather than an in-your-face confrontation with the limits of experience. Then, you revisit it every few years (or months, depending on what sort of person you are), and the prophylactic layer that your brain has wrapped around your memories of it--the one that allows you to think of SOCIETY as a fun, wacky cheap thrill--begins to crumble, and you realize all over again how iconoclastically vile it is. Wherever you happen to be at, with this inimitable genre landmark, you'd be hard pressed to deny that it earns its royal status among horror movies, just for being so uniquely fucked up.

Filmmaker Brian Yuzna is best known as the co-creator of the indispensable RE-ANIMATOR (or as the co-writer of HONEY, I SHRUNK THE KIDS...depending on what sort of person you are, again), itself a milestone achievement in the blending of sex and gore that so characterized '80s horror production. That film clearly brought out the best in Yuzna and frequent collaborator Stuart Gordon (also of HONEY, I SHRUNK THE KIDS fame...among other things), but it's interesting to see how they operate apart, to understand the unique ingredients that each filmmaker brought to the more perfect union of their classic Lovecraft adaptation. Gordon skewed darker and more intellectual, as evidenced by the end of his career with the shattering mob thriller KING OF THE ANTS, the disturbing true crime drama STUCK, and the Mamet-penned EDMOND. Yuzna, for his part, is almost anti-intellectual, preferring to cook up blackly comic, semi-pornographic nightmares like his two increasingly horny RE-ANIMATOR sequels, the terminal S&M fantasy RETURN OF THE LIVING DEAD 3, and the shamelessly hokey comic book adaptation FAUST: LOVE OF THE DAMNED. Yuzna's lack of shame is really his defining feature as an artist, and nowhere is this more obvious than in his directorial debut and signature masterpiece, SOCIETY.

Salvador Dali's "The Great Masturbator," a chief visual inspiration for SOCIETY.

Yuzna was able to leverage the success of RE-ANIMATOR to lock in two directorial opportunities, BRIDE OF RE-ANIMATOR, and a bizarre body horror exercise about a Beverly Hills orphan who discovers that not only are his adoptive family from a different bloodline, but they're not even from the same species. That both pictures employed the writing team of Woody Keith and Rick Fry gives you a little taste of what to expect from SOCIETY, but to be frank, the latter threatens to make the former look like a very special episode of ER; "overkill" barely begins to describe SOCIETY’s ambitious assault on the human body. In a recent interview, the philipino-american director giggles perversely, "I think my friends were a little embarrassed for me (when they saw SOCIETY)," and this sound bite reminded me that the last, most important ingredient that Yuzna contributes to any project is unabashed joy. It's a little hard to imagine stomaching SOCIETY without it.

In this unusual scene from the class struggle in Beverly Hills, Billy Warlock (son of HALLOWEEN 2's Michael Myers, Dick Warlock) plays Bill Whitney, a rich, handsome, athletic high school student with a heavy duty anxiety disorder. Although he appears to have it all, he is plagued by nightmares and hallucinations, reflecting suspicions that the family that spoils him is also out to get him. Perhaps this is all understandable, though. Bill is under a lot of pressure these days, with his parents devoting all of their attention to his sister's coming out party, and his narcissistic girlfriend pushing him to ingratiate himself to the assholes higher up the social ladder; it's enough to make any teenager feel alienated and insecure. But, do these garden variety anxieties account for his visions of his sister's body deforming itself unnaturally, or the dubious evidence he finds that her debutante ball involves incestuous orgies and human sacrifice? Is Bill simply crumbling under the strain of societal expectations, or is the friction with his shrink, his parents, and his peers all symptomatic of an elaborate plot against him by elites who are truly less than human?

I can’t believe they use this cheapo blanket trick MORE THAN ONCE in a movie that is famous for its unforgettable special effects, and I guess I kind of love it.

In case I haven't made the answer abundantly obvious, I'll add that while SOCIETY is the purest expression of Yuzna-ness on the market, it has an important co-author in Screaming Mad George. The eccentric japanese FX master, whose name is apparently an amalgamation of Mad Magazine, Screamin' Jay Hawkins, and...George, has produced some of horror's most outrageous makeup and visual effects, mostly for Yuzna, many of them in SOCIETY. If you've seen even a trailer for Alex Winter's 1993 oddity FREAKED--which is itself a grossout criticism of American social standards--then you are already familiar with SMG's trademark style. He specializes in twisted perversions of the human form that would make a cenobite blush, driven by a penchant for puns, and influenced equally by THE THING's Rob Botin, and Big Daddy Roth’s Rat Fink style. Screaming Mad George is instrumental in articulating Yuzna's premise: that behind the shimmering veneer of success and sophistication, the upper class are just a bunch of degenerates, who literally degenerate into something unimaginable behind closed doors. It's impossible to imagine SOCIETY without his sinuous, slithering monstrosities, or his indescribable realization of their most important social event, "the shunt".

One of many great images from a zine I wish I owned, on SMG’s Facebook page.

It's easy to get overwhelmed by SOCIETY's visual impact, but its message is just as potent now as it was at the end of the Reagan era: Rich people are not only different from the rest of us, but in fact, they aren't even human. Writers Keith and Fry make an interesting choice of hero to help put this across. A lazier writer would have selected any archetype from the Freaks and Geeks set to create an easy Us vs Them tension, but SOCIETY is led by a promising young man who, for reasons he himself does not yet understand, is just not "the right kind of people". Bill appears to have every advantage in life, including a level of popularity that wins him presidency of the debate team despite his nerdier rival’s superior prowess--and yet, he suffers from a stigmatizing psychiatric disorder that is the natural result of feeling indefinably different from one's peers, and intuiting that, as a consequence, they don't even really like you. The shallow jock with deep-seated emotional problems is a much more interesting protagonist for this kind of social allegory than the charismatic outcasts that you get in movies like THE FACULTY and DISTURBING BEHAVIOR, for whom the idea that the elites could be aliens is just de rigueur.

