#<- such an icon and honestly amazing artist&director

[knightowl-studios]

Oh my god you guys I think I love doing commissions.

You mean I can DRAW...and people will pay me MONEY for it??

WHAT

[fluentinfashionfmd]

Hi Fashion Lovers, Happy Monday! 

Today I will be sharing with you my most loved fashion icon, Mr Harry Styles. The man has Style in his name, how could he not have impeccable style? Harry's style evolution has been through it, but ill only be sharing his more recent and post worthy looks.

Harry is most famously known for being a part of the British boyband One Direction. They had an amazing career at so young, but sadly parted ways in 2015. Since then he has gone on to have an amazing solo career, and has only been on the up since then.

At the start of his solo career, he had a very distinct style. This was around 2017-18 when he released his first album as a solo artist, and was starting to stray away from his boyband persona. He experimented with some color and different patterns, but it wasn't anything out of the ordinary for a male pop star. It was him trying to be different, but still playing it safe.

Since then, his style evolution has drastically changed. Harry is known to be good friends with Alessandro Michele, which is most well known for being the most recent creative director of Gucci. He was also the designer of most of Harrys "big" outfits.

One of Harry's most "controversial" outfits was the dress he was wearing in his December 2020 Vogue magazine cover. This was significant because he was the first male to be on the cover solo, and wearing a dress. The dress he was wearing was beautiful, it flowed perfectly, and of course was designed by Alessandro. Although, it sparked way too much controversy. Candace Owens, is a conservative author that posted on social media responding to Harrys cover that we should "bring back manly men". This sparked a craze that was so unnecessary. Nothing about him wearing a dress makes him any less manly, its simply just fabric.

As Alessandro was the designer behind this iconic look, he was also behind my most favorite looks worn by Harry. These would be his Coachella 2022 looks, as well as his "Harryween" 2021 costume.

His first weekend headlining, he was wearing a multicolor sequin jumpsuit paired with black leather boots. This look was so eye catching and colorful, it looked so good when it hit the lights at the right angle and gave a mirrorball effect. Not only was his look fab, but he brought out Shania Twain to twin with him. They sang a couple iconic duets such as her hits "Man I feel like A Woman" and "You're still the one". Their outfits were giving disco glam, and they matched perfectly. Although I loved the rainbow, I'd say his weekend 2 outfit was my favorite. The metallic pink was perfect, and the details of his initials on his pockets and cherry and strawberry appliqués were stunning!! So many fans recreated this look for his concerts and it was amazing, definitely one of his most iconic looks. The second weekend around, he brought out one of his besties Lizzo. They matched perfectly with the twinning pink looks.

For another fave of mine, I have to talk about his Dorothy costume. Harry has had several concerts on Halloween, that he famously calls Harryween. Everyone dresses up in amazing costumes, and he sings a special song pertaining to who he dresses as. In 2021, him and his band dressed as the beloved characters from the classic movie The Wizard Of Oz.

This costume was incredible!!!! Honestly I'm biased because the Wizard Of Oz has to be in my top favorite movies, but this costume was everything to me. The details of the boots with the blue socks, the basket of toto, hearts on the dress, and the blush on the cheeks. Everything that he needed to have, he did. And on top of that, he had to sing somewhere over the rainbow during this concert. It was all phenomenal. I had the incredible luck to attend Harryween this past year when he hosted it in LA. He dressed as Danny Zuko from Grease, and I dressed as Ariel from The Little Mermaid. Now it wasn't anything designed by Alessandro, but I do think it was pretty cute.

Now that's all from me fashion lovers. I enjoyed this time together and don't forget to Treat People With Kindness, as Harry always says!!

XOXO,

Bella

[nbmsports]

Margot Robbie and Ryan Gosling talk Barbie and Ken as they hit the pink carpet for London premiere | Ents & Arts News

From the moment we saw the photos of Barbie and Ken rollerblading around Venice Beach in matching neon in 2022, the hype has been huge - reaching stratospheric levels in recent weeks thanks to Margot Robbie's vintage pink carpet outfits, and social media's obsession with a clip of her perfectly arched, tip-toed feet.Launched in 1959, the world's most famous doll has been a constant in the lives of millions of children and is already the star of plenty of films and TV shows, but Greta Gerwig's new live-action movie has taken Barbie excitement to the next level. Speaking at the European premiere in London, Robbie, who plays the beloved title character, told Sky News why Barbie's on-screen world is so special. "To really do something unexpected and fun and clever and silly on such a big scale, it feels like a very unique opportunity," she said."Barbieland feels like a female utopia. But you do, by the end of the film, see the flaw in that - I mean, a hierarchy in anyone's power is not necessarily the best thing. But it is fun, it's very pretty."

Image: Of course Barbie has a dress-fixer. Pic: Scott Garfitt/Invision/AP

Image: Robbie with writer-director Greta Gerwig on the pink carpet. Pic: Vianney Le Caer/Invision/AP Barbie is something of a feminist icon, living in a world where women rule - see the film's tagline: "She's Everything. He's Just Ken." Ryan Gosling, who plays Barbie's arm candy, said he was inspired by his own children to do the film."All things Barbie landed in my house at the same time - Barbie the doll and also the film," he told Sky News. "It was just sort of like a Barbie avalanche, I had to reckon with it. "I just one day picked up a Ken doll in the backyard - and the next moment, I was him."'I can't believe they let us make this movie' It's hard to remember another film in recent times reaching the level of anticipation this new Barbie film has - it maybe even out-hypes Daniel Craig's last outing as James Bond, which was long-awaited after several delays.There have been stories about the film creating a global shortage of pink paint, the aforementioned headlines on Robbie's feet, and a pitting of Barbie against what's seen to be it's equal and opposite: Oppenheimer, a historic drama about the invention of the atomic bomb, which comes out on the same day.

Image: Pic: Warner Bros

Image: Pic: Warner Bros For writer-director Gerwig, whose previous work includes the 2019 adaptation of Little Women and the Oscar-nominated Lady Bird, it has been somewhat "daunting, as well as exciting".She told Sky News. "It's so exciting but I also feel this ever-present wave of like, "oh no, I'm going to cry', and then I'm like, 'don't cry, it's only amazing" But it is - it's a lot, it's incredible, but it's a lot of energy."Read more: Margot Robbie on 'madness' of Babylon Neighbours - then and now: the stars who returned to Ramsay Street Ryan Gosling on Bond, Bollywood, and babies on setIt really is hard to quantify the popularity of Barbie. Her enduring nature is something most other toys can only marvel at; 64 years after she first arrived, she continues to pull in huge sales for makers Mattel.Gerwig says the toymaker was great to work with. "I honestly can't believe they let us make this movie, but they were really brave and they really allowed us to have creative freedom with their beloved brands."'Bad Barbie'

Image: Artist Emma Gibbons at the launch of her 'Barbiecore' exhibition. Pic: Dave Parry Like all great brands, the doll has diversified over the years. As well as the physical toys, video games, TV shows and films, she has also inspired others - including British artist Emma Gibbons, who is currently exhibiting her "Barbiecore" pieces in London."I've been using pieces such as Barbie shoes and tiaras and other bits in my work for a long time," she told Sky News. "The aesthetic, the neon and sparkle, very much fits with what I do, and she's been part of my practice since my art school days."Barbie had loads of really cool jobs when I was a kid - pilot, firefighter, doctor; she was the ultimate feminist back then, which I really liked. She was a housewife as well but very quickly took on these different careers, giving kids more scope to invent their own games."

Image: Robbie bought Gibbons' 'Bad Barbie' artwork One of Gibbons' pieces, "Bad Barbie" - a vintage profile with a swooshy ponytail, created from the artist's trademark glittery pink pill capsules and crystals - was snapped up by Robbie while she was filming, after the star's trainer came across it at an art fair.Gibbons puts the excitement for Barbie down to the aesthetic - and also the nostalgia that she evokes."Since COVID especially, people really do want to be uplifted," she said. "It's the nostalgia, too - nostalgia's a very powerful tool."There's also real empowerment and liberation - the amount of people who came up to me at the exhibition opening who said they'd been dying to wear the outfit they had on for ages, but hadn't dared before. Barbie allows people to be their extravagant, exuberant selves. Anything goes." There's no doubt Barbie is an icon, and this new film will only serve to cement that status to a new generation of fans.Only time will tell how she will continue to adapt - but it seems a safe bet to say she will be here long after the buzz around this movie has died down.Barbie is out in cinemas in the UK on 21 July Source link Read the full article

[allgirlsareprincesses]

I would like the salt on BatB 2017 if you would like to share 👀

Okay but.... let's just be clear that it's GROSSLY unfair because I haven't seen the whole movie, just a scene here and there. I am genuinely not interested in it for reasons listed below.

First off, I'm biased against all Disney live-action remakes on principle because they rely slavishly on references and callbacks to push the nostalgia button. They are, generally, afraid to depart too much from the original, except in ways in which they transparently attempt to shoehorn in "woke" moments. The whole effort is incredibly cynical and inauthentic, and the biggest problem with all of this is that these are often timeless stories which have SO MUCH POTENTIAL and can be told in so many ways, so WHY would they adhere so closely to one adaptation??? Further, when the movies are THIS similar, the remake can't help but suffer by comparison because it actually relies on familiarity with the original for its appeal in the first place. It's completely derivative from the beginning.

My feelings about this apply to all of the Disney remakes so far (that I've seen) with only one exception, and that's Kenneth Branagh's Cinderella. The reason that one works is because it does what none of the rest of them do, and that's adapt the Cinderella fairy tale instead of the Cinderella Disney movie. Yes, there are a few references, but the movie clearly stands on its own as a Cinderella story. You might never have seen the 1940s animated Cinderella, but you could enjoy the 2015 version and not feel you were missing anything. Even the iconic songs are replaced with one simple lullaby. Branagh just went out there and made his own Cinderella movie and it's a modern classic, IMO.

So, back to BATB 2017. The 1991 animated film was nominated for Best Picture that year, the first animated film ever to be so honored, and it went on to be adapted for a very successful Broadway show. So already while the live-action version had a high bar to live up to, it also had a lot of great material to draw from in the stage show. But then for some reason.... it just copies the animated movie, song-for-song, sometimes shot-for-shot. And.... the shots in the original are lovely, but they are the way they are BECAUSE of the medium. The storyboard artists in the 80s and 90s (specifically Chris Sanders and Brenda Chapman) were mostly animators before they were film directors. They composed shots for 2D animation. Working with a live-action set is VERY different, and things don't translate exactly. Something that is a stunning graphic in 2D can look cheap on film.

One of the ways that this problem shows up is in Belle's iconic golden dress (AND YES IT'S GOLD NOT YELLOW DON'T @ ME). I know most Tumblr folks are younger than I am, so let me just tell you that when I saw this movie in theaters in 1991, the whole audience went "Oooooooooo...." when Belle appeared in her ballgown at the top of the stairs. Like a loud, audible sigh. I can hear it in my mind right now. That image left audiences breathless. Emma's dress? Yeah, not so much. I mean, firstly, again, the yellow of the animated film is cartoon shorthand for gold, especially since you can also see they animated a shine onto the gown. Not that I think the live-action gown should have been lamé or anything but you can see from Cinderella 2015 that it's possible to make a gown appear to shine and sparkle without looking cheap. Then there's the boring neckline and lack of sleeves. I mean.... it's a prom dress silhouette??? Nothing about this screams FAIRY TALE PRINCESS to me. And of course much has been written about Emma's fEmInIsT refusal to wear a corset. And yes, I think they went too far with Lily's corset in Cinderella and that was not cool, but the fact of the matter is that corsets are what give period gowns their distinctive shape. And corsets are implied in the silhouettes of the animated films these new movies are based off of. So without it, and lacking anything else to give it the WOW-factor of the original, this dress is just visually dull at what is supposed to be the most romantic moment of the movie. Fairy tale fail.

Then, Emma's voice. I'm sorry, I'm so sorry, but I'm not a musically-skilled person AT ALL and even I cringe at the obvious auto-tuning. Whyyyyyy? I mean, first off, why did they even have to have the songs in this movie? Cinderella already proved that's not necessary. Second, if they WERE going to put the songs in the movie, why not hire the most talented singers they could, or give them all plenty of voice-training before filming? Because they MIGHT have gotten away with Emma's singing if the rest of the cast had been on her level, but when you have Luke Evans out there just BRINGING THE HEAT, and when you remember what the original with Paige O'Hara sounds like, poor Emma can't help but suffer by comparison. And then to auto-tune her is to just make even more obvious that her performance wasn't up to the standard they felt they needed. It's just uncomfortable. Further, auto-tuning loses the imperfections that actually carry most of the ACTING in a vocal performance, so it actually flattens the emotion of the song. This of course defeats the whole purpose of a song in film, which is to express emotions so strong that dialogue is not enough.

I have some other quibbles but those get into parts of the film that I honestly haven't seen, so I'll abstain. But let's just say that my main problem with BATB 2017 is that it didn't attempt to be an original retelling of Beauty & The Beast, and that's a shame because I think that could have been amazing. I might be in the minority but I truly enjoy the 2014 French film with Lea Seydoux, if only for the aesthetic.

I've really given up on Disney at this point. Right now they are just a nostalgia factory that keeps repackaging the same thing over and over. To me, the magic is gone.

[path-of-my-childhood]

"Miss Americana" Director Lana Wilson on Capturing Taylor Swift, Mid-Transformation

By: Chris Willman for Variety Date: January 31st 2020

Lana Wilson was taking a risk - albeit a pretty good bet - when she set out to make what turned out to be “Miss Americana,” her new Netflix documentary. As Taylor Swift told Variety: 

“When I began thinking about maybe possibly having a documentary-type thing happen, it was really just because I felt like I would want to have footage of what was happening in my life, just to have later on in my life, even if we never put it out, or even if we put it out decades down the line. When we brought Lana on board, I was pretty open with her about the fact that this may be something that I wasn’t actually ready to put out. So I think we began the process without a lot of pressure, because I didn’t necessarily think that it was an actual eventuality to put out the documentary.”

Wilson was too fascinated by what she was getting early on to worry much about whether her subject would sign off on releasing it. At the outset, she was catching Swift at the end of the “Reputation” album/tour cycle, when Swift was finding a more contented place in her personal life and finally exorcising Kanye-gate from her system. The star quickly moved on to the making of “Lover,” her most upbeat album, with Wilson getting fly-on-wall footage that captures the joy of creation and eureka moments in the writing process in a way few films ever have. And then things got more interesting altogether when Swift decided that the days she could afford to be standoffish about what was happening in the country had come to an end. The movie - and by now, it was a movie - had its third act.

Variety spoke with Wilson for the magazine’s cover story last week on Swift, prior to “Miss Americana’s” Sundance premiere. Here’s a breakout of more of that conversation.

There is some footage in the movie that goes back a few years that clearly predates your involvement. When did you start filming - was it during the “Lover” writing and recording sessions or the “Reputation” tour before that? I came on during the tour. She had been collecting bits and pieces of footage; she often filmed stuff with her own cell phone - songwriting stuff. Netflix introduced us, and we really hit it off the first time we met. She had watched my previous work, and I had admired her for years, not just for her music, but also the fact that she had written all of her own songs since she was 15, and that she’s the sole creative force behind the whole shape of her career. When we met, I remember being excited that she didn’t want to make a traditional pop star documentary. She knew that she was in the middle of a really important time in her life, coming out of a very dark period, and wanted me to collaborate on something that captured what she was going through that was raw and honest and emotionally intimate.

When we first talked about it, she immediately wanted me to bring my perspective as a director to what was going on with her now and to make a film that really had something to say. I think the first time we met, we talked for 20 minutes about narrative structure in documentaries, and we even talked about film score in documentaries. At one point she said that she didn’t like documentaries that are like propaganda, and I was thrilled to hear that. In my work, I take stories that are often told through sound bites and headlines and bring depth and complexity to them. My goal is always to reveal the humanity that’s beneath the oversimplification. And to me, there are few things more frequently diminished and reduced by others than female creative forces.

It could be seen as a feminist statement, or at least some kind of intention on her part, that she picked someone who’d made an abortion documentary (“After Tiller”). It could also mean that she was just more comfortable with a woman. I think that’s totally true. When I started filming, it was before she’d come out politically. But that said, even before meeting her, I could only imagine how much pressure and scrutiny she’d faced as a powerful and successful female artist. And I definitely sensed that those pressures would be ones that other people and especially other women and girls could relate to. Obviously, yeah, I’m a female artist working in a male-dominated industry. So although Taylor and I inhabit very different worlds, I figured that we’d have some shared experiences. And I also worked with an all-female crew, which I do think helped her feel comfortable right off the bat, and a small crew. When I met her, she hadn’t done an interview in almost three years. The first one she did was an audio (-only) interview with me for this film. So it was a big deal, and trust was a big part of that.

You had an all-female crew, but Morgan Neville’s name is on there as a producer, and he’s not a gal. [Laughter.] What’s his role in it? He was a part of the creative process, and it was wonderful to get to work with him, as a creative sounding board, from start to finish. On the crew, I will say that we did always have male production assistants, because I like trying to show people that men can fetch coffee for women, and not just the other way around! So that was the only exception to the all-female rule.

It had to have been a small crew, when you were filming the fly-on-the-wall creative stuff in the recording studios, sometimes in very small control rooms. It was often just me and one or two other people in the room with her, trying to keep the footprint as small as possible. You know, no one had filmed her writing songs before. That was some of my favorite stuff to film, but it was also the stuff where we tried to really be the most low-key presence possible. You’re just in a tiny room, and it feels so amazing to watch her get in the zone creatively. One of the most fun parts for me as a director is when it feels like you’ve been in the studio for enough hours that everyone is so relaxed that you really feel invisible in a wonderful, exciting way.

When she’s having the talk with her team about wanting to make endorsements for the midterm elections, which is maybe the most important scene in the film, it’s not clear if that is something you shot or if that was something that was on the spur of the moment, where she had someone get a camera in your absence. That was spur of the moment. So that was something someone on her team shot who was pretty good with the camera. That was very last minute. I’d been starting to work with her and talk with her before that, and I’d say, “If something’s happening last-minute that could be at all important or meaningful, film it with your cell phone, of if there’s someone around you that has a little DSLR camera or something, they could film it.” It allowed us to get really powerful, crucial scenes like that one that might’ve been hard logistically to get otherwise. And I love the personal quality of that material from especially the few little bits of stuff from her cell phone.

She told us she wasn’t sure she wanted to actually make or release a movie when filming started. Did she make that clear to you when it started? Like, this might be on spec, and might not come out? Well, it was less talking about the end result and more, honestly, just talking about what she was going through emotionally at that time and the kind of things that were on her mind. Then we’d brainstorm stuff that could be cool to film. I love the idea of filming really quiet, almost more mundane moments, because I think that ordinary/extraordinary contradiction that’s so central to the life of someone in the public eye is really interesting. I loved that moment early in the film where she’s alone in the car in the dark after the show riding to her hotel room - the idea of going from being on a massive stage in front of tens of thousands of people to being an ordinary person alone just going to bed at the end of the night.

She’s already been pretty candid with her fans. There are moments in the film where she’s shown as being annoyed with the fans and photographers gathered outside her door and that sort of thing. Do you think she felt okay with being portrayed as not being happy at all times? Oh yeah, totally. She’s a complex human being, and I think whether you like her music or not, if you watch this movie, you really get to know her as a human. And as you say, she writes so candidly in her lyrics about the hardest times, the times when she made mistakes. And that is what her fans love her for. But a lot of people don’t share their hard times. The most popular photos on Instagram are of weddings and babies, when what’s really relatable and what’s meaningful is connecting with someone over that time things weren’t perfect, or the friendship or relationship that didn’t work out, or the argument you had with your mom or something. You know, everyone wants to feel less alone in the more difficult experiences in life. And that’s one reason why they turn to art. And I think it’s why people watch movies. And the happy moments are meaningful when you’ve also been through the sad ones. Young girls need to see that their heroes are just as human as they are. And I think girls and boys of all ages could benefit from that reminder.

I want people to be surprised by it because I think that Taylor Swift is someone who everyone thinks they know. But I think if people start watching this film, they’ll realize they’re watching a film about this iconic artist deciding to live life on her own terms, and it’s a feminist coming of age story. I think they’ll be surprised by her sense of humor and her self-awareness, and they can appreciate the craft of songwriting, for instance. So I hope that even if people are not fans, that they’ll watch the movie and be really surprised and also feel like they’ve just met a complicated, layered human being.

Very few people at the superstar level have the gift of healthy self-awareness that she seems to have. Self-consciousness, yes, but self-awareness, that’s more rare. Yeah, it’s so true. I’m sure you’ve seen bits of the home movies in some of her videos in the past. When I looked at the home movies, what struck me the most about them is that she really always has been the same person. She’s been kind and generous and smart and imaginative and very hardworking since she was a girl. At age 11 she knew exactly what she wanted to do with her life. One of my favorite moments in the archives in the film is this clip of her, where she’s like in a diner and it’s just after the release of her first album, and she’s 16. Her childhood dream has just come true. And she tells the interviewer that she wakes up everyday being like, “Yes, this is happening.” But then she tells herself, “Now you have to figure out how to make it last.” That is so her. She had so much maturity and pretentiousness then, and she knew she wanted this to be her career and her life, and she wanted to write songs forever. It’s incredible to see a person at that age that self-possessed and cognizant.

At one point she says she wants to use her platform to speak out because she’s aware she won’t be in this position forever, where her opinions have some kind of import. Not that she’s predicting a major downfall, but she knows she won’t always have this attention. That’s undoubtedly true, but at the same time, she’s one of the only ones besides Beyonce that we would imagine being almost as big a star in 20 years, and not necessarily subject to the normal standards of diminishment of interest. She’s conscious of the historically short lifespan of female pop stars, and it’s so poignant when she says that. But it’s hard to know what will happen, though, because she issuch a trailblazer. I mean, there’s just been no one like her, and her fan base and the relationship she has with her fans is so unique, and, I mean, she’s already done so many things that no one else has done before — who knows what will happen in the future? She is cognizant of what’s happened in the past and what’s going to happen in the future … but it could be anything, because she’s different than anyone that’s come before.

We can hope we all live long enough to find out what a 50- or 60-year-old Taylor Swift is like. I love that idea too. I want to go to the arena tour of a 60-year-old Taylor Swift. I want to know what the songs she’s writing then are.

The last third of the film focuses on her decision to make a political statement and what comes after. It was a profound decision for her to make, and a multilayered one. In that, I saw this feminist coming-of-age story that I personally connected with, and that I really think women and girls around the world will see themselves in.

You didn’t actually have the “Miss Americana & the Heartbreak Prince” song in the movie, but that’s the song on the album that most speaks to her political turn. So it seemed like a good thing to title the movie after? It was cool because it’s obviously, yeah, a reference to this song she wrote that has political themes. It was interesting that when the documentary was announced, her fans instantly understood some of the themes the film would have, because of the song title. And then for me, even if you don’t know the song, I see the movie as in some ways looking at the flip side of being America’s sweetheart. So I like how the title evokes that, too.

You have the twin moments of disappointment in the movie. Early on, you have the Grammy disappointment, and then later there’s the midterm result disappointment. Those are the parallel scenes, almost, where she’s having to deal with the results not turning out as she planned and one of these ultimately being more important than the other. I’m glad you noticed that. That means a lot. One thing that I think is amazing about her is that she goes to the studio and to songwriting as a place to process what she’s going through. I loved how, when she got the Grammys news, this isn’t someone who’s going to feel sorry for herself or say “That wasn’t right.” She’s like, “Okay, I’m going to work even harder.” And I think it’s amazing how you see her strength of character in that moment when she gets that news. Then with the election results, I loved how she channeled so many of her thoughts and feelings into this song (“Only the Young”). It was a great way to kind of show how stuff that happens in her life goes directly into the songs. You get to actually witness that in both cases.

Were you surprised that she addressed having had what could be described as an eating disorder? She seems hesitant to use that term but finally does. She’s been open about so many things, but that’s not something that she’s revealed. No, that’s one of my favorite sequences of the film. I was surprised, of course. But when you hear her talk about it, I love how she’s kind of thinking out loud. And yeah, she’s an icon of beauty, but even for an icon of beauty, as she articulates so beautifully, women are in this double bind situation. It’s impossible for anyone to meet every standard of beauty. It’s an impossible situation. And every woman will see herself in that sequence. I just have no doubt. And I do think people will be really surprised by it.

I tend to be clueless about these minor shifts in weight or body size, until people point them out en masse. It never would have occurred to me that she was any less thin on the “Reputation” tour until I started seeing comments about weight gain. But there are those who have their antennae out for the slightest change, and often it’s women, maybe it’s because you’re under that scrutiny yourselves. But you can also just not notice people being really skinny, because we’re all so accustomed to seeing women on magazine covers who are unhealthy skinny, and that’s become normalized. I think it’s interesting what you say about what you read during “Reputation” about her weight, because you really can’t win. There is a moment in the film where you see that part of the media backlash she experienced during 2016 was people saying, “Oh, she’s too skinny.” People complain if you’re too skinny, and if you’re not too skinny, you’re too fat. It’s incessant, and I can say this as a woman: It’s amazing to me how people are constantly like “You look skinny” or “You’ve gained weight.” People you barely know say this to you. And it feels awful, and you can’t win. So I think it’s really powerful to see someone who is a role model for so many girls and women be really honest about that. It’s a brave thing of her to do, and I think it will have a huge impact.

Her interactions with Kanye West are such an essential part of the story, but that’s not a name that has really ever escaped her lips publicly since 2010; she’ll say “a person” or something euphemistic if she has to address it. So I was in suspense to see whether or how much it would come up in your film,  given how little capital she wants to give this guy in her life. It’s a crux, twice, of her journey of self-acceptance, but it’s easy to imagine her not wanting it in the film. I think it’s an important part of the story, but I wanted to position… Like, with the 2009 VMAs, what was surprising to me when I asked her about it was that she talked about how the whole crowd was booing, and she thought that they were booing her, and how devastating that was. That was something I hadn’t thought about or heard before. And it meant a lot more to me because it made more sense in the context of her being this extraordinary young artist who is doing so well, and who, like so many performing artists, loves applause. And then she is on stage [still as a teenager] and it felt like all these people were booing her. When you put it that way, it’s so much more relatable to me, and it’s understandable to anyone, because we all want people to like us. And being on stage with a giant crowd booing would be horrible for anyone. So we tried to use it in a way that showed it in a slightly different light than people have seen before... We all care about what people think about us. It’s not a celebrity problem. It’s a universal one. It’s something everyone goes through, and I think the difference is that with Taylor, it plays out on a massive international stage.

At the outset, you’ve got her in voiceover talking about how she wanted to be the good girl and be accepted. And in the end, she is a good girl, so maybe that’s not a bad thing to want to be, but there are gradations of that. She’s played around with bad girl archetypes in the “Reputation” imagery and songs, but it was role-playing to a degree. Where do you think she ended up on the scale of all that? She starts out as a good girl and she ends up as a good girl who’s decided to speak out. You know, we live in a society in which girls are taught that other people’s approval is of paramount importance to our self-worth. “Do they like me? Was I nice enough? Are they mad at me?” Every woman I know is constantly asking herself these questions. So it’s so relatable in that way. But it’s not about not being a good person. I think that the arc in the film and what Taylor went through was letting go a little bit of what other people think of her, deciding to live on her own terms, and to put her own values first. The transformation that you see is going through this period where she lets go a little bit of that. She’s a good girl speaking out now, in a way. You can’t win everyone over. No one can. I think she’s really accepted that in a deep way.

[aion-rsa]

The Suicide Squad: How Idris Elba Brings Bloodsport to Life

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Idris Elba has a certain unmistakeable, charismatic vibe about him. The resulting magnetism extends to the wide range of characters he has brought to life over the years – from playing the second-in-command to a drug kingpin in The Wire to playing a guy who has to deal with the likes like Michael Scott in The Office, to playing a dedicated horseman committed to fighting off gentrifying developers in his neighborhood in the recently released Concrete Cowboy. Whether it’s as a leading man or part of a larger ensemble, Elba’s performances always stand out because of what he brings to each role. 