It's worth noting that this complexity of character extends to Bill's love interest, sympathetic society girl Clarissa Carlyn (Playboy Playmate Devin DeVasquez). At first, she seems villainously eager to introduce Bill to the many splendors of "the shunting", but as the plot against him mounts to its horrifying conclusion, she defects. There appears to be a reason for this, although honestly, this is the most difficult part of SOCIETY for me to wrap my head around. Clarissa lives as an essentially independent adult, only burdened by her mother (Pamela Matheson), a possibly brain damaged hulk who lurks in and out of various scenes just to be disturbing, always announced by some toots on a tuba, before eventually siding with our heroes. I'm really not sure what's supposed to be going on in this part of the movie, except that this character contributes to a number of distasteful jokes. But, I hold on to the idea that by virtue of whatever disorder Mrs. Carlyn suffers from, she serves the purpose of priming Clarissa to rebel, since her very existence makes her daughter something of a societal outcast herself. That's the best I can do.

In any case, everyone working on SOCIETY commits completely, with Mrs. Carlyn being no exception. The movie's climactic orgy of the damned is an all hands on deck operation, just as reliant on Screaming Mad George's artistic abilities as it is on the actors' responsibility to make you believe that this fucked up shit is really happening. There's a visceral patina of sleaze spread over the entire film, dripping from the way that characters talk to and touch each other, flirting and flaunting their bodies in a distinctly unseemly fashion, even when it stays within the realm of mundane reality. This constant sinister, insinuating attitude on the part of the whole cast lays the foundation for what is to come, and while I appreciate everybody's hard work, my favorite performance is from an actor who only comes in at the very end: David Wiley as society king Judge Carter. Wiley's career consisted almost exclusively of the most ordinary sort of television work, which makes his outrageous turn in this alien porno flick all the more respectable. While other characters transition from suspicious pod people to full-on mutated perverts, Judge Carter has to show up just for the finale, establish his authority, rip off his clothes, and plunge straight into a sea of slime, happily fisting his way through the cast. Wiley meets this challenge with aplomb, making of himself a hybrid of Robert Englund and Gene Hackman, perfectly embodying the movie's joyful absurdity, and never betraying the slightest hint of embarrassment.

SOCIETY is very much a don't-look-down type of endeavor, a fairy that could expire at the slightest lapse in faith. There's a visual pun in the last act that's so gross, so offensive, so frankly idiotic, that I don't have the courage to describe it; my whole body tenses up when I know this scene is coming, as if it were the meat hook scene in TEXAS CHAIN SAW MASSACRE or the brutal rape in the middle of SHOWGIRLS. I don't like it, but at the same time, I respect Yuzna's unhesitating commitment to show it to me, and I think that actor Charles Lucia should get some kind of award for shouldering the burden so valiantly. SOCIETY is a daring movie in the truest sense, a film with more balls than brains, and in this it exposes the limitation of intelligence and taste, and the real need for pure transgression, in producing art of any real value. You might argue with me about whether Yuzna's masturbatory magnum opus really qualifies as art, but to respond to that, I'll quote the great transgressor Alejandro Jodorowsky: "If you are great, EL TOPO is a great picture. If you are limited, EL TOPO is limited." So stick that in your shunt and smoke it.

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PS Here, have this stuck in your head for the rest of your life.

#blogtober #2020 #society #brian yuzna #screaming mad george #woody keith #rick fry #billy warlock #Keith Walley #devin devasquez #david wiley #horror #black comedy #satire #body horror #social criticism

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theseadagiodays · 4 years

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April 6, 2020

Travel at home

I have always been a passionate traveler, with an insatiable curiosity for new experiences, cultures and sensations. But what also comes with all the titillation is a fair dose of unfamiliar, unsettling, and often challenging new circumstances every traveler must agily welcome if they are to thrive. When you are served dinner with no cutlery in Kalkata, scooping sloppy curry with your hands has to do. When you’re penniless and lose your companion, hours from home in Bangkok’s busy streets, you must ingratitate yourself to the kindness of strangers for bus fare to your hotel. It strikes me that this same flexibility can serve us well as we navigate the unchartered territories of this new nation we all inhabit, called COVID.

But what moves me most as I wander the world is the way in which constant new sensory input elevates my present-minded attention so intensely. My ears delight in a particularly evocative call to prayer in Morocco. My mouth savors the sour sweetness of a Colombian maracuya (passionfruit). And my nose even appreciates the cow dung furnaces on the side of the road in India. It is like meditation in motion. After each journey, when I return home, I set the earnest intention to sustain such sensory focus at home. But as the days pass, this consistently becomes increasingly difficult. However now, with little opportunity to venture much more than metres from our door, we need new strategies to remain sane and stimulated. So, I think we can all benefit from living like tourists at home. I believe there is a science to this. I’ve even coined a term for it. It came from a time when I heard education expert Ken Robinson define the word aesthetics. Associated with beauty, most think of the definition as subjective. But he simplified this by pointing out that the opposite of aesthetics is anaesthetics (that which numbs our senses). So, aesthetics are those things which make us feel. Since this revelation, I have come to call myself an aesthesiologist because I believe that all artists are in the business of making people feel. And this is why I feel that sharing artistic resources on this blog is the best medicine I can offer as we all ride out this crisis together.