Later this summer, Elba will make his DC Extended Universe debut in James Gunn’s The Suicide Squad – a comic book adaption full of talent who could carry their own features if given the opportunity. We recently spoke with him about his role as the lesser-known comic character Bloodsport and what it was like to be part of such a chaotic batch of DC villains and antiheroes. 

How were you first approached for the role for Bloodsport, and what made you say yes?

James Gunn reached out to me and said he had this project that he wanted to work on and didn’t tell me what it was. We had a meeting pretty late at night [and] what was appealing to me was that it wasn’t a continuation of the last film, and this is a new character. I just wanted to see where James wanted to go with this new film and this new character. So that was really what drew me in.

Bloodsport isn’t a very famous character. So what did you learn about him and what freedom were you given to bring him to life?

Like you say, he’s not very well known so I sort of traced his history back in the DC world. He’s popped up in some places. He’s more of the vigilante soldier type. He’s not going to have special powers, he’s just a really good assassin, basically. That was pretty consistent throughout his history. There was a little bit of leniency between myself and James collaboratively just working it out … what we want to bring to life. I felt very involved in that process, so essentially I got to bring him to life the way we wanted to.

You’re no stranger to superhero movies. You’re an MCU alum and I consider Hobbs & Shaw a superhero movie because you played Brixton Lore, the fantastic “Black Superman” in it. Did you bring any of those experiences to Bloodsport?

Playing any action character requires a level of real dedication just to the amount of work you have to do. So although I’ve been in the Marvel universe, Heimdall isn’t so much of an action character, despite moments where he’s had action. But Brixton in Hobbs & Shaw was 100% full on. Going from that into The Suicide Squad was a great transition because I basically brought some of the things I learned from the experiences I had on Hobbs & Shaw. It’s not the same character, but the level of effort is the same. 

This ensemble cast is one of the wildest we’ve seen in a superhero movie. What was it like to work with everyone? 

That was a lot of fun. It’s challenging keeping your character in one lane while you’ve got these really larger-than-life characters around you, especially Peacemaker who is a natural rival [to Bloodsport]. It’s kind of hard to sort of stay in your character with John Cena, who is incredible with improvisations. And then everyone else has this quick-fire banter, but Bloodsport, he doesn’t even like to talk. It’s like, you don’t want to be too friendly with these people. But I think that’s what’s beautiful about his arc. When you see the movie, he goes on a journey.

The dynamic with the actors is incredible. Really good, nice, hard-working people. James was so specific around timing and comedy and how you say lines and stuff. It was great to be a part of that. It’s almost like he’s a comic strip artist and he had these characters to play with and built these amazing frames. I love working with directors that have a complete vision, but allow you a little bit of latitude to bring it to life.

What was it like wearing that intricate Bloodsport costume?

The suit was very tricky to wear. Each component of his costume does something else, so it’s quite a tricky costume to design. I remember speaking to James about the many machinations of designs that he had gone through with this costume. When I came on board, it had to fit to who I am and how Bloodsport moves. It’s intricate but it looks incredible and badass when you see it in the film, but it was a real journey getting there. 

What are his weapons like?

Just imagine a weapon that can transform from one thing into another and keep going. He’s got a pretty cool array of weapons. 

In the trailer we see Bloodsport in vacation wear, a nice pair of grilling sandals and linen pants. Do you believe that Bloodsport is good on the grill and who would he play Spades or Dominos with and why?

With a name like Bloodsport he’s definitely going to grill. I don’t think he’s the guy that’s seasoning, but I think he’s behind the barbecue with the fire, making sure that meat and blood are cooking. As far as playing games with anyone, he doesn’t do that, he’s solitary, he doesn’t like company, and likes to be alone. He’s very guarded. He just wouldn’t find it interesting to play cards against anyone. He might play chess, maybe, but I don’t think he’s playing Spades at the barbecue.

Earlier this year, there was an announcement about you and your wife, Sabrina, teaming up with your respective production companies to develop an Afro-futuristic animated series. Can you speak to some of the motivation for wanting to put a story like Dantai out into the world?

I can tell you that it’s mainly the brainchild of Sabrina. Her deep passion and history with anime introduced me to it. From my perspective, I just love telling stories, but also this is a medium that’s kind of new and interesting to me, and it feels underserved in many, many ways. Sabrina is a super, super geek when it comes to anime [laughs], so, you know, I’m there. But I’m so engaged from what I’ve learned so far, Crunchyroll is incredible. We want to make something really exciting, hopefully that will maybe even bring more people to the genre.

You don’t know how happy it just made me to hear that your wife is a huge anime fan. I’m a huge anime fan, so finding other Black women who love that art form always makes me happy. So thank you for sharing that.

Yeah. You guys could definitely travel down some wormholes and discuss because she can go deep.

Would you all ever consider developing a superhero story or comic book adaptation?

We haven’t considered it. It would certainly be sort of a natural course of action in terms of how this came about. We would certainly consider that, but right now it’s one step at a time to try and get [Dantai] right and see how we go. But for me, if you know anything about me or my ambitions are out there, so (laughing) I’ll end up doing something in that space for sure.

Retcons and remakes and comics all go hand in hand. Are there any other comic characters you’d love a chance to bring to life, even though you’ve already been in the DC and the Marvel universe?

Well, we all need to see Black Superman but someone else is putting that in the works. But you know, that’s practically my nickname right now. (laughing) I’m being honest. I’m not the best dictionary of comic books [so] I honestly couldn’t speak with authority.

There is a character named Icon from Milestone comics, and although folks don’t like when you refer to him as the Black Superman, he is kind of like that analog. So I mean, there is still a chance for that to happen. 

Oh, really?

Yes.

Wow. Okay. Thank you for that tidbit. What did you say was the name of the company it comes from?

He comes from Milestone Comics. They were a Black imprint. Dwayne McDuffie was part of this startup, but they were an imprint of DC Comics. Static Shock, Icon, Rocket and some other really prominent Black superheroes came from them. I’m sorry. I’m a comic nerd.

No, I did not know that. Who has it now?

DC does. Unfortunately, Dwayne McDuffie passed away. But DC is bringing it back. There are some actual comics that are in the works right now. Static Shock is one of them. I know that. I believe Michael B. Jordan is producing the movie. So they’re around. Yeah. So I’m just putting that bug in your ear.

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

Thank you very much. That’s great. I’m looking it up as we speak.

The Suicide Squad opens on Aug. 6 in theaters and HBO Max. 

Check out more on The Suicide Squad in the latest issue of Den of Geek!

The post The Suicide Squad: How Idris Elba Brings Bloodsport to Life appeared first on Den of Geek.

from Den of Geek https://ift.tt/3vpOily

[ahxiang]

10 Dramas I Liked This Year

thank you to @hunginggrapes for tagging me! idk if this means dramas that i watched this year or that came out this year, so i decided to do the latter and only include completed ones! also, these are in no particular order. alright, here we go!

1. 30sai Made Dotei Dato Mahotsukai Ni Narerurashii

okay, i'm already making an exception to my completed 2020 dramas rule, abdkdgsk. but cherry magic ends tomorrow so close enough!! i love this drama, it has easily become my favorite one (and that's a very hard thing for me to decide, i'm hella indecisive). it's the perfect combination of fantasy and reality, with really good themes, fantastic acting, and high quality writing. it's one of the few bl dramas with no problematic elements and that actually depicts healthy relationships! i hold so much love for it.

2. I Told Sunset About You

what can i say about this one besides Wow. it was absolutely amazing. the characterization was fantastic, i felt like all the characters, even the minor ones, were complex and well thought out. itsay was also very artistic, the cinematography and locations were very impressive, as well as the acting. it felt so incredibly authentic and wonderfully portrayed some aspects of the queer experience.

3. Gaya Sa Pelikula

this one is very much on the same level as itsay in terms of authenticity, writing, production, and portrayal of the queer experience. juan miguel severo is an amazing playwright, jp habac is a great director, and pangpang are great actors. the fact that queer people worked on it was really apparent. it made me feel seen and seemed to tell me that everything was okay. the central message of the series was “we deserve a great love story”, along with other life experiences sometimes robbed from queer people. i recommend this show to everyone i can and talk about it a lot. it holds a very special place in my heart.

4. Oxygen

y’all know i love oxygen, especially sologui. so much so that i changed my url to sologui during its run. the fact that both protagonists were equally interested in each other from the start and were both very kind was a really nice and, quite frankly, refreshing thing to see. i also really liked that there was none of that “but we’re two men” “i don’t like men, i like him” bullshit. it was a very sweet show and a weekly serotonin boost i looked forward to.

5. 2gether / Still 2gether

i mean, obviously i have to include 2gether. it was so good! i weirdly don’t remember much from 2gether in detail, so i’m going to talk about still 2gether. it was so domestic and so sweet and everything i love. sarawatine are a very cute couple, especially since brightwin have great chemistry. it felt very warm and it made me laugh and smile the whole time. 2gether/still2gether honestly changed me and my standards for shows. and it’s the reason why i joined this fandom. i had seen many asian dramas and bls, but it wasn’t until 2gether that i got into the community around them.

6. My Engineer

some say that having four couples is too much, but i loved it! i was so invested in all of the storylines and thoroughly enjoyed them all. the romance was very sweet and it impressed me with how they handled some things, like the episode where they unlearn heteronormative relationship roles. i also really liked how focused on friendship this drama was. i am a huge fan of found family and my engineer did that very well. i especially liked how the two friend groups merged together and had so much complexity. my engineer twas *chef’s kiss*

7. Why R U

dang, i can not believe this was this year. seems so long ago. what to say about why r u? saifahzon were very cute, their interactions were very tender. as for torfight, wrow. i’m an ace lesbian so their scenes were a Bit Much for me, but i can’t deny that they were iconic as hell. their chemistry and tension was very well done. 

8. YYY

oh, this crackhead show. i love it very much. it’s very funny and makes no sense and has a wonderful found family theme. i really don’t know what else to say about it because it’s so wild and i honestly don’t really know what i watched, abdkfgs. i just know that it’s very good and made me feel v happy.

9. Where Your Eyes Linger / Mr. Heart / Wish You

yes, these are three shows. but they’re made by the same people, all very short, and really just cut up movies. each one has something different that i like, so i don’t really know which one i enjoyed the best. wyel had great cinematography and a very compelling story. mr. heart was heartwarming (pun intended) and sweet. and wish you so far is also sweet and has a great soundtrack. i really enjoyed them, even if they were short and a bit weirdly paced. (the pacing is a lot better if you watch them as movies)

10. Gameboys / Hello, Stranger

sorry to group more shows together, but these two are very similar and i can’t decide which one i enjoyed more. they were both filmed mostly remotely during lockdown, which was so impressive. despite this, the production value was pretty good. the plotlines weren’t anything extraordinary, but they were very cute and very well executed. the acting was great, especially considering it was all over video calls! the soundtracks are also really good, i really liked the arrangement of kahit na along sabihin ng iba that jc and tony sang together. i’ve been listening to it on repeat all day.

so those were the 10 dramas i liked this year! i hope i did this tag right, abdkdg. i’ll tag @phukao @asianmelodrama @khaotungthanawat @sirksj @vihokratanas sorry if y’all have been tagged already! <3

[rainstormfes]

Anime Expo Lite Day 1 Experience!

Program: Warner Bros. Japan Presents "Stay connected with Anime"

This whole program made me so frickin happy, SEIYUU AND JAPANESE GUESTS EVERYWHEREEEE WHILE TALKING ABT ANIME YESS (note: i typed most of this while the event was going on so pls bear with all my keyboard smashes and small comments lolol i just rly wanted to make a review for this event since i knew tons of seiyuu and anime that i love would be there and talked about. Also also i am not allowed to share any screenshots or recordings of it so just fyi 👍🏻)

It started out with talking about DanMachi 3 with guests Matsuoka Yoshitsugu (voiced Bell Cranel) , Minase Inori (voiced Hestia) , Osawa Nobuhiro (from EGG FIRM), and Matsukura Yuji (producer from J.C. Staff)

They answered many questions like how the author was inspired by the voice acting from the two guests specifically, talking about specific scenes

MINASE-SAN PERFORMED A SMALL LINE WHICH WAS SO FRICKIN CUTE

one of the producers was asked about production for DanMachi and he was like ‘brUH the volumes got thicker and thicker as they kept getting released like DANG’

They prepared a teaser image for the third season and for the big reveal Matsuoka had to tear a curtain off of a huge posterboard but the curtain got caught and made it almost fall xDD (very cute and awkward moment, Matsuoka never change pls omg youre too precious)

Matsuoka was asked if there was any difficulties when recording s3 and he just talked about how Bell went through lots of growth and that he had to think about how to properly act out just how mature Bell got, considering he’s now a leader of his group

Minase-san answered the same question. She talked about how she made sure to try and keep in mind how close all of the characters are and Hestia’s mental and social growth

Iguchi Yuka (voiced Chigusa) sent in a vid message since she sings the opening!! And it was announced that sajou no hana would be performing the ending song! Both vid messages were very nice and cute and both artists just talked about how they were looking forward to everyone’s reactions to their songs and to look forward to the anime

Airing of DanMachi 3 will begin in October woop woop!🎉🎉

OML WHEN MATSUOKA-SAN DID HIS ENDING REMARKS he pointed to the posterboard and was like ‘thIS NEW CHARACTER IS CUTE’ and said ‘whO TF IS THIS’ (pointing to new characters on the posterboard lol)

The next anime that they talked about was Shokugeki no Soma: The Fifth Plate with guests: Matsuoka Yoshitsugu (voiced Yukihira Soma) (MY GOSH HES SO AWK AND CUTE OMLLLLL he was like ‘can i speak now’ cause there was that kind of awkwardness in the first segment too 😅) and Yonetani Yoshitomo (animation director)

Yonetani-san was asked how he felt abt the anime. He talked about how he wanted to express how amazing the cooking/food was as well as wanted to excite (oh b o y 😳) the audience

Matsuoka-san was asked the same thing. He talked about how he’s been following Soma since day one and thinks a lot abt his growth in Totsuki. He talked about how he kinda thinks about his own high school days (comment from director lol that he might just cry during his final recording session which i feel, its been 5 years since the first season was aired)

THEY RECORDED AN IRL SHOKUGEKI?!??!?! OMGGGG. FUKUYAMA JUN (voiced Saiba Asahi) AND TAKAHASHI MINAMI (voiced Tadokoro Megumi) WERE THERE (yall can i just- JUN LOOKS SO MF GOOD OML). 

bruh matsuoka’s mixture for a sauce for tonkatsu was frickin WACK he put strawberry jam, cream, waSABI???, KETCHUP?!?!?!, along with SOY SAUCE, there was more but that combo i put alone looks so frickin wack. 