So, maybe today you can consiciously pay attention to some subtle new observation each of your senses notice in your environment. The way the light hits your tea kettle at dawn. The call of a returning bird at spring time. The crunch of the potato chips that you’re binging on right now. Lately, I’ve certainly learned to feel extra fortunate that I can taste or smell at all, because my husband completely lost his sense of smell 3 weeks ago. Most have probably heard that this is an alarming and bizarre potential sign of COVID, particularly in people with no other symptoms. So, having come thru full incubation period, we’re at least past the scare that it could have become worse or that he might have infected myself or others with whom he’d had contact prior to quarantine. But he never thought he’d look so forward to the day he could smell my farts again. (Meanwhile, I’m indulging in all the beans and garlic I want)

At any rate, if home sensations don’t tickle you enough, there is always virtual travel. And while that certainly risks inspiring a vicarious longing that may not serve you, for others, it can elicit some of the same wonders as adventures themselves. So, if you’re craving sensory immersion into other worlds, New York Times can help you do this with their 13 recommended travel podcasts.

https://www.nytimes.com/2020/04/09/travel/travel-podcasts.html?action=click&module=Top%20Stories&pgtype=Homepage&contentCollection=AtHome

I know I have certainly spent many days in quarantine wallowing over my screensaver trip photos, longing for a time when I could journey further afield once more. But I have also been swept away by the photographic brilliance of some of the work that the New York Times is featuring weekly, in their World Through a Lens column. Marcus Westerberg’s shots of Zambian wildlife (https://www.nytimes.com/2020/03/31/travel/zambia-safari.html) were particularly emotional for me, having just had one of the most meaningful travel experiences of my life there, last year, when I served as resident visiting artist at a music school in Lusaka. In fact, I arrived exactly one year ago, today, and can’t wait to return to those magical people. A girl has to dream, after all...

April 7, 2020

Creativity at Home

If any of you are variety-mongers like me, seeing only the same person or people, day in and day out, can have you dressing up your spouse in wigs or Hawaian skirts or bear costumes just to mix things up a bit. But largely, I’ve been hearing that many parents and siblings are embracing ways to capitalize on their excessive togetherness. I think it’s why the show Survivor has been so successful all these years. Forced into small spaces and “tribes”, we tend to do whatever it takes to get along with our fellow captives. Cooped up together for days on end, there is no limit to the clever activities some families have created to keep themselves occupied.

This crew took a simple tube and board of wood to create some exercise apparatus that has kept them busy for hours: https://www.google.ca/amp/s/www.cbc.ca/amp/1.5518064

Others are taking vicarious travel to the next level with some Photoshop fun - https://www.nytimes.com/2020/04/07/travel/coronavirus-fake-travel.html

And the most impressive might be this 5-person brood, each with operatic quality voices, who belt out their rendition of One More Day, from Les Miserable.

https://www.bbc.com/news/av/uk-52106893/coronavirus-family-goes-viral-with-lockdown-les-mis-song-adaptation

But, if you happen to be stumped for ideas yourselves, here are a few ways you can kickstart your family’s creativity. A bunch of resourceful theatre company’s have been commissioning playwrights to create short Plays at Home, designed for actors and amateurs alike to perform in their own living rooms. Most are staged for 1-7 humans, with joyful themes, and participants are welcome to share video recordings of their readings.

https://www.playathome.org/?fbclid=IwAR3_Uib1GQV5134ZbF7IEI5F5lpt0HQdxYkd1HtiNeUFws1UKCvVV4_2KEQ

And right here in Vancouver, my friend Vanessa Richards is finding thoughtful ways to engage community in collaborative singing, by sustaining her weekly free choir sessions, now in Livestream, every Wednesday, from 6-7:30. You can check out Van Van Song Society here: https://www.facebook.com/groups/togethersinging/

April 8, 2020

Quarantine Living - Al Yankovic style Some of you may be too young to recognize this reference to our favorite weasly moustached 80’s bard, who humorously bastardized everything from Queen’s Another One Rides the Bus to Michael Jakcson’s Eat It, with his own comic lyrics. But lately, like our Les Miserable family, Weird Al Yancovic’s “wordsquatting” trend is spreading more virally than corona.

This original take on the Beatles, I gotta wash my hands is a classic. https://www.youtube.com/watch?v=OxOJ7hh3H-I

For more potty humor, I adore this Philipino artists’ no-toilet paper campaign, I love tabo- https://www.youtube.com/watch?v=Vzb98tQp53I

And certainly, the most high tech example has come from Vancouver’s own Phoenix Chamber Choir, in their rendition of the hugely popular Queen song, Coronavirus Rhapsody- https://www.cbc.ca/player/play/1720158275935?fbclid=IwAR3gEdqv95oX4KT_W4F4_naJyASRhUaGpr-T56Aux9k4tCStGvow9xgHIQw

April 9, 2020

Reading Respite Endless screentime has probably left many of us fatigued and squinting, with a need for stronger reading glass prescriptions that we can’t fill, because all the optometry shops have shut down. So, these next suggestions are offered with that caveat. However, for me, the tactile experience of a book in my hand can still be a nourishing antidote to digital overload. Often just a page is capable of transporting my body, mind and soul away from news feeds, virus counts, and press conferences.

Never a fan of e-readers, I have always passionately supported my local bookshops. And thankfully, there is a current intiative intended to do the same, at a time when the threat of a certain Capital A behometh taking over global commerce is greater than ever. So, you can actually feed your spirit and your neighborhood bookseller by purchasing any literary craving here. Thanks to the new site, bookshop.org, you can order what you’d like from the local bookstore of your choice, while this company acts as liason. And the fair split allows your local vendor to keep 30% of total profit, when direct sales that are no longer possible for them may have only been slightly more (40-45%).

As far as what to stories to consume at a time like this, it has amazed me how much films like Contagion and Outbreak have had huge resurgences. This tells me that relevance and resonance are key factors in people’s entertainment choices. However, if you’re looking for something that relates to your current circumstances, but leaves you not with more fear, but with actual hope, inspiration, or tools for survival, here are a few better options:

Emily St. Mandel’s Station Eleven is, in fact, a post-apocalyptic tale. But her narrative’s most clever survivors form a travelling Shakespeare troupe, demonstrating the power of art to heal in dire times.