Jun’s sauce oMG HE STARTED W NUTELLA AND PEANUT BUTTER WTF OMG THIS MISCHIEVOUS MAN I CANTTT 😂😂. He put in LOTS of mayo uhm... he crushed sesame seeds and dried fish together OMLLL HE WAS LIKE SHE NEEDS HER CALCIUM W THE FISH HES SO CHAOTIC and since he ran out of time he couldnt crush the fish properly so there were just HUGE CHUNKS OF FISH IN THE BOWL. omg when he was mixing it..... ew. the takamina was like E W. the way he was selling it was pure g o l d OMG HE PUT IN MF SQUID JUST NOW I CANTTTT HE IS IRL SOMA XDDD poor takamina she was fake crying, girl saME (she’s the judge)

Takamina surprisingly enjoyed matsuoka’s sauce (she was like the ingredients somehow WORKED xD) “it feels like i had a nice meal” (GIRL HOW??? XD)

as for Jun’s sauce review: FDSAFD TAKAMINA SAID THAT THE SQUID WAS STARING AT HER I CANTTT. she described it as a theme park which is perfect. tons of flavors were trying to be the main thing. The squid leg works with tonkatsu so it was ok in the end

matsuoka’s sauce won bc the squid in jun’s was kinda unnecessary but in the end she liked both (kinda surprising lol)

ADSJFKSFJ YONETANI-SAN DID THE ‘bursting’ thing ONCE THE SHOKUGEKI VID WAS DONE, SHOWING A SHIRT W MEGUMI AND TENTACLES OMG

Matsuoka’s comments on the shokugeki: he enjoyed doing it w jun since he was very good at talking (especially when he was making the sauce). Both their sauces were “okay” lol

Yonetani-san’s comments: he talked about how he struggled to cook when he was a child but even through the small irl shokugeki they did he learned smth lolol

Matsuoka was asked which lines were more memorable for him (other than soma’s lol): he talked about how the explanations for the dishes (the monologues when theyre being made and when theyre being presented) were difficult and whenever he recorded those kinds of lines, it was kind of difficult to record since it would be hard to express a good portrayal of soma’s energy if he didn’t even know what he was talking about (so on the side he had to keep using wiki to understand what soma was even talking abt lol)

Question abt the production of the anime: Yonetani-san talked abt how there were lots of complicated words; there were lots of cuts in certain scenes made to try and portray the energy that they wanted in the anime

“If you could try any of your character’s dishes which one would you choose?” Matsuoka: he wanted to try the chicken wing dumplings and a recipe book was released before so he tried it... and it turned out BAD XDD

Someone asked abt where the producers get ideas about the ending theme sequences: Yonetani-san’s used the songs as inspiration for the backgrounds used for the ending themes, also trying to relate to the cooking and the theme of high schoolers just going through life etc

OH SCHIZ THERE WAS A SPECIAL MANGA RELEASED. A small part of it was voiced by matsuoka, jun, and takamina it was vvv cute (the full would be released on Shounen Jump at a later date)

Ending remarks: FASDFDSA THIS ACTUALLY WILL BE THE LAST SEASON OF SHOKUGEKI OMG 😭😭. OMG MATSUOKA IS SO FRICKIN CUTE AND AWKWARDDDDD he was doing a small clap at the end hes so adorable someone protect him pls :(((

The next and last anime talked about was JoJo's Bizarre Adventure: Golden Wind, where there was a behind the scenes vid made:

Ono Kensho (voiced Giorno Giorvanna) was there ofc along w two producers from David Pro (Kasama) and Warner Bros Japan (Omori Hiroyuki)

OMG FIRST THEY TALKED ABT THE STAND CRIES YESSS. DSFDSAF THEY ACTUALLY COUNTED HOW MANY MUDA’S ONOKEN HAD TO SAY that is so amazing i love the dedication. onoken mentioned how he talked to koyasu (voiced Dio Brando) abt counting the muda’s but he was like ‘ehhhh i never did that lol’. overall, everyone from all seasons tried to match the scenes but koyasu was basically the odd one out not rly needing??? to follow it lol

FDSAFDSA BRUH THERES 17 RERO RERO’S hirakawa-san practiced in the BATH the dedication is INSANE i love this

lolol onoken scrunches up his face when he says his mudas lol vvv cute (so thats a good tip for anyone wanting to say it properly)

one of the reasons they chose onoken in the first place to voice giorno was the fact that his muda’s were strong, thats frickin awesome (and he asked for a redo so that just shows great dedication, smth that staffs would want in their seiyuu)

next they talked abt the anime-only scene of giorno giving gelato to a kid. they wanted to show how kind giorno was despite eventually becoming a gang-star. its personal to kasama-san since he had actually went to italy and had experienced intense heat there and went to a gelato stand so he wanted to preserve that memory in film

they moved on to talk abt how the hitman team was first introduced in ep 10. they decided to enhance the anime by showing the many teams of passione in their own meeting places, trying to emphasize how close everyone was in their respective teams

THEY MENTIONED HOW THEY PURPOSELY PUT CHARACTERS THAT ARE LATER INTRODUCED IN THE ANIME WITHIN FRAMES JUST TO TEASE omg i love

next they talked about how the second theme for golden wind was kinda hard to make (the animation and song IS amazing which i personally appreciate). considering that they needed to kind of match up with “Fighting Gold” (the first op), it was hard to produce something for it. And they had already decided to make an alternate version of it as well, animation wise. For a while they were stuck but eventually they managed to create smth which ofc ended up as the second op for Golden Wind (and also mentioned how that also happened for Stardust Crusaders, with changing the op’s animation to showcase everyone’s stands and also the small interaction between joutarou and dio)

AHHHHHH THEY MENTIONED THE FAMOUS DIO POSE THAT GIORNO DID AHH YESSSS THANK YOU DAVID PRO FOR DOING THAT, they said that they felt that they needed to live up to fans’ expectations so considering how dedicated of a fanbase we are, they decided to put that little nod toward dio’s pose with giorno doing it too

Ending remarks: lolol kasama-san was like ‘watch jojo in these difficult times to brighten up your day’ and honestly i just might :D

Omori-san was also a guest for the live broadcast too! Plus, Kanno Yugo who’s in charge of the music for Golden Wind!!! (a frickin king providing giorno’s iconic asf theme)

OMG THE THEME LETS GO HE TALKED ABT IT: considering his experience with parts 3 and 4 for the themes, he felt he needed to try and one up himself lol; he’s grateful that his music is loved by the fandom and hopes to meets everyone’s expectations (my king you’ve done amazing work)

He talked about how making music for jojo feels like competing in the olympics (cant blame him lol its a pretty difficult job to one up yourself every time theres a new season. since he started working with jojo at stardust crusaders and considering how iconic joutarou’s and josuke’s themes are, needing to make smth as amazing as those themes mustve been tough but he def delivered in the end)

OMG KANNO-SAN PERFORMED LIVE AHHHHHH and ofc its Il vento d’oro :)) THAT WAS SO FRICKIN AMAZING OMG ugh that made me so happy

Ending remarks: both guests were very wholesome, saying to stay safe during this situation. Omori-san stayed behind to say a small message on behalf of warner bros japan, saying to continue to support them and thank you for supporting the anime :))

Overall an amazing experience 😊

I loved everything that happened. It was nice to finally see some of my fave seiyuu at an event despite what’s going on in the world right now, it definitely brightened up my day :D

[in-a-cave-with]

can you make a list of every mavel comic you've ever read (good and bad) i just finished iron man (1998) and i thoroughly loved it with all its best and weird bits

GOOD™

iron man stuff:

tales of suspense (1963) – a classic. 100/10. would read several times

iron man vol 1 (1968) – i’m on, like, issue 20 out of 300 something but it’s also very very good! the drama..the action……..wig

iron man vol 3 (1998) – obv i know youve read this one anon but for anyone out there starting comics this one’s SUPER good, and also Love Is Stored In The Tonyru

iron man vol 4 (2005) – listen this comic. so great, so iconic. maya hansen! epic fights! director stark! good art except for, like, the 6 issues of execute program but execute program is such a good story arc that you wont even notice! 

iron man noir (2010) – INDIANA JONES AU TONY STARK, LITERALLY THE BEST CONCEPT MARVEL’S COME UP WITH. PEAK COMICS IRONFAM

iron man legacy (2010) – i enjoyed this one a lot! i’m kind of confused as to, like, what’s going on but it’s fun

iron man season one (2013) – ok so this is, like, a modern remake of tony’s origin story and it’s..kind of average imo but thats ok! bc you can just look at the very very pretty pictures

iron man fatal frontier (2013) – tony becomes governor of the moon and fights doom! also he takes down an ai with weaponized fanfiction somewhere in there. read this one with a .cbr reader

invincible iron man vol 2 (2015) – gonna maybe fuck around and rec bendis’ entire iron man run bc . the art is gorgeous and the story isn’t the strongest but tony’s characterization is v good 

international iron man (2016) – ok i dont remember what happens in this one but alex maleev’s art is literally god 

invincible iron man vol 3 (2016) – RIRI WILLIAMS!!!! AND ALSO AI TONY STARK (MY SON MY BOY WHOM I LOVE)!!!!

other stuff:

new avengers vol 1 (2005) – as i have said before. new avengers GOT the sauce. stevetony and caroljess on one team was too powerful so marvel had to break em up with civil war . also stop reading this comic when you get to civil war

civil war: casualties of war (2007) and civil war: the confession (2007) – these are both oneshot comics and also the Only Civil War Content You Need To Subject Yourself To

spider-man noir (2010) – a break from the avengers stuff to tell you that this comic is very brutal and also very good

secret invasion (2010) – ok avengers emh did it better™ but this is still very neat! also it’s pretty trippy so its got that going for it too

siege (2010) – i dont understand what’s going on but the art is very good. also the avengers get to beat up norman osborn’s bitch ass

avengers prime (2011) – apparently this is the “stevetony bible” and …honestly there isn’t anything i can say in objection to that

avengers vol 4 (2010) – this comic is SUPER fun. after the fear itself tie ins the art and story get pretty eugh though so be careful

fear itself (2012) – BEST BEST BEST!!! my favorite crossover event in comics, with cool art and a badass storyline

captain marvel vol 4 (2012) – can we get a yeehaw for CAROL DANVERS . hell yeah. this is her first run with the name captain marvel and it’s Very Good

avengers: the enemy within (2014) – captain marvel vol 4 ends on a cliffhanger and the storyline’s capped off here

avengers vol 5 (2013) – ok so *clown noises* i haven’t exactly finished it but…this is the One Was Life The Other Was Death comic and it’s super good from what ive read so far

hawkeye (2013) – matt fraction’s run! everyone and their dog wants you to read it and you absolutely should if you have not. not too sure abt the volume numbering but heres a link to download in TPBs, it’s volumes 1-4

captain marvel vol 5 (2014) – this is the volume featuring chewie (!!) and carol in outer space with the guardians of the galaxy (!!!). super fun in general, would read again

ms marvel (2014) – again i am VERY confused as to what the official issue/volume numbering is, but here’s a list of TPBs that collect pretty much every kamala khan comic pre 2019 (im gonna rec all of them bc kamala is a treasure)

doctor strange vol 3 (2015) – literally everything i want from a comic tbh, also chris bachalo’s art is amazing

marvel 1872 (2015) – no one actually calls this Stevetony Bible 2 but lbr it’s basically Stevetony Bible 2

all-new all-different avengers (2015) – BEST AVENGERS TEAM EVER. EVER. PLEASE BENDIS WHY DID YOU BREAK THIS TEAM UP IM SAD

the unbelievable gwenpool (2016) – oh god oh fuck it’s miss GWEN POOLE . this comic is super funny and also surprisingly heartfelt, plus the art is . mmm.

champions (2016) – the gen z superhero team, i love all of them so much. i can almost forgive marvel for ending anad avengers

hunt for wolverine: adamantium agenda (2018) – so this is, after 11 goddamn years, closure for the first civil war regarding tony and the new avengers that sided with steve. amazing.

the life of captain marvel (2018) – the carol origin retcon is…eh. but it’s still very good! think of it as carol’s international iron man

avengers: back to basics (2018) – kamala goes back in time and accidentally reveals tony’s secret identity and it’s the funniest fucking thing

captain marvel (2019) – the first issue is everyone bullying tony which sucks but DONT LET THAT GET YOU DOWN bc it’s, like, actually good and also tony appears more in later issues without getting bullied

war of realms (2019) – i guess it’s a marvel rule that all crossover comics having to do with asgard are Top Notch? anyway

loki (2019) – AMAZING loki shenanigans and also the REAL reason you needed to read war of realms tbh

ironheart (2019) – gosh i love riri williams so much she’s so GREAT and you should DEFINITELY READ THIS

QUESTIONABLE™:

invincible iron man vol 1 (2008) – matt fraction’s iron man run…it’s ..ok story wise? however the characterization is a lil off at times and the art is HORRIBLE

iron man vol 5 (2013) – ok so this comic is super weird ? because it’s nice that tony spends time out in space but also it confirms that he’s a furry apparently. pretty much the only truly average iron man comic

avengers vol 8 (2018) – okay so i really like the art and the story’s okay but there’s a bit where tony flirts w carol and it’s the most ooc thing ive ever seen and that’s enough to land it in the questionable category

tony stark: iron man (2018) – i debated over whether to put this here or in the Bad™ category BUT valerio schiti’s art is too beautiful and the rhodeytony content fuels me. also issues 12 and 13 (war of realms) written by gail simone are pretty good. unfortunately dan slott wrote the rest and it AINT IT CHIEF

gwenpool strikes back (2019) – it starts off strong in the first issue but goes downhill from there and tbh it’s not really respectful of the previous gwenpool run

magnificent ms marvel (2019) – ok listen i love kamala a lot but if theres gonna be a romance plot between her and bruno it’s the electric chair

BAD. AVOID AT ALL COSTS™

iron man vol 2 (1996) – just. don’t touch this. it’s a hot mess

civil war (2006) – i hate this. so much. it’s unreal. all you need to know is that steve was real close to killing tony in the end but surrendered when he saw that he no longer had the moral high ground. and also steve got assassinated right before he was going to be put on trial

mighty avengers (2007) – this comic had the potential to be SO good. unfortunately the artists for the actual avengers issues don’t respect women at all

superior iron man (2015) – they made tony evil and i could not be more angry with it. who even fucking wants to read this theres not even any emotional payoff for any of this

civil war ii (2016) – i would hit this stupid comic in the knees if i could. there is not a single c*vil w*r with rights. all you need to know is that carol put tony into a coma and it’s super ooc

iron man 2020 (2020) – listen i know this comic hasn’t come out yet but it has all the ingredients to be EVEN WORSE than superior iron man which is saying a lot.

this took way too much effort

[mistavybe]

30 Day Song Callenge

Day 12: “A song from your preteen years”

I was 12 years old - the height of what is now called being a “tween” - when Sheila Cecilia Escovedo - popularly known as Sheila E - released her now-classic hit single “The Glamourous Life” on May 2nd, 1984. 🤭

This single was off her debut album, also titled "The Glamorous Life". The single quickly peaked at number 7 the Hot 100 and also topped the Dance charts for two weeks in August 1984. The video for the song went on to earn three MTV Award nominations (Best Female Video, Best New Artist, and Best Choreography). Sheila E also received two Grammy Award nominations that year as a result of “The Glamourous Life” (Best New Artist and Best Pop Vocal Performance Female).