For some existential musing reaped in self-isolation, Thoreau’s Life in the Woods always still provides.

And if the new stressors arising from this crisis find you busier than ever, but you long to slow down, travel journalist, Pico Iyer, in his prophetic 2014 book, The Art of Stillness, makes a strong case for the fact that “in our madly accelerating world, our lives are crowded, chaotic and noisy. So, there’s never been a greater need to slow down, tune out and give ourselves permission to be still.”

April 10, 2020

How Might We Fill This Space?

Never before have Memes, Tik tok or Cat Videos provided such many needed lifelines for people all over the world. But the video that most stirred me to action was this stunning dance collaboration that popped up in my Facebook feed, during the early days of self-isolation, before my first Zoom conference, before I’d seen my first collaborative musical Quarantine Song spoof. https://www.youtube.com/watch?v=B3pFxsYPLgU

This global initiative to weave together dance gestures, while performers were entirely physically separate, seeded the idea for a community art and writing project that I have recently started with a few friends.

In an effort to connect artists during this physically distant time, we have launched Spool of Thought. And all artistic contributions are welcome to the thread.

https://www.instagram.com/spoolofthought2020/

On this page, we invite people to respond to the question, “How might we fill this space?”as we adjust to different rhythms of being. The idea is to weave together our thoughts, through the fluid form of cursive writing, in a non-linear narrative documenting this unique time on our planet.

The full instructions are below, for those interested and eager to participate:

1.Using Notes (iPhone) or Evernote (Android) and the digital pen, draw a continuous cursive line from the left to right side of the note (arranged horizontally) and write a word, phrase or sentence that responds to the prompt: How Might We Fill This Space?

2. Save it to your photos.

3. Then,send it by email to: [email protected], and we will add your text to the Spool of Thought Instagram page.

4. Please include your name, your location, your occupation, and your Instagram@ for the caption of your photo.

5. And feel free to share this invite with your community, along with these instructions.

6. Finally, enjoy watching the spool unravel on @spoolofthought2020, as the thread grows, and tag us wherever you choose to share: #spoolofthought2020.

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princessamericachavez · 7 years

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I just checked and Jacob Balaton (Ned Leeds actor) isn't really Pacific Islander but philipino so nevermind that suggestion!

ok hehe got it

#Anonymous

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hotvideo · 7 years

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RUSH IT (1977)

COMEDY LEGEND HENNY “TAKE MY WIFE, PLEASE” YOUNGMAN HAS A SON NAMED GARY. I’M GONNA GO OUT ON A LIMB AND SAY THAT GARY WAS ONE OF THOSE FREE-SPIRITED CELEBRITY KIDS OF THE 1960s/70s, YOU KNOW THE KIND. AN AGITATOR, EVER PLAYING HIS PAN FLUTE FOR THE PEOPLE, JUST HIM AND HIS TRUST FUND AGAINST THE WORLD. THE WORLD, IN GARY’S CASE, WAS NEW YORK CITY. BUT OFF-OFF BROADWAY WASN’T HIS BAG, SO GARY CROSSED OVER INTO FILMMAKING. OLD MAN YOUNGMAN GAVE HIM THE GREEN LIGHT, LINED UP THE FINANCIERS AND GARY SHOT RUSH IT WITH ALL HIS NEW YORK ACTOR FRIENDS, IN HOPES OF USING THE MATERIAL LIKE A 78-MINUTE TALENT REEL. THE CAST INCLUDES FUTURE HOLLYWOOD HEAVYWEIGHTS LIKE TOM BERENGER (THE BIG CHILL), JOHN HEARD (CUTTER’S WAY) AND JILL EIKENBERRY (TV’s “L.A. LAW”). AFTER VIACOM ACQUIRED RIGHTS TO THE FILM, RUSH IT PLAYED A LOT ON MOVIE CHANNELS LIKE SHOWTIME. THE SOLE VIDEO RELEASE OF RUSH IT CAME IN THE FORM OF A BIG OL’ CLAMSHELL VHS FROM UNICORN VIDEO, MARKETED AFTER TOM BERENGER’S CAREER TOOK OFF. I TRACKED DOWN A COPY OF THE TAPE AT EDDIE BRANDT’S SATURDAY MATINEE.

RUSH IT IS ABOUT A CAREFREE FEMALE BIKE MESSENGER (JUDY KAHAN) MAKING HER WAY IN THE CITY. SHE’S GOT THAT QUASI-ANNOYING ANNIE HALL THING GOING ON, IF A LITTLE MORE JEWISH AND, WELL, BASICALLY HARMLESS BECAUSE SHE’S IN HER TWENTIES AND ISN’T ANYONE’S MOTHER YET. SHE RIDES AROUND MANHATTAN IN A DUMB HAT, SMILING AT EVERYTHING WHILE BUZZY LINHART’S EBULLIENT SONGS BLAST OVER THE SOUNDTRACK. COULD BE WORSE. I MEAN, THE WORLD DIDN’T COMPLETELY SUCK BACK THEN. SURE, WE THOUGHT IT DID. OH, DID WE EVER! WE THOUGHT IT WAS OVER, MAN. THE SIXTIES WERE OVER. THE SIXTIES WERE GREAT! THE SEVENTIES WERE FAR WORSE. THESE WERE THE POST-WATERGATE YEARS. NEW YORK WAS ONE BROKE-ASS TOILET, AND YET IT WAS KIND OF MAGICAL, TOO.

DISCLAIMER: NO ONE WHO APPEARS IN RUSH IT WAS EVER A BIKE MESSENGER. REAL BIKE MESSENGERS DON’T KICK THEIR FEET UP WHILE TRAVERSING DANGEROUS METROPOLITAN TERRAIN, THEY RUN RED LIGHTS, FLIP STRANGERS THE BIRD AND DRINK FORTIES IN THE PARK. IF ANYONE HAS ANYTHING TO SAY ABOUT THAT, A GANG OF THESE CATS WILL APPEAR OUT OF NOWHERE, UNBUCKLE THE SEATBELT STRAPS ON THEIR MESSENGER BAGS, MOVE FOR THEIR CHAIN WALLETS AND REENACT A SCENE FROM THE ‘96 X-GAMES. REMEMBER PUCK FROM MTV’s “THE REAL WORLD”? THAT’S A FUCKING BIKE MESSENGER! INCORRIGIBLE, UNREPENTANT B.Y.O.B. PUNKHOUSE SNOTROCKET RASCALS.

“How ‘bout a date tonight, bimbo?”

THIS LUNATIC PLAYS THE PERVED-OUT DISPATCHER AT THE MESSENGER SERVICE. APPARENTLY JOE SPINELL WAS NOT AVAILABLE FOR THE ROLE, SO GARY CAST SOME ELEVATOR MAN WITH A CHECKERED PAST INVOLVING MANY INCIDENTS OF PUBLIC MASTURBATION. HE’S THE MOST AUTHENTIC SLICE OF THE APPLE IN THIS TURKEY. WHY CAN’T THE MOVIE BE ABOUT HIS TRIALS AND TRIBULATIONS? LET’S FOLLOW HIM AROUND WHILE HE’S HAGGLING OVER THE PRICE OF A PAPAYA AT HIS LOCAL BODEGA OR CHECKING OUT THE SNATCH ON 42nd STREET.

HERE’S TOM BERENGER DOING HIS BEST BOTICELLI POSE FOR SOME LITTLE CHINA GIRL. BERENGER’S CHARACTER IS A STALLION WHO PREYS ON CITY CHICKS WITH HIS LOOKS, ESCHEWING ALL STRINGS IN THE CLASSIC LOVE ‘EM AND LEAVE ‘EM STYLE. HIS PREFERENCE, ADMITTEDLY, IS FOR “MORE MATURE WOMEN... ESPECIALLY MARRIED ONES.” YEP, IN THE END, HE’S JUST A GIGOLO. OH, BUT WHAT HE REALLY WANTS TO BE IS A FAMOUS PAINTER!

BERENGER TRIES TO PICK UP JUDY, BUT SHE’S HIP TO HIS ACT AND SPEEDS OFF ON HER BIANCHI. THEN SHE BUMPS INTO AN OLD BOYFRIEND, SOME SUIT WITH A FOXY ITALIAN BROAD ON HIS ARM. JUDY CALLS HIM A HEEL AND KEEPS ON PUSHING. SHE DELIVERS SOME SHIT TO SOME ECCENTRIC IDIOTS, INCLUDING A DRUGGED-OUT TALENT AGENT (ANTHONY HOLLAND, ALL THAT JAZZ) AND GAGGLE OF SUFFRAGETTES WHO’VE BEEN CRYOGENICALLY FROZEN IN A GREENWICH VILLAGE APARTMENT SINCE 1917. JUDY TAKES A BREAK AND GOES HOME. HER PAD HAS SOME FABULOUS TOKENS OF SEVENTIES SINGLE GIRL CHIC, INCLUDING HANGING HOUSE PLANTS, CINDER BLOCK BOOK SHELVES AND FRAMED PICTURES OF JANE AUSTIN. SHE RECEIVES A VISIT FROM HER NEIGHBOR, BYRON (JOHN HEARD), WHO’S JAZZED ON SOME GIRL HE JUST MET. JUDY AND BYRON ARE PLATONIC FRIENDS BECAUSE JUDY, WE’RE LEARNING, IS KIND OF A DYKE; NOT SO MUCH IN THE SEXUAL SENSE, BUT IN THE CULTURAL ONE. SHE’S TOTALLY FINE BEING ONE OF THE GUYS UNTIL THE RIGHT ONE COMES ALONG.

THE SUMMER I EXCAVATED RUSH IT FROM THE TOMB-LIKE STACKS AT EDDIE BRANDT’S, I WAS OBSESSED WITH THE ACTOR JOHN HEARD’S EARLY CAREER. IT STARTED WHEN I SAW HIM IN CHILLY SCENES OF WINTER, THEN GREW WITH BETWEEN THE LINES AND CUTTER’S WAY, THEN CONTINUED ON THROUGH A SLEW OF EXEMPLARY ROLES IN NOT-SO-GREAT FLICKS LIKE FIRST LOVE, ON THE YARD, BEST REVENGE, HEART BEAT, AND CAT PEOPLE. DUDE HAD CHOPS, CHARM AND AN IRRESISTIBLY SELF-EFFACING WIT. BY THE TIME HE WAS CAST AS JACK KEROUAC IN HEART BEAT, STARRING OPPOSITE NICK NOLTE AND SISSY SPACEK, HEARD WAS WELL ON HIS WAY TO BECOMING A LEADING MAN. BUT I SUSPECT HE NEVER FELT COMFORTABLE WITH THE HOLLYWOOD MACHINE, HAVING COME OUT OF THE LESS BULLSHIT-Y WORLD OF NEW YORK THEATER. IN THE EARLY EIGHTIES, HEARD ATE AND DRANK HIMSELF OUT OF THE RUNNING. THANKS TO THIS SELF-SABOTAGE, TODAY HEARD IS BEST KNOWN TO THE IDIOTS WHO COMPRISE 99% OF THE MOVIE-GOING PUBLIC FOR PLAYING MACAULEY CULKIN’S DAD IN THE HOME ALONE FLICKS.