A year later in 1985, Sheila went on to release what many people refer to as her “signature song”, “A Love Bizarre”, but honestly, “The Glamourous alife” will always be by favourite Sheila E jam because it takes me instantly back to the naive bliss of my pre-teen days.

Sheila was one of the Prince’s favourite (and best known) protégés, often playing percussion for him Live, even becoming his offficial drummer when he broke up The Revolution in 1986. She played percussion and live drums on many of the songs from Prince’s “Sign O’ The Times” album and went on to hold down the drums in the live band when Prince embarked on the legendary Sign O’ The Times concert tour and subsequent concert film.

In the years following, she returned many times to play with him Live on the road, even becoming his Musical Director at one point.

Do I even need to point out that Prince is responsible for writing (or in some cases co-writing) and producing all of Sheila E’s best known hits?

“The Glamourous Life” - written by Prince and produced by Prince & Sheila E.

“The Belle Of St. Mark” - written by Prince and produced by Sheile E and Prince (under his psuedonym The Starr ⭐️ Company).

“A Love Bizarre” - written and produced by Prince & Sheila E [also featuring Prince on co-lead vocal]). (Best known for being featured in the iconic Hip Hop film Krush Groove which starred now-legendary rappers Run-DMC, Kurtis Blow, The Fat Boys and LL Cool J 😉)

“Holly Rock” - written and produced by Prince but performed by Sheila E. (Also featured prominently in the film Krush Groove but notably absent from the oroginal release of the movie’s soundtrack album. It later became a hit single and was added to subsequent re-releases of the soundtrck album)

For those who may assume that Sheila’s only link to fame and music greatness was her close relationship with The Purple One, think again!

Sheila comes from a renowned musical family. Her father - Pete Escovedo is a veteran percussionist who played with Santana and many others. And her godfather is Latin Music legend Tito Puente (best known for the classic hit “Oye Como Va”).

Sheila herself was already an accomplished percussionist when she first met Prince, having worked with jazz artists Herbie Hancock and George Duke (and later with soul stars Marvin Gaye, Diana Ross and Lionel Richie).

The legend goes that Prince met Sheila E backstage at at a concert in 1978, when she was performing with her father.

After the show he met her and joked that he and his bassist Andre Cymone "were just fighting about which one of us would be the first to be your husband."

He also vowed that one day she would join his band. The two eventually joined forces during the recording sessions for his Purple Rain album, for which she provided vocals on "Erotic City" (the B-side to the single “Let's Go Crazy”, in 1984).

Speaking of which, here’s a clip of Sheila E giving the story behind the recording of “Erotic City”. 😉👇🏾

And here’s Sheila doing an amazing live performance of “The Glamorous Life” at the 1985 American Music Awards. (That glow-in-the-dark timbale solo at 3:34 is nothing short of mindblowing, IMHO.)

And finally, here’s Sheila doing a kickass live rendition of “The Glamorous Life” at a Prince concert in Oakland, California circa 2011. (And yes there’s another great percusion solo lol. Would it really be Sheila E without one? 🙌🏾)

In closing, I’d just like to say that they don’t call this lady “The Queen Of Percussion” for nothing. Long live Sheila E! Enjoy living “The Glamourous Life”, ma’am! 🙏🏾

Here’s one last amazing Sheila E percussion solo performance for the road. Thank you for for coming to my Ted Talk! 👇🏾👇🏾

[butimacommander]

A very long thank you post

It’s been a week since the last episode of skam españa s2 came out and i just can’t get over this show and i felt the need to thank everyone, so here we go:

Thank you moviestar+ for deciding to remake skam and to do the evak storyline with a wlw couple. Thank you for hiring two bi teenagers to play two bi teenagers and for giving them a storyline that fits them. Thank you for getting educated on MIs and BDPs, hiring psychologists, and talking with teens with BDP to get things as accurate as possible. Thank you for using your platform to spread awareness. Thank you writers, the director(s), the producers, makeup team, costume team and every single person who has worked on this amazing show. And thank you for putting the clips up on youtube for us and for not geoblocking them.

Thank you translators for doing the most important and selfless job. This show could only have had the international reach that it has because of you. People who translate the youtube clips, you are amazing. You work so fast and so well, and we don’t even know who you are. You are appreciated. Thank you to everyone who translate the texts/instagrams/cast tweets/etc, you’ve saved us a lot of google translating and misunderstandings. Also, thank you to everyone who use their local knowledge to give us cultural context, which is absolutely necessary to fully understand the show.

Thank you gif makers, edit makers, crack makers and all you amazing artists, you guys are the people who keep the fandom alive and who gave birth to it in the first place. As someone who cannot do any of the things mentioned above, i’m amazed daily by your talent, creativity and vision. I hope that all of you (if you haven’t already) get jobs as graphic designers and what not, since you all have such talent. Please keep doing your amazing work even though we are on hiatus, we appreciate it so much and all of your edits are honestly what’s getting me through my crisana withdrawals. 

Thank you irene and tamara for joining this project. Sadly since wlw’s have had such bad representation in the past, and so little of it, any actually good wlw reps are met with some ridiculously high expectations to meet all of our 1000 wishes and demands. Add all of our wlw tv trauma to that and i think it’s safe to say that we are one chaotic fandom (mostly good chaotic, but sadly not always). Thank you for dealing with us and for delivering some of the most amazing wlw performances. We couldn’t analyse every frame of every clip if the acting wouldn’t be as amazing as it has been. Also, thank you for being open about your sexualities, it’s taken the effect of this show to a whole new level and is making wlw tv history.

And thank you to the fandom. This fandom has been (and still is and will be) such a pleasure to be a part of. I’ve learned so much about Spanish culture and the importance of wlw representation, and i’ve learned a lot about BPD, something i hadn’t though of much before. A massive massive thank you to those people in the fandom that have BDP and have educated all of us about it. You guys are the real heroes. Also, I’ve made some of my first online friends from this fandom and i’ve learned to recognise so many of your urls and icons and seeing people interact here makes me so happy! Ah! Lets keep it up! And on a personal note, thank you for liking the stuff that i post, i appreciate it so much.

So, now that we’ve gone through the thank yous, i’d like to say some things for the future. Because sadly (as for example the 100 fandom is currently showing), fandoms can turn toxic really fast. Lets try our absolute best to keep our tags as wholesome as Cris and Joana on a thursday morning. So please, lets not unnecessarily compare the remakes and casts and lets let everyone have their favourites, lets not encourage canceling culture which doesn’t help anyone or any cause, and lets not respond to negativity with more negativity. Usually the best way is just not to give the negativity the attention it wants. 

And lastly, lets treat the cast and crew and the people close to them with absolute respect and just use our common sense on social media. Sending negative comments to people is never justified, nor is bombarding them with questions about their private lives. We’ve been blessed with the most amazing group of teenagers and lets let them live their lives as ones. And then, i’ve seen fandoms destroy friendships between actors, so lets just imagine what damage we could do to irene and tamara. Lets use our common sense, be respectful, and in the words of Noora, be kind, always. 

Can’t wait for season 3, and i’ll keep on analysing every frame of s2 until we get there <3 

[peterstanslizzie]

Re-watching Lizzie Mcguire: Episode 1.12 (Between a Rock and a Bra Place)

The Fan Favorite Episode

- Lizzie and Miranda are lamenting about having to play dodgeball in PE class. They also express their concern about falling behind some of the other girls in their grade because they are now wearing bras unlike them.

- Because of girls like Kate Sanders, they think that wearing a bra will automatically make one popular and empowered in a way. So, they feel like it’s high time they should start shopping for bras.

- Miranda asks Lizzie if her mom, Jo could drive them and drop them off at the mall after school. However, Lizzie thinks that she will want to come along with them. Miranda suggests they should lie to her and tell her they want to shop for school supplies, which should be able to signal to Lizzie’s mom that they are going on a safe and innocent shopping excursion.

“I want a bra!”

They sure do look like they are up to something huh?

- Lizzie and Miranda arrive at Lizzie’s house after school and they prepare themselves to let Jo know that they want a ride to the mall to shop for school supplies. However, there are a couple of cracks in this seemingly full-proof plan; They are not specific enough in mentioning the type of school supplies they want and Jo even called Gordo to come over and join the girls.

- Obviously, Lizzie and Miranda are not keen for Gordo to come along because they are shopping for bras. They then express how Gordo doesn’t need to come along because he’s not in their class where they need those school supplies. But Gordo is in all their classes (except gym); So he doesn’t know what they’re talking about. Looks like they are dropping the ball on this one.

- Jo becomes highly suspicious towards all of this and she questions only Lizzie specifically on what she needs to buy at the mall and Lizzie starts to break down and well, we then get this iconic moment:

Lizzie really wants a bra y’all

- Jo is feeling extremely elated about this revelation from Lizzie and she is delighted to take both Lizzie and Miranda bra shopping. On the other hand, Gordo just feels weird about what just happened and he decided to dis-invite himself from this shopping trip.

Matt: The Martial Artist

My favorite episode of Matt to date

- Matt shows his dad, Sam a page of a magazine showing an advertisement for a ‘Jet Li Sweepstakes’ contest where one lucky person will get the opportunity to appear alongside the Chinese actor and martial artist in his new untitled movie as his new sidekick.

- Sam asks for his wife’s opinion about Matt applying for this contest and she isn’t down for it at first but after Sam tells her that Matt probably isn’t going to win and they will be seen as ‘cool parents’ after this, she then agrees to it.

- Sam wants Matt to go for the conservative essay writing option as their contest submission and as predicted, Matt isn’t too fond of writing one. But because Gordo has decided to stay back to help Matt and Sam with the contest by using his camera to film a short video submission for Matt, Sam has no other choice but to now go for the option of filming and submitting a video.

Lizzie and Miranda Are Grown Young Adults

Miranda is thinking to herself, “How did I get myself into this mess?”

- At the mall, Lizzie and Miranda feel very embarrassed about having Lizzie’s mom to help them shop for bras because Jo is a little too excited about it and teenagers are you know, embarrassed by their parents most of the time.

- They both try to ditch Jo by pretending to be lost but as soon as they scrammed, they bump into their English teacher, Mr. Coppersmith. Okay, who is he and why haven’t I seen or remembered him? I think he is a one-time, one-episode teacher?

- Jo spots them and their teacher and doesn’t seem to pick up on the awkwardness in the room and proceed to hand over a bunch of bras for them to try on, right in front of him.

- Next, we cut to Lizzie and Miranda at the changing room and they are discussing about really telling Jo that they want to shop alone. Jo interrupts their conversation and opens the curtains of the changing stall Lizzie is in. This clearly agitates Lizzie and she kinda snaps at her mom and tells her that they don’t need her help shopping and she needs to leave them alone.

That sudden change of expression done by Hallie was brilliant.

- I feel so bad for Jo; Teenagers can be so insensitive sometimes like me back when I was a teenager. Jo recognizes Lizzie’s frustration and decides to play it cool by not scolding Lizzie and even offers her $40 for them to shop for their bras while she waits for them at the food court.

- Honestly, this is some of the best acting in the show thus far by both Hallie and Hilary.

Gordo: The Director

I think Gordo is a really good male-figure for Matt to look up to, besides his dad.

- Gordo is using this opportunity to put his skills as a director and filmmaker to the test and already, he has planned out the kind of establishing shots he wants to take of Matt. Sam is quite unsure about all of this and he thinks that interviewing Matt and asking him generic questions is good enough for the submission.

- Gordo wants this movie to be big and is confident that this martial arts movie he is about to film is going to set Matt’s entry apart from the others.

One good thing I can say about this is nice try I guess?

- We watch some snippets of the film at first and it doesn’t look too good nor realistic. There was a weird voice-over work done by Gordo, which I guess is the style of dubbed Chinese martial arts films back then and the action scenes were terrible.

- We move over to the scene where Matt tries to take a pebble from his master’s (played by Sam) palm but the scene didn’t go as planned because Sam didn’t stick to the script. He feels that everything Gordo is doing so far is a rip-off of Kung Fu movies out there.

- He then pulls a Jo Mcguire and leaves the kids to do their own thing without him. But what they don’t know is that he has secretly called this guy named ‘David’ for some help. And we all know that this is the late great David Carradine (older brother of Robert Carradine who plays Sam), who starred as  Kwai Chang Caine in the 1970s series, Kung Fu and as Bill in the Kill Bill film franchise.