BYRON INVITES JUDY TO SOME GET-TOGETHER AT HIS GIRLFRIEND’S PAD. MERRILL (JILL EIKENBERRY) IS A SECRETARY, ER, ADMINISTRATIVE ASSISTANT WHO’S REAL HUNG UP ON THAT POST-ROTHKO ABSTRACT SHIT AND ITS MARK ON THE THEN-EMERGING BOURGEOIS HOBBY KNOWN AS DECORATING. FROM THIS INTRODUCTION ONWARD, WE HAVE NO IDEA WHAT BYRON SEES IN MERRILL. HE SHOULD REALLY JUST GO FOR JUDY, WHO WEARS OVERALLS TO PARTIES AND IS CLEARLY A GAS.

JUDY MEETS A CHARMING 28-YEAR-OLD JEW NAMED MARK, WHO’S, OF ALL THINGS, A DENTIST. WOW! EDGY! SO THIS GUY STARTS PULLING A LOT OF NUMBERS WITH JUDY, AND SHE’S KINDA DIGGIN’ IT. THEY MINGLE AND GET COZY. THE COMBINATION OF GOD’S EYE AND CARLO ROSSI IN THE ABOVE FRAME IS FABULOUS.

MARK’S “BLEEPER” GOES OFF, AN EMERGENCY BACK AT THE OFFICE, AND HE LEAVES JUDY WITH A SEMI.

THEN MERRILL MENTIONS TO JUDY THAT MARK IS MARRIED. JUDY’S LOOKING GOOOOOOD IN THOSE OVERALLS, AIN’T SEE? I WONDER IF LENA DUNHAM EVER SAW THIS MOVIE.

THE NEXT MORNING, BYRON COMES OVER TO GET A RECAP OF JUDY’S EVENING. THE USZH, SHE’S STILL 25 AND SINGLE.

THIS IS WHAT A DOOR IS SUPPOSED TO LOOK LIKE. IF YOU’RE UNDER 30 AND THE DOORWAY OF YOUR BIG CITY APARTMENT DOESN’T LOOK LIKE THIS, YOU’RE WASTING YOUR PARENT’S MONEY. THIS BARE BONES ASSEMBLAGE IS ALL YOU NEED TO PARTY LIKE A TRUE BELIEVER: OLD TERMITE-INFESTED WOOD PAINTED A MILLION TIMES OVER, QUESTIONABLY SECURE, DIRTY AND DELIGHTFUL. MY OLD SPOT LOOKED LIKE THIS. THEN I MOVED. NOW, FOR A MERE $1,000 MORE A MONTH, I GOT ONE OF THEM NEW CHINESE JOBS MADE OUT OF RECYCLED AMERICAN REFUSE AND PARTICLE BOARD, PLASTIC WINDOW SLATS FROM HOME DEPOT (ALSO MADE IN CHINA!), THE WHOLE PATHETIC PACKAGE.

BYRON’S NEW GIRL STARTS GETTING UPPITY ABOUT BYRON’S ASSOCIATION WITH JUDY. JUST WHAT TYPE OF PERSON CHOOSES TO BECOME A BIKE MESSENGER, PRAY TELL? BYRON REVEALS JUDY HAS HER MASTER’S DEGREE, SHE’S JUST DOING THE BIKE GIG COS HER DEGREE IS TOTALLY WORTHLESS AND IT’S FUN RIDING A BIKE IN A CITY YOU CAN SMILE AT COS YOU REFUSE TO BELIEVE THAT ALL MEN ARE RAPISTS, DESPITE CONVENTIONAL WISDOM AND SECOND WAVE FEMINISM STATING OTHERWISE.

BACK AT THE BIKE SHOP, THESE TWO JOES PRACTICE THEIR HIGH NOTES FOR SOME FUTURE “CATS” AUDITION.

JUDY SPOTS BUZZY LINHART BUSKING. ALRIGHT! BUZZY KNOWS WHERE IT’S AT.

BERENGER FINALLY GETS THE BEST OF JUDY. HE WRITES HIS NUMBER ON HER BACK AND TELLS HER TO CALL HIM. THAT NIGHT, SHE HAS TO READ IT IN A MIRROR AND INVERT THE DIGITS. TWICE SHE CALLS THE WRONG NUMBER, FIRST IT’S SOME PEPE PERSON AND THEN A PHILIPINO WITH CATFISH WHISKERS. SO JUDY AND BERENGER GO OUT AND BALL. PRETTY SOON, THEY’RE AN ITEM.

BERENGER SHOWS JUDY HIS WORK. HE’S INTERRUPTED BY THE TELEPHONE. IT’S TOM’S OF FINLAND CALLING, ASKING WHERE THE SAILOR’S CAP WENT.

BERENGER TELLS JUDY A BUNCH OF SHIT ABOUT WHAT A SHITTY, SELF-ABSORBED PERSON HE IS -- JUST A SLAVE TO THE MUSE, MAN. BUT HE’S A STALLION, SO JUDY DIGS HIS FEARLESS HONESTY AND ACCEPTS BERENGER IN SPITE OF HIS MANY SHORTCOMINGS.

BERENGER ALSO TELLS JUDY HE’S BROKE AND MIGHT BE MOVING TO PENNSYLVANIA TO LIVE ON A FARM WITH AN AMISH COUPLE HE MET AT NIAGARA FALLS. THAT IS, UNLESS JUDY WILL LET HIM MOVE HIS ART STUDIO INTO HER APARTMENT.

MORE SUPERFLUOUS BERENGER PORN.

JUDY BUMPS INTO BYRON OUTSIDE THEIR BUILDING. HE’S WEARING A SUIT, WHICH INDICATES HE HAS A REAL JOB, PROBABLY IN AN OFFICE WHERE THE EXECS WITH THE GRAYING SIDEBURNS DRINK ALL DAY AND GRAB-ASS WITH THE LITTLE CHIQUITAS IN THE TYPING POOL.

BACK AT HER PLACE, JUDY RAPS TO BYRON ABOUT HER NEW STUD AND HOW TO KEEP HIM. BYRON SUGGESTS A FAKE PREGNANCY.

THEN, APROPOS OF NOTHING, BYRON DOES A REALLY BAD BRANDO IMPRESSION. THIS IS IN NO WAY INDICATIVE OF JOHN HEARD’S TALENT AS AN ACTOR.

BERENGER COMES OVER AND STARTS MOVING JUDY’S STUFF AROUND. JUDY DIGS BERENGER’S TAKE-CHARGE ATTITUDE.

BYRON AND MERRILL HELP MOVE THE REST OF BERENGER’S SHIT OVER. JUDY, MEANWHILE, IS GROWING WARY OF BERENGER’S OPPORTUNISM.

THE NEXT EVENING, BYRON AND MERRILL INVITE JUDY AND BERENGER OVER FOR SUPPER. BERENGER WEARS SOME GONDOLIER’S SHIRT WITH A FUCKING POCKET ON THE ARM FOR HIS SMOKES. AFTER SOME WINE, MERRILL STARTS HITTING ON BERENGER. SHE ASKS HIM IF HE’LL DIG HER PAINTINGS AND LET HER KNOW WHAT HE THINKS. THEY REALLY SUCK. NO ONE SAYS THAT, BUT OF COURSE THEY DO. THEN MERRILL ASKS BERENGER IF HE GIVES PRIVATE LESSONS.

BACK AT WORK, JUDY DELIVERS SOME FILM TO A CASTING AGENCY. THE MANIAC WHO RUNS THE PLACE FLIRTS WITH JUDY. I DON’T KNOW WHY THIS SCENE IS IN THE MOVIE, EXCEPT TO FLESH OUT ITS ALREADY TOO-SHORT RUNNING TIME.

AT HEADQUARTERS, JUDY JOKES AROUND WITH THE HORNY DISPATCHER, WHO SAYS HE WON’T ASK HER OUT ANYMORE SINCE HE KNOWS JUDY’S BERENGER’S OLD LADY.

WE GET TO SEE BERENGER RUSH IT A BIT, TOO. HE DELIVERS A PACKAGE TO SOME OFFICE, WHERE AN OLDER, STILL-FOXY SECRETARY REPEATEDLY ASKS HIM WHAT SHE CAN DO FOR HIM. ALL HE NEEDS IS HER SIGNATURE, BUT HE ASKS HER OUT FOR AN EGG McMUFFIN. GUESS WHO’S BUYING?

THEN BERENGER CRASHES SOME ART OPENING, APPROACHING THE OWNER OF THE GALLERY WITH HIS SLIDES IN TOW LIKE A TOTAL ASSHOLE. THE OWNER TELLS BERENGER HE’LL HAVE TO SPEAK TO HIS WIFE (CHRISTINA PICKLES, THE WEDDING SINGER), WHO, IN FACT, RUNS THE GALLERY.

WHEN THE GALLERY GASH FEASTS HER EYES ON BERENGER, SHE QUICKLY STARTS ASKING ABOUT HIS WORK AND ITS DIMENSIONS.

WHEN SHE’S SATISFIED, THEY MAKE A DATE FOR A STUDIO VISIT.

BERENGER RETURNS TO JUDY’S PAD ELATED WITH THE GOOD NEWS. JUDY’S HAPPY FOR HIM, BUT ALSO KIND OF BUMMED THAT HE DIDN’T TAKE HER TO THE OPENING.

JUDY AND BYRON HAVE A CHAT ON THE WAY TO THE LAUNDROMAT. BYRON REVEALS THAT HE’S PLANNING TO BREAK UP WITH MERRILL.

WHILE JUDY’S OUT DOING HER OLD MAN’S WHITES, SAID OLD MAN SLAVES AWAY IN THE STUDIO THAT USED TO BE JUDY’S APARTMENT. DIG BOWIE’S PINUPS IN THE THE BACKGROUND!

BERENGER RECEIVES AN UNEXPECTED VISIT FROM MERRILL, WHO’S BEEN SUNBATHING ON THE ROOF. SHE ASKS BERENGER IF SHE CAN WATCH HIM PAINT. HE TELLS HER TO COME BACK WHEN IT’S A BETTER TIME TO PARTY, HE’S ON A DEADLINE.

JUDY AND BERENGER GRAB SOME MALTS AND PARK IT ON THE CURB. THE LIGHT’S REAL NICE AND THE WIND’S BLOWING SOFTLY, MAKING THE SCENE PLAY MORE NATURAL THAN THE OTHERS. IF I WAS ONE OF THESE TWO PEOPLE, I’D CHOOSE THIS SCENE FOR MY ACTING REEL.

WHEN JUDY TELLS BERENGER THAT BYRON’S CUTTING MERRILL LOOSE, HE ISN’T SUPRISED. HE TELLS JUDY HE’LL NEVER LET SOME CHICK COME BETWEEN HIM AND HIS PAINTING.

“Don’t EVER buy me a strawberry shake again. I said VANILLA.”

BERENGER PICKS A CONVENIENT TIME FOR THE GALLERY GASH TO STOP BY -- i.e. WHEN JUDY AIN’T AROUND. SHE DIGS BERENGER’S WORK AND BEGS FOR A CLOSER LOOK.

JUDY AND HER GIRLFRIEND FROM THE MESSENGER OFFICE (HARRIETT HALL) GET TOGETHER IN THE PARK TO RAP ABOUT BOYS AND WHAT HEELS THEY ARE.

WHEN JUDY GETS HOME, SHE FINDS BYRON MOROSE AND CARRYING A BOX OF MERRILL’S SHIT TO DELIVER BACK TO HER. BYRON ASKS JUDY IF SHE’LL COME WITH HIM.