Kate and Claire Alert

- Lizzie and Miranda are not exactly sure on what they need to look out for when picking out a bra. The are just not familiar with bra sizes. To make matters worse, they bump into Kate Sanders and Claire Miller at the same store.

I think it’s cute that Kate is shopping with Claire and her mom

- We get some bickering at the beginning but things took a turn when they find out that Kate and Claire are both shopping with Claire’s mom. Lizzie and Miranda rub in their faces that they get to shop alone. I think shopping alone as a teen without your parents isn’t what I consider as ‘cool’.

- Anyways, this doesn’t stop Claire from giving them one her shady comebacks before they leave:

Their secret handshake is just a high five and a hair flip lol

Lizzie Needs Her Mom Back

- Lizzie and Miranda continue to be lost when it comes to bra shopping and Lizzie finally recognizes that she needs her mom now more than ever. They find Lizzie’s mom at the food court and try to apologize to her but Jo tells them that she can understand where they’re coming from and admits how embarrassing she can be.

- They admit that although they try to act like adults, they are far from being ready to handle all of this alone. Lizzie also apologizes to her mom for the rude behavior she displayed at the dressing room earlier. She realizes that the adult thing to do is to actually ask her mom for help instead of trying to figure out everything on their own. This is honestly a great lesson to teach to young girls and boys.

Here Comes David

I just get chills from this entrance. David had such amazing presence on screen.

- Matt and Gordo are struggling to film the ‘pebble taking’ scene without Sam and they decide to find him and plead for him to help them. The next thing they know, David pops into the backyard and greatness has basically arrived.

The Carradine Brothers

- Matt demonstrates some of his martial arts ‘skills’ to David and David tells him that he has a lot of work to do. That’s definitely a sure thing.

When the pupil becomes the masters

- We then get a cool montage of Matt’s Kung Fu training and fight scene with David to the legendary song ‘Kung Fu Fighting’ by Carl Douglas. Matt even nails the ‘pebble taking’ scene down. Afterwards, we get a chilling exit from David as he walks back into the house and disappears from a distance.

- Gordo then asks Sam who was that man who all of a sudden came and taught Matt Kung Fu and Sam responds to him and says he has “known him all of his life and is like a brother to him”. Well, that’s because he’s your real life brother lol.

Closing Off

- During Lizzie, Gordo and Miranda’s three way phone conversation, Lizzie remarks how she cannot believe Gordo spent an entire day with her dad and brother but considering the other alternative he had, he was happy with his decision. He just wants Lizzie and Miranda to give him the heads up next time when they shop for bras and other female-gender related items.

What a way to close an episode

- Sam pick up a phone call and on the other end of the line is the person calling from the Jet Li sidekick contest and to his shock and horror, Matt won the contest!

Overall Thoughts

- I can honestly say that this is one of the best episodes of the season so far. Lizzie and Miranda’s bra shopping story-line with Lizzie’s mom was hilarious and cringe-worthy to watch, but in a good way. I’m sure this scene had so many young girls who were able to relate to it.

- The lesson of recognizing and admitting you need help from your parents despite the flawed perception that adults always have to do things solo is very deep and it should be ingrained in every person’s mind.

- And finally, this is the first episode that I actually love Matt and Sam’s story-line. It was super entertaining to watch and although you can say it’s all action and comedy and there’s no lesson to take away from it, everything was executed perfectly. And I appreciate how they were able to get Robert’s brother David to appear in this episode since he was such a icon in the martial arts film and television genre.

[onestowatch]

Nilo Blues Pays Homage to Cult Anime Film Akira in “Akira Harakiri” [Premiere + Q&A]

Photo: Frank Lin

The city of Toronto never ceases to amaze us. What can arguably be considered the epicenter for a new wave of hip-hop, Toronto has become notorious for generating underground sensation after sensation. Through their cultivation of hypnotic and innovative soundscapes, to their impeccable flows and lyricism, Toronto has solidified an extensive roster of industry frontrunners, and Nilo Blues is proving to be the newest addition to the team.

Despite being a self-proclaimed poster child for Generation Z, the 21-year-old is anything but ordinary. Growing up in the Toronto art scene, Blues encompasses what it means to be a multi-hyphenate creative, utilizing his talents as a singer, rapper, dancer, and producer to tell stories that grapple with his Asian identity within the context of western society. 

His debut single, “No Risk Involved,” is an intrepid statement on Asian cultural identity and showcases how Blues’ struggle to live and create beyond rigid stereotypes has ultimately fueled him to pave his own way, in music and life. His nuanced and complex approach to the modern trap soundscape mirrors that of his own evolution and understanding of his own personal identity. Woven within his uncompromisingly honest storytelling and conviction lies the infectious hooks, melodic arrangements, and unsparing production of a true, multi-hyphenate artist. And despite “No Risk Involved” being the official introduction to his discography, we’re here to tell you that it’s just the tip of the iceberg for Blues.

As we patiently await his debut EP, set to release this summer, Blues gives us a peek at what’s to come with his most recent drop, “Akira Harakiri.” Explosive and audacious, this track has the power to cause havoc to the silencers of a corrupted system. Compiled within roaring trap-laden beats and terse hip-hop rhythms, Blues’ adroit vocals and dynamic fluidity convey a sense of fervor, all while challenging the status quo of Asian representation within American culture. 

“Akira Harakiri” pays homage to the anime that Blues grew up with, most notably the raw tenacity of Akira and the thriving energy of Dragonball Z, which influenced its sonic foundation and cinematic execution. In an effort to gain a more comprehensive understanding of his artistry, we spoke with Blues about his position in the current Toronto-trap soundscape and what motivates him to create breakout tracks like “No Risk Involved” and “Akira Harakiri.”    

Ones To Watch: It seems like dancing used to be a significant part of your life before music. What sparked your transition?

Nilo Blues: Growing up I was surrounded by music, whether it be at home or in the dance studio. I always had this natural appreciation for music grow in me because of all the different sounds I was surrounded by. I remember having 10-hour dance rehearsal days and then coming home to record photo booth videos of me and my best friend spitting melodies and lyrics over beats we found. I started producing at 16 when I discovered the iMaschine app for iPhone. I would spend hours trying to cook up beats until one day I decided to learn Ableton Live. My mentor cracked it on my laptop and started showing me the ropes, instantly I was hooked. My musical journey honestly started out from me just wanting to make music I could dance to. I owe a lot of myself to dance. 100%.

Has being a dancer influenced your creative process at all?

Dance has influenced me creatively in many different aspects of the process. Growing up as a dancer, you immediately instill a high level of discipline and work ethic as a young child. We were training like athletes and expressing like actors. It shaped the way I hear music (especially my own), it developed my approach on execution and staying on my P’s and Q’s, and it allows me to perform and add a visual component to the sonics. I grew up admiring Michael Jackson, James Brown, JT, Usher and now Bruno Mars. They all hold all aspects of their art to such a high standard. I’m trying to set that exact same standard and quality, through my own vernacular.

Growing up in what can be considered as the epicenter of Canadian hip-hop, do you think Toronto, and the artists that have put it on the map, have influenced your sound at all?

I started learning how to make music right when the 2015-2016 Toronto rap boom happened, so definitely. I feel like Toronto artists collectively do such an amazing job at emulating the vibe of Toronto. At a time where Toronto was only synonymous with Drake (the GOAT), The Weeknd, and PND, Toronto artists really stepped up to the plate and let the world hear the type of shit we’re on. It's super inspiring, and I just want to keep pushing the envelope. I’m trying to land where no one has before, and make my mark in everything I set my mind to. I’m hungry and I want to get great shit done. I thank Toronto and the lively music scene in the city for sparking that.

Your first single “No Risk Involved” highlights the misrepresentation of Asian identity in mainstream culture. Why was it so important for you to create your own narrative and debunk westernized versions of Asian culture and identity?

My family was the main inspiration for wanting to evoke that conversation. Western media loves to exploit the great ideas from different cultures without ever giving credit to the cultures that cultivated them to begin with. They perpetuate false narratives and generalize us in order to keep control. I’ve seen what my family has gone through in order to even be here. My mom is Filipino, and my dad is Viet-Chin, so I’ve had my fair share of perspectives at a young age. One thing I can guarantee is that Asians aren’t as one-dimensional as the media portrays us to be. It’s about genuinely telling our stories, and being able to control the narrative in the world we share with the culture.

How was it filming the “No Risk Involved” video? Did you have a vision for how you wanted it to look?

It was amazing. I definitely felt back in my element while performing on-screen. The positive energy and hard work by everyone on set was the difference-maker. I feel like that energy shines through the video. I’m so grateful to have had such an amazing cast and crew, they fucking killed it. As for the concept, NRI was one of the very first concepts I started developing with my team. Had my first meeting with Angelica Milash, the director of the video, and everything clicked. The inspiration was drawn from aesthetics you’d see in legendary Hong Kong movies like Young & Dangerous. We also based the female looks on different characters from movies that included Asian characters with exaggerated Asian female stereotypes.

You once tweeted “I love good music but when an artist can pull off a great visual it tells you a lot about that artist.” Do you think it’s important for artists to be active creative directors in the videos they come out with?

Personally, I love dipping my fingers in every pot when it comes to my creative direction. I believe it takes a strong team in order to create beautiful shit, and, as the artist, I want to lead the team to victory. If one of us wins, we all win. Being active as a leader is what’s important. Sharing ideas, and building with the people around you. That’s how the best ideas shine through. You just gotta be a leader with this shit. Take control of your vision and work together to execute. If you aren’t paying attention to every aspect of your craft, you’re only going to see one perspective. At the end of the day, no one will execute your own ideas better than yourself. We all have that capability.

Your newest single “Akira Harakiri” is inspired by the 1988 cult cyberpunk film Akira. How did this iconic anime influence your lyrical and production process?

I wanted the essence of the track to emulate the same essence of the movie. The production was what sparked the idea. Colin Munroe was working on the beat while we bounced ideas around and I instantly felt the beat belonged in an anime. Akira was an automatic click. This song is supposed to feel like a song The Capsules gang would bump around Neo-Tokyo. I loved the dynamic between Kaneda and Tetsuo in the film, and wanted to combine the charisma and poise of Kaneda with the maniacal energy of Tetsuo. That’s also something I want to tap into on the visual component as well. This song is an homage to a visual masterpiece, as well as an iconic moment in film and culture.

What are some of your favorite anime films?

I grew up watching anime on TV like Dragonball Z, Yu-Gi-Oh!, Pokémon, Digimon. As I grew older, I wasn’t exposed to as much as before, but I rediscovered my love for it in high school when I binge-watched Death Note twice in succession. Now I’m trying to watch as much as possible. I feel like I have so much to catch up on lol.

What are some of your goals for 2020? Both as an artist and as a human being?

I want to work on killing the urge of having a cigarette or vaping again. I quit at the end of 2019, and started working out four times a day with my trainer. I’m trying to stay consistent in doing my laundry but that shit fucking sucks. I'm trying to meditate more, as I’ve recently picked up on transcendental meditation and want to keep consistent. Other than that I wanna keep dropping cool shit and repping what I know best. I wanna keep pushing myself to my limits and keep evolving. I hope people find strength in my music and I want to evoke new thought and conversation.

What can we expect to hear more of in your future projects?

More genuine energy. You’ll definitely be able to feel exactly how I felt when creating the music, from the growing pains to the gratitude. More singing too. You’ll be able to identify the spectrum of my sound, and how dynamic it is.

Who are your Ones to Watch?

I’ve been on my hip-hop shit as of late, so I’ve been bumping a lot of Kaash Paige, Fivio Foreign, The Kid LAROI and shit. Deb Never is an artist that I've been wanting to work with personally. Out of Toronto, definitely keep your eye out for Stefani Kimber. One of the most talented artists I’ve ever heard and a great human being. She’s definitely one of my top Ones to Watch artists.

[thepatricktreestump]

pride month asks!

some questions and answers about my experience with LGBTQ+

1.       What do you identify as and what are your pronouns? 

I identify as bisexual and genderfluid, so my pronouns regularly change from she/her to he/him.

2.      How did you discover your sexuality, tell your story?

I have always been a huge ally to the LGBTQ+ community, but one day I was stepping out of the shower, and kind of thinking to myself what the difference between having sex with a guy and having sex with a girl was. After contemplation, I thought to myself that they really weren’t all that different to me, and I’d probably enjoy having sex with a girl just as much as having sex with a guy. I researched online a little bit, and I figured out that yeah, I’m probably bi. Especially after I fell in love with both Brendon Urie and his wife Sarah, I was pretty damn sure I was bi.

3.      Have you experienced being misgendered? What happened and how did you overcome it?

Sometimes I do, but it honestly doesn’t bother me too much because I come from a very conservative, religious, small town background. I grew up in a private Catholic school where everyone is Republican and nobody even knows what being gay is, much less a different gender. So I’m kind of used to putting up a façade for others. As I graduated and moved away from my hometown, things have been much better, and by politely correcting others, I’m able to be confident in who I am as well as educate the people around me.

4.      Who was the first person you told, how did they react?

Oh god, haha. I distinctly remember that night when I knew I was going to tell my best friend I was genderfluid. I was so nervous and scared, I just sort of blurted it out over text, in all caps, like “I’M GENDERFLUID” and then I kind of panicked, so I proceeded to send her about a hundred Hamilton gifs to cover up what I had typed out and sent. Although it was awkward in the moment, we both laugh about it to this day, and she’s been so accepting and kind to me ever since that moment.

5.      Describe what it was like coming out, what did you feel?

For my friends, it was a lot of anxiety and doubt. For my parents, fear and chaos. My friends didn’t understand, they thought it was a disease of some sort, and actually a lot of them stopped talking to me. Again, conservative religious background, but still, no excuse. I grew up in a very abusive household, and it wasn’t my choice to come out. My therapist had forced me to tell my parents in a session and it was an absolute mess. Coming out wasn’t the best experience, especially as a freshman in high school.

6.      If you’re out, how did your parents/guardians/friends react?

I kind of explained above, but basically not so well. My dad went absolutely off on me, and said some of the most horrible things I have ever been told in my life. He said that I was dragging everyone I knew towards hell, that what I was is unmoral, unnatural, and unnormal, acted like I was some sort of monster, said it was extremely difficult to even be related to me, and that I was corrupting his family and disrespecting his household. It was a miserable time for me, but through music, I was able to write a song about it that helped me cope.