WHEN THEY GET TO MERRILL’S, BYRON TELLS JUDY HER COMING WITH HIM WAS JUST A PLOY TO GET HER TO ACTUALLY DELIVER THE SHIT HERSELF SO BYRON WON’T HAVE TO SUFFER THE AGONY OF SEEING MERRILL’S STUPID FACE ONE MORE TIME. JUDY, EVER THE GOOD SPORT, OBLIGES HIM.

“Oh... it’s you. Where’s Byron? OH. Okay. Well, can you tell him he still owes me $4.37 for his portion of the Con Ed bill from July? Thanks!”

AS JUDY AND BYRON RETURN TO THEIR BUILDING, THE GALLERY GASH IS JUST LEAVING.

B-B-BUSTED! WHEN JUDY ENTERS THE PAD, BERENGER’S IN THE PROCESS OF CHANGING HIS SHIRT TO ONE NOT SOAKED IN SWEAT AND SCENTED VAGINAL OILS. HE TELLS JUDY HE GOT THE SHOW. SUDDENLY, WITH THE HELP OF A SHORT FLASHBACK, JUDY KNOWS THE SCORE.

AFTER A LONG, CATHARTIC RIDE AROUND THE CITY, JUDY VISITS THE GALLERY WHERE BERENGER’S GONNA HAVE HIS SHOW. THE PAINTINGS IN THE BACKGROUND REMINDS ME A LOT OF THE KIND OF WORK ALAN BATES’ CHARACTER MADE IN AN UNMARRIED WOMAN, OR THAT ARTIST JEREMY BLAKE WHO ESSENTIALLY MADE THE SAME KIND OF SHIT IN THE EARLY 2000s, ALBEIT DIGITALLY, BEFORE HIS TRAGIC DOUBLE-SUICIDE WITH HIS CRAZY WIFE AFTER THEY DID TOO MUCH COCAINE AND CONVINCED THEMSELVES THEY WERE BEING HUNTED BY THE CHURCH OF SCIENTOLOGY. IF THIS REVIEW HAS TAUGHT YOU ANYTHING, IT’S THAT I KNOW FAR TOO MUCH BULLSHIT ABOUT CONTEMPORARY ART AND NOT ENOUGH ABOUT MAKING LOVE. ANYWAY, JUDY WINS.

SHE GOES FOR ONE LAST DELIVERY. ONCE AGAIN, BUZZY LINHART’S MUSIC COMES ALONG FOR THE RIDE.

FINALLY, BYRON TELLS JUDY HE’S FOUND THE PERFECT GUY FOR HER: IT’S BYRON!!! WELL, ALRIGHT! JUDY LAUGHS. HARD. THE END.

#vhs #annie hall #unicorn video #70s new york #bike messengers

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i-see-you-have-good-taste · 3 years

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June Week 1

1st -> Listening to TXT's 'The chaos chapter : Freeze'. Loving the album in its entirety. The genre is a bit different and really explorative. I like the that they got Alex Hope to produce 'Anti-Romantic'. Gives me a lot of dreampop vibes.

2nd -> Nct 127 is making a comeback in collaboration with amoeba culture. The mv teaser is super interesting, with allusions to saving the environment and the world. Young K featured in a Philipino band's song. Ben&Ben -- 'Leaves'. It's a beautiful song, very indie folk. Thank you Young K for yet again introducing another obscure indie artist.

3rd -> Today I finished ep 10 of 'Mystic Pop Up bar'... only 2 more eps to go! Also watched the next ep of 'Be loved in house : I do', the 4th ep.

There was a twenty four hour live stream of Kcontact. I watched a bit in the evening. It was a replay of the performances of all the artists they have showcased. I watched when they streamed Sf9, Stray kids, The Boyz, TXT & Woodz.

4th -> Nct 127 released their new single 'Save me'. I was hoping it was a mini album. Still as always it was cool, though for me I think the song could have taken another track. More unsettling and accusatory than straightforward. Listened to some live 'BtoB'. Gosh their vocals remind me of old movies. Their baritone vibratos make me wish they went more operatic.

5th -> Watched Gaho's concert at the indie music festival 멈추지마.

Watched the second last and final episode of Kingdom. Was it epic? Was it iconic? Of course it was. Gosh it was so thrilling. Every group has garnered so much more respect from me since I started watching. Like almost the entirety of both eps had me with my mouth open. I couldn't believe the stuff they were pulling off. But one thing I will never forget is the way Ateez merged 'Ode to Joy' with their 'Answer'. I have always loved ode to joy and never expected it to blend so well with a kpop song. I just love how even before this group incorporated classical music into their songs like it was no big deal. They have a certain level of class that I dig. All of their performances including their finale were my fav. Same goes for Stray Kids - I mean they won. And here I thought Stray kids was the closest to a self producing indie kpop group. They shone while keeping their identity intact and that's what mattered. Also any future comebacks from all the other groups have got my attention.

6th -> Downloaded Nct's beyond live 2020 concert. Already started it. Sungchan and Shotaro filled in for Tayong so well!

I cannot believe 2PM is making a comeback I thought they were done! Also how is another actor I've watched in this group! Like are half the working actors also kpop idols? Is this a thing? These guys are demolishing the thought that kpop idols can't act. I mean they are performers so of course a good many would be great on screen.

7th -> New releases! Hyunjin Hur dropped an acoustic version of Baragi with a lovely mv! That was unexpected. I hope he releases an album soon.

N.Flying released their first full length album. Well it was definitely worth the wait. All of the songs have been worked on so well, it exudes their style. Hope they continue being an awesome indie rock band.

#entertainment media update #media update #june week 1 #weekly update #music releases #kpop #drama #kdrama #hur hyunjin #txt #epex #nct 127

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