7.      What is one question you hate people asking about your sexuality?

A lot of people assume that because I’m bisexual, I’m some sort of fetish they can use to fulfill their dirty fantasies. I’m always asked to be a part of a couple’s threesome. I am told that the only reason I’m bi is because I want double the opportunities to have sex. It’s ridiculous and disgusting. I’m bi because I like people. Not because I like sex.

8.     Describe the style of clothing that you most often wear.

I really fucking love beanies! Most of the time I read that’s the essential clothing item for all genderfluid people, which makes me laugh, because it’s true. Combat boots or converse, black jeans, a band t-shirt, a sports bra or binder, a jean jacket, and a beanie is always my go-to outfit. So much so, to the point my sister told me that every time I go out in public I’m always wearing the same thing, which kind of makes me laugh.

9.      Who are your favourite lgbt+ ships?

I don’t know if you’ve ever read the magna, Tamen de Gushi, but I absolutely love it! That lesbian couple is everything! I also really love Shane Dawson and Ryland Adams, of course. Captain Holt from Brooklyn Nine Nine and his husband is amazing. Elijah Daniels and Sam also make me super fucking happy.

10.  What does makeup mean to you? Do you wear any?

Growing up as a theater kid, I’ve always seen makeup as accentuated and over the top. I only ever wore makeup on stage, and even then, it was special effects type stuff, zombies and clowns and shit. Once I hit puberty though, my mom would force me to wear makeup because she said it would make me beautiful. I hated it. She would force me to put on makeup before I left the door and it made me have horrible self image issues. As I grew older, I found a love for makeup through beauty gurus and drag queens, and I sometimes dabble in it either for fun or for special events like prom or fancy dinners. I always prefer no makeup though, I feel like to me, wearing it is just hiding behind a mask.

11.   Do you experience dysphoria? If so, how does that affect you?

ALL THE GODDAMN FUCKING TIME. Since I’ve gotten my haircut, a huge weight has been lifted off of my shoulders. Wearing a binder also helps so much! However, I still really want to start T and I think that will help a lot. Dysphoria affects me in so many ways, whether my self confidence or my body image, my anxiety and my mood, etc., a lot of it depends on how comfortable I am in my own skin.

12.  What is the stupidest thing you’ve heard said about the lgbt+ community?

Homophobic people are probably the stupidest people I’ve ever met in my life, to be honest. I’ve heard thousands of dumb things come from their mouths. I think the most outrageous myth I’ve heard is probably that being gay is a disease, and that simply being around another gay person will make you gay. Like who the fuck comes up with this shit? Smh.

13.  What’s your favourite thing about the lgbt+ community?

How creative we are. We’re resilient and outspoken and passionate, but most of all, so talented. The queer community is full of inventors, politicians, emperors, artists, directors, actors, musicians, and more. It’s gorgeous just how much we are capable of.

14.  What’s your least favourite thing about the lgbt+ community?

The discrimination breaks my heart. The fact that we are terrified to so much as hold hands with the one we love in public. To be beaten, tortured, and killed simply for who we are. That is what hurts me the most.

15.  Have you ever been to your cities pride event? Why or why not?

No, I find it sort of ironic every time there is a pride event I happen to have a concert on that day. Once, a Panic! concert, which honestly is sort of the equivalent of Pride. We went and there were so many LGTBQ+ flags and people and it was so gorgeous. I have attended pride prom once though, and it was probably the most fun I had ever had in a really long time.

16.  Who is your favourite lgbt+ Icon/Advocate/Celebrity?

I absolutely adore Miles McKenna. He has helped me so much in finding myself and accepting who I am. He’s such a huge spokesperson for the community and I am so grateful to have him in my life.

17.   Have you been in a relationship and how did you meet?

I’ve been in several relationships, surprisingly, through parties and discussions and friends. My s.o. right now I met through high school, which was crazy in itself, but we’ve been dating for almost two years now and I love them to death.

18.  What is your favourite lgbt+ book?

Beautiful Music for Ugly Children is one of my favorite books ever and it’s about being FTM trans and I love it so much wow.

19.  Have you ever faced discrimination? What happened?

So very much. After coming out to one of my best friends, she stared at me, disgusted and went “well don’t try to have sex with me or anything” and then proceeded to never talk to me again. I’ve received dirty looks and glares, been misgendered on purpose, and even received death threats. It’s horrible.

20. Your Favorite lgbt+ movie or show?

I love American Horror Story so much because of just how much representation it gives our community and how natural they make it seem! And of course, “Love, Simon” was an amazing movie that made me cry like a baby.

21.  Who are some of your favourite lgbt+ bloggers?

I don’t really know about bloggers, but definitely Youtubers! Shane Dawson, Miles Chronicles, Thomas Sanders, Ally Hills, Anthony Amorim, Elijah Daniels, Elle Mills, Garrett Watts, Sam Collins, Todrick Hall, and Trevor Moran are a couple of my favorites.

22. Which lgbt+ slur do you want to reclaim?

I don’t think queer should be a slur. I think queer is a form of self expression and an umbrella term for the community, and I believe many other LGBTQ+ members agree. It’s a word that we take great pride in rather than shame or discrimination.

23. Have you ever gone to a gay bar, or a drag show, how was it?

No, but god I would love to.

24. How do you self-identify your gender, and what does that mean to you?

For me, it’s simply just a part of who I am. Just like the weather, my gender simply changes and I adapt to it. It makes me comfortable in my own skin and proud of who I am. I wouldn’t change being genderfluid for the world.

25. Are you interested in having children? Why or why not?

I fucking hate the idea of pushing a human being out of my vagina, and I would probably want anything else in the entire world other than giving birth. Being pregnant for nine months sounds absolutely miserable and dysphoric, and I cannot even imagine going through labor. However, I would like to have kids, just simply through foster care or adoption, never like my own biological children. There are more than enough kids who need good homes who already exist and I’m more than happy to give it to them.

26. What identity advice would you give your younger self?

You aren’t alone and there are so many people just like you. Your parents do not own you and cannot tell you who you are supposed to be. You are you.

27.  What do you think of gender roles in relationships?

Gender roles are complete bullshit. Let a guy be a stay at home dad. Let a woman be the working one. Everyone should have responsibilities regardless of their gender. If there’s dirty dishes, do the fucking dishes, don’t wait for your spouse to get home to do them. It’s absolutely ridiculous, really. Just do your part in the relationship.

28. Anything else you want to share about your experience with gender?

It breaks my heart how much pain and suffering one has to go through just to be themselves, especially for women and trans people. It’s horrible.

29. What is something you wish people know about being lgbt+?

It’s natural! It’s comfortable! And it’s normal! Being oneself is just part of life, there’s no need to have shame or guilt about it. Respect someone the way you wish you would be accepted and loved.

30. Why are proud to be lgbt+?

We have worked so fucking hard to be recognized for who we are. There’s still so much we need to do though, and we aren’t ever going to stop until every single one of our siblings gain the love and respect they deserve.

[heisenbergchronicles]

APPRECIATION & INTERVIEW

Better Call Saul episode posters by Matt Talbot After 4 nearly years, I thought it was time to catch up with Matt Talbot about his Better Call Saul poster project. The last time we talked during Season 1, Matt was deep in the hustle of making his name as an illustrator: juggling a full-time job, freelance projects, as well as band. Finding time for personal projects like this one can be a significant challenge. (Not to mention surviving the death of your tools: During Season 1 his Mac laptop died, and this season, his Wacom tablet bit the bullet). But despite these challenges, the 43-year-old New Hampshire native has persevered to create a clever and thoughtful series of episode posters that has garnered considerable attention, and brought with it new high-profile clients and art exhibitions. 

First, congratulations on all of your success and recognition with this series of posters. It’s well-deserved. What’s been the most gratifying feedback you’ve received? Thank you! Every interaction I’ve had with anyone from the show has delighted me. I've been surprised by all of the cast and crew members who have said nice things – every note I’ve gotten has meant a lot to me. That being said, Michael McKean randomly tweeting at me that he has my poster for Chicanery hanging in his home blew my mind. I was eating dinner when my phone showed the notification and I literally jumped up from the table. I’ve been a fan of Michael’s since I saw Spinal Tap in the ‘80s and never in a million years would I have guessed I’d make something he valued enough to hang in his home.

Tell me about your contributions to Gallery1988 exhibitions. How does that process work? It's a pretty simple process. They invite me to be part of a show, and I make something to send them. I’m very excited for the opportunity to show there, and I feel like it’s a milestone in my art-making career.

Across the 4 seasons, which BCS posters are your favorites? Which one are you most proud of? I’m particularly fond of Rebecca, Rico, Marco, Switch, Sunk Costs and Something Beautiful. Oh man, it's hard for me to evaluate my own stuff. I tend to like the posters where I find a way to get a different take on something they did in the episode. I would say that “Sunk Costs” is also one of my favorites because I did something differently than how they shot it, and because Mike is so recognizable even from the back. I was also pleased with “Off Brand” because it was when I finally figured out how to draw Bob Odenkirk.

How has your process for creating these posters evolved over 4 seasons? When I started this project I had a vague idea that I would focus on scenes rather than portraits or likenesses, but that didn’t even last half a season! The characters were too good not to include. In that way, the posters have evolved in my willingness to draw characters, and also, hopefully, my ability to draw them. 

My process is now something like: Watch the show on Monday; think about it on Tuesday, figure out what stood out to me and do a thumbnail sketch or two; draw it on Wednesday night; post it Thursday afternoon. I’m a bit faster at drawing these now compared to when I started. And I’m a bit more decisive on choosing which subject matter to depict.

There have been quite a few changes on the visual side of Better Call Saul over the last 2 seasons. New directors (Minkie Spiro, Daniel Sackheim, and Andrew Stanton), a new cinematographer Marshall Adams, even new cameras. What are your thoughts on how the show’s visual grammar has evolved? Has any of this impacted your posters from Seasons 3 & 4? I try not to just redraw literal scenes from the show, and I don’t need to tell you that they shoot the show in an incredibly beautiful way. I mean, they always, always, pick the best angle, the best shot to capture something. For that reason, it’s sometimes hard to to come up with another take on a moment from the show.

That being said, the visual style hasn’t really impacted my posters as much as the evolving subject matter has. The show, I think, is substantially darker than it was in the early going. It was easier to depict Jimmy’s hi-jinx in the first couple seasons. But with Chuck’s deteriorating mental state, the cartel stuff, Mike going deeper into Fring’s world and of course, Jimmy’s loosening sense of morals, the funny moments are harder to spot. That’s lead me to some more somber layouts and color choices.

We didn’t discuss this in our first interview. Which typeface are you using in your posters, or is this custom typography? The main logo and episode titles are set in Sign Painter, from the excellent House Industries.

The Heisenverse is known for it’s color theory and use of color. How has that impacted your color choices in these posters? I’ve kind of adhered to their blue=good/red=bad symbolism, but I also try to balance out colors between episodes and not repeat myself in sequential posters.

Many of your posters (especially ones this season) use a monochromatic, or simple palette of 1-2 colors. Tell me more about why you chose that approach. Is this a signature of your style? I’ve seen this approach in a lot of your work. You know, in the early seasons, I was trying to use simpler color palettes, but I wasn’t very disciplined and I got away from that. I’m trying to stick to a more consistent style in season 4. It is a conscious decision. I also feel like with the week-to-week nature of this project, it helps quickly set apart each poster. And, I really do love limited color palettes. Giving myself color constraints helps me figure out different ways to solve layout problems.

I’ve heard other illustrators say that Bob Odenkirk’s facial features are tricky to capture. Do you share that sentiment? Which characters are more challenging to illustrate? I do agree with that. I had a really hard time with him at first. I kind of think I have a better handle on it now, but I’m always trying to get better. I feel like if you can get his mouth right, it goes a long way.

I found Hector hard to capture both times I drew him. Mike, on the other hand, is just pure fun to draw. Jonathan Banks is so distinctive and iconic.

What’s been the most difficult poster thus far? Why was it challenging? Maybe it’s because a lot of time has gone by, but I can't think of one that stands out as having been really difficult.

Francesco Francavilla did alternate posters for some of his Breaking Bad posters. Inevitably, when artists look back at their work, they consider revising or redoing it because of a variety of reasons – their point of view has changed, their skill/style has evolved, or maybe they were never truly content with the final product. Looking back at 4 seasons worth of posters, are there any that make you want to scratch the revision itch? Yeah, more than I would care to admit. I would really like another crack at Amarillo. I know I could do a better job and that drawing is just super flat. In season two, I decided to to experiment with style and I kind of wish I hadn't. I like Cobbler, but I wish I had drawn it in my normal style. I would redraw Nailed for sure. Oh man, if I start going down this road it's not going to end well, so I'll just stop.

You mentioned earlier this season you were excited to draw Track Suit Jimmy. Who or what haven’t you drawn, that you are eager to illustrate? Howard! It bums me out to no end that I haven't drawn him, but it just hasn't worked out. And I need to include Kim more. It's kind of criminal that her face only appeared for the first time in a poster this season.

What’s your opinion of Season 4? Tell me about your favorites – episode, scene, character. I think season 4 is brilliant so far. The Kim/Jimmy relationship has deepened so much this season, and feels so real, but full of inevitable heartache. Oh, the flash-forward to Breaking Bad’s timeline was amazing. Mike doing his audit in the Madrigal warehouse. Really, anything Michael Mando does on screen. It's hard to pick. I so enjoy the deliberate pace of this show.

Where’s your favorite place to discuss the show? I honestly don’t talk about it too much online, though I lurk in a few places and read a lot. I actually discuss it mostly with my wife!

I know you get this question a lot, so let’s cover it here so folks understand: Do you have plans to sell any of this work online? I really appreciate that people like it enough to want to buy it or hang it, but I don't plan to sell the Better Call Saul posters online. I’m doing this for fun, not to make a buck off the show, and I don’t own the rights to sell it anyway.

What’s next for Matt? Do you have any other poster or illustration projects in the works? Is you band performing soon? I have several more pieces for Gallery1988 shows coming up. I’m pulling together an art show at a local brewery for whom I design all of their labels and stuff. I’m patiently waiting for a t-shirt I designed for one of my all-time favorite movies to be announced. And for the past several Octobers, I spent the month drawing a horror poster per day. I’m not sure if logistically I can do that again this year, but I’ll probably fit at least a few in. We’ll see how it goes. Sadly, with all of my illustration work, I haven’t had any time for music making, but someday I hope to get back to that!

Follow Matt: Web site / Tumblr / Twitter / Dribbble / Instagram / PosterSpy

– Interview by Shayne Bowman, Heisenberg Chronicles

[aion-rsa]

Tina Documentary Directors Talk About Making an Artist’s Final Statement

https://ift.tt/3f955UN

HBO’s feature documentary Tina is an intimate overview of Tina Turner, the person behind the musical icon. It is also a final statement, as the singer is moving on from the performance part of her life. The documentary tells Tina’s story the way the singer wanted it told: honestly.

Some of Turner’s musical highpoints are skipped, like her scene-stealing role as the Acid Queen in Tommy or her appearance on the bulk of Frank Zappa’s Overnight Sensation. But the story of her early rise to fame, and the oppressive influence her musical mentor, husband and onstage partner Ike Turner had on her personal and professional life is deftly explored. As is her fight for independence, recording the monumental Phil Spector production “River Deep, Mountain High,” and her 1980s global resurgence.

Tina was directed by Dan Lindsay and T.J. Martin, whose sports documentary, Undefeated, won the 2012 Oscar for or Best Documentary Feature. The duo spoke with Den of Geek about Tina Turner, the artist, person, and one of music’s most public private dancers.

Den of Geek: I really enjoyed the film. Did Tina?

Dan Lindsay: Yeah. Tina has seen the film. She saw it once we finished it. Unfortunately, because of the pandemic, we weren’t able to go and screen it for her. She saw it in a theater in Zurich and the way the timing was, we were fast asleep here in the States. She spoke with our producer Simon Chinn afterwards, and she really was happy with the film and was, I guess, for us a big compliment was she just said that we got it right. That she remembered, it was interesting for her to relive some of that stuff and that she felt like it was an accurate portrayal.

And I think the other thing is obviously you’ve seen the film. So, you know that we, as you might understand, we had some anxiety about showing her the film because we didn’t want to play any part in re-traumatizing her or triggering anything that would be difficult for her. She said that it was, ultimately, not as difficult to watch as she may have expected. So that was an encouraging sign. I think it maybe speaks a bit to the notion at the end of the film, when she talks about kind of coming to a place of acceptance.

When did you find out that the documentary was going to be a final statement from her?

T.J. Martin: That’s a good question. It’s funny. Even in the process of making it, she talked a lot about the question that’s posed in the film, this notion of: how do you bow out slowly? And we started recognizing, she’s retired from the stage, but she’s really speaking to her participation in anything that has to do with the rehashing of the story of Tina Turner, right? The way we thought about it in the film is there are two characters. There’s Tina, and then there’s the narrative of Tina. A lot of it’s about trying to get her POV and explore her relationship with the character of the narrative of Tina Turner. I don’t know if it started becoming a little bit more clear that this may be one of the last times that she actually participates in something like this until we went and filmed with her, for the premiere of the musical.

It’s not featured in the film. But we did some on-the-fly interviews with her. There was a very palpable anxiety from her about wanting to go to the premiere and continue to relive this story that is very much her, but she has moved on, and she’s in a totally new different chapter of her life. I think, at least for me, that was the time where I was like, “Oh, this might be the last true closure,” I know it’s featured in the film where Erwin says, this’ll be a closure, but it was the first time I actually felt honest that she’s hanging up the narrative of Tina so that he can actually be at peace and hang out at her castle by a lake and relax and process on her own and not in the public eye.

Lindsay: It was definitely hinted at, I guess in our first interview that we did. With Martin saying, like Irwin kind of brought up like, “I think this is it, this is like a closure.” And then doing interviews with her, she was clear that she’s like, “I don’t want to do this kind of stuff anymore.”

Does that make it easier because she knew this was going to be a final statement, that she would give one last full immersion?

Lindsay: I don’t know that there was that any of us were that conscious of it to a point where it would have made things easier or not. I just think she came into this, she’d been living her life and then the decision to do the musical, I think spurred this idea of: “Okay, well, if I’m going to talk with them for the writing of that, why not. If I’m revisiting and why not do this thing.” But I don’t know that it was like, “Okay, this is it.” Like Martin said, it’s just something that slowly evolved. And only Tina can answer this. I mean, whether she’s going to issue some public statement and be like, “Leave me alone.”

I don’t know. But yeah, I think it became clear to us as the more we filmed that it was like, “Oh yeah, she doesn’t have an interest in it.” Sorry to go off on a tangent, but the thing about Tina that’s really interesting, and I think it was something we wanted to make sure we explore at least textually in the film is that Tina’s not an activist. She didn’t come forward because she had a political message, right? She had goals in her life. She had things she wanted to do. And she was born into a society that wanted her to do certain other things. And she said, “No, I want to do this.”, and she was going to take the steps necessary to do the things she wants to do. Now that she is retired from the stage, she wants to do the things she’s doing and not be responsible for being Tina Turner anymore.

Were you fans of hers?

Martin: No. We grew up in the ’80s being very conscious of who she is, how can you not? I think there was always a tremendous amount of respect for Tina. They came to ask us to do the film. Part of her hesitation was, why us, why are two men the right people to voice Tina’s story or to author Tina’s story? And then also the other one was us talking to each other like, “Were you a Tina fan?” Neither of us really being like deep Tina super fans, which probably lent itself to being advantageous when we started that deep diving into the story and everything became a little bit more of a proper discovery.

Speaking of proper discoveries while you were talking to her – a lot of artists when they leave or when they say farewell, there’s a vault of unreleased material. Is there a vault of unreleased material?

Lindsay: No, I think as the easy answer, especially in her solo years. I think a lot of that stuff has been released. We did come upon a couple things that I think haven’t really made their way out to the public. The one thing that’s in the film that has never been heard before is, we use it to demonstrate the first time that she sang with Ike. And that is a recording of a song that Ike wrote, and it was recorded in 1962 or ’61 or ’62. Ultimately, it was recorded by Mickey and Sylvia. But the recording of it was on an old reel that a collector in St. Louis had. He had met Ike in the ’80s at some point. And Ike had given him these different reels. He had never had them digitized before. We brought them into a studio, got the multitracks, and well, I guess at that point it’s two tracks. And there was a ton of stuff on that. The early demos of songs that ultimately got recorded, but just the demo version of them. And it’s really interesting.

Is she on a lot of it?

Lindsay: Oh yeah. It’s all her, Ike and Tina doing demo stuff and there’s the original recording, or the original tracking of “I’m Blue” was on there. The Ikette’s song. Most of the stuff that we found that were rare things, were from the Ike and Tina days.

How do you choose which stories are the most representative of her?

Martin: As I’m sure you well know, Tina’s story is vast and this probably should be a 10-part series. And then on top of that, it embodies so many different storytelling genres, right? It’s a coming-of-age at 40 years old, that’s wholly unique, especially in pop music. It’s a rags-to-riches story. For us, it was a huge challenge to try to figure out how to synthesize that. But once we had our early meetings with Tina and we started recognizing how much of the trauma of her past still is omnipresent. It’s always bubbling under the surface. It’s always kind of there, we couldn’t really shake that.

And that is really what determined the POV and the lens of the film and everything was a ripple effect from there. So how do you create a space where it’s Tina looking back on the story of Tina and what is her relationship with that? And she happens to be an amazing performer, musician and musical icon. By sticking in that lane, that was our North star, to know what stories were necessary for the particular story in the particular lens of this film.

As you’ll notice, we don’t have the Rod Stewarts and the Mick Jaggers and the Beyonces talking about her artistry, but we are going to set you on the narrative of Tina and we’re just going to drop you into a performance. That’s the part where you get to experience her artistry. We don’t need someone reminding you of that. It was really about casting people that have somehow embodied or lived her story. And so that’s why you have all the scribes, Carl [Arrington] who wrote the 1980 People magazine article; Kurt Loder, who wrote I, Tina; Angela Bassett, who embodied Tina and that started giving shape and voice to this particular facet of Tina’s story that we wanted to explore.

Ike doesn’t seem like he ever really knew anything about what was bothering Tina. At one point he says he thinks the suicide attempts were because he was sleeping around. Did he ever, ever get it?

Lindsay: That interview was from 2000, I think. And I think that was probably the beginning of coming to some understanding. We’ve had footage, you only see it visually at the end, he’s by a keyboard. And it’s his house in Southern California. And that’s near the end of his life. I mean, I think he died a month or so after that stuff was filmed. We didn’t end up putting it in the film, but he talks about a letter of apology that he wrote to Tina, that there’s some kind of discrepancy whether or not Tina got the letter or not, but it’s mentioned in the musical as well.

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But he did. Yeah. He did come to a point where he did apologize to her. I think he somewhat understood. It’s hard to know, without talking to him. But as Tina says, Ike was obviously a very complicated and disturbed man and he had his own traumas of his life that led him to see things in a certain way. I don’t know, but we do know that he wrote her a letter of apology near the end of his life.

In the documentary, her son talks about a particularly brutal incident that made him hate Ike, but did he keep in touch with Ike until his death?

Martin: Craig specifically? I don’t think Craig did. Craig was her first child from Raymond Hill, the saxophonist. I think Craig, true to his word in the film, as he came of age and once he saw the reality of what that relationship was like. I think he stuck by his mom, his mom’s side pretty much, and really didn’t want Ike in his life.

Were you surprised to find the explicit racism from the record executive?

Lindsay: No, I don’t think we were surprised at all. It falls in line with the history of our country. Especially in the record industry, we were just talking with somebody earlier, one of the things that really stood out to me the first time we went to Tina’s house, we were looking at her Grammys and awards and stuff. She’s got several American music awards from 1985 and the award is for Best Black Video.

You go on Wikipedia now and look at the history of the American Music Awards. They don’t categorize that stuff. They’ve cleaned that aspect of that. But it just speaks to this inherent segregation in the record industry, I don’t think we were surprised. It’s disturbing to hear that stuff. And just to be aware of what did we lose in terms of things, artistry that could’ve been brought to the public because of these gatekeepers? That stuff is sad to think about, but I don’t know, Martin, I don’t think you were surprised.

Martin: No shock. I mean, I think we were really fortunate to have had that recording and good on the record executive Carter to have the courage, to kind of rehash that story and be honest about it. And to have that recording, to prove some of the things to pull the curtains back a little bit on some of the things, some of the anecdotes that we had heard about the systemic racism within the record industry, but by no means was, it was not a surprise.

Did Tina talk about any particular relationships she had with songwriters?

Lindsay: Well, Terry Britten is definitely one. He went on to write a lot of songs for her, we didn’t have the time in the film to really dive into that as much as maybe again, the 10 part series would, that was a very close relationship. And in fact, Terry in his interview got very moved and just talking about what Tina meant to him in his life and how that partnership really brought him to a level as a songwriter that you would have that, he’s unsure would have, whether it would have happened or not

Martin: We have to remember the first band Tina ever saw was Ike Turner and the Kings of Rhythm. And then she joined that band and that was kind of the beginning of her entire career. And she spent the first 20 years, 14 years with Ike, that was the dominant songwriting relationship. Obviously critically important to put the story of “River Deep, Mountain High,” because that was the first time she got an opportunity to work with a different composer songwriter producer. And that kind of liberated her. Outside of that, in terms of the narrative that we’re exploring, those would be the dominant, predominant collaborators that would actually have molded and inspired and influenced her spot.

Dominant, predominant. It’s interesting that those figures are Ike and Phil, though, isn’t it?

Martin: Totally.

Lindsay: Tina’s history and story is littered with encounters with horrible men.

Does she feel vindicated by how “River Deep, Mountain High” is now a classic, where at the time, people just shrugged it off?

Lindsay: She would never articulate it like that. I think she is very proud of it. She thinks of that song in particular as a really defining moment for her. When she went on her own, there were only a few songs from the Ike and Tina days that she continued to perform and “River Deep” was one of them. I guess probably should feel some sort of vindication, but even in some of the archive tapes, in her conversations with Kurt Loder specifically, when they talk about the recording of that song, Tina wasn’t looking at her career like, “Oh, did this pop off or not?” For her, it was just like, “I loved that song and I loved performing it.”

Whether it was successful or not, that wasn’t the way that she was thinking. And part of that is because of the relationship with Ike and the way that he controlled her.

Martin: To your last question, she did talk about, obviously another critical relationship with her was her relationship with Roger [Davies, Tina’s manager] and that transitioned into the solo years in collaboration with Roger. Obviously, it’s not a writing partner, but she did have to start to learn to trust this other vision of how to merge the strength of her performance and the strength of her voice into this new pop world. Roger’s not a writer, it’s not as featured in the film, but Roger spent a considerable amount of time calling together tapes and demos for her, for them to curate the future of her sound together.

Lindsay: I think you’ll appreciate this, to Martin’s point. And it’s, again, just because we didn’t have time to film, but one of the first songs that Roger brought to Tina was “Let’s Get Physical.” Tina was like, “Are you kidding me? I’m not going to, that’s so obvious. I’m not going to do that song!” Roger was working with Olivia Newton John. So, he gave it to her. It became a number one hit, and Tina’s response was that’s fine. I don’t care. I wasn’t going to do that song.

And have to sing it a thousand times on stage. Mick Jagger had said that he got his stage moves from watching Tina dance, and your documentary brings out that she wanted to be as big as Mick Jagger. Does she see herself as a rock artist or an R&B artist or just an artist?

Martin: My sense is that she considers herself a rock artist, but her association with rock is a type of energy, right? It’s not the way in which I think the industry or the public categorizes it, she defines rock in her own way. I think she defines herself as a rock artist.

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Tina debuts Saturday, March 27, at 8:00 p.m. on HBO and will be available to stream on HBO Max.

The post Tina Documentary Directors Talk About Making an Artist’s Final Statement appeared first on Den of Geek.

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