#1990 here we go

[elisacifuentes]

"Ich habe mein Ensemble aufgebaut und auf viel Schönes verzichtet. Auf Kinder, Familie. Jetzt muss ich mir sagen lassen, dass meine Choreographien altbacken sind."

Jeanette Hain als Regina Feldmann in Der Palast (2021)

[jacquelying]

mt everest 1990: chance encounter

[christiangeistdorfer]

BRITISH GRAND PRIX + WINNERS

[ashadeintheshade]

City of Angels, Chapter 29

Read now on AO3.

[dazaiconfused]

“Probably the best album you’ll hear all year”

[cryinginthebigbluehouse]

HEY THERE!!! 🥪🥪🥪

I’m Cheese Sandwich, but please please please.. you can call me Mod Cheese!!

・・・

Here’s some quick Mod Cheese facts…

☆ I use any and all pronouns (she/he are usually preferred) !!!

☆ Genderfluid \꒰･◡･๑꒱/

☆ FANDOM NERD ALERT!!! I have an unreasonable amount of media interests… (CHECK TAGS)

☆ If I were a kitchen utensil, I’d be a BIG LADLE!!!

☆ I’ve got a master’s degree in yapping, forgive me if I’m a yap-yap-yapper!

・・・

I’ve got cheese in my knees just thinking about all the fun I’ll have posting on this blog ^_^ !!!

Toodles for now!!

- Mod Cheese 🥪

[volfoss]

like i genuinely cannot believe thegall that she has quinn saying that oh they loved being servants... really??

[ID: Text reading:

"“I let them go into the front parlor together, and then I went into the kitchen for lunch, where Jasmine was just telling Big Ramona that they were rich. I hated to break up their happiness with my glum looks and I blamed it all on hunger. Besides, Jasmine had always been rich and so was Big Ramona. They just never wanted to leave Blackwood Manor, everybody knew."/end ID]

[comradecowplant]

I don't follow blogs ran by people being racist about rap so I'm only witnessing the secondhand responses to the recent "discourse" and sadly 'tumblrinas being racist about their bad taste in music & low lyrical literacy' is exactly what I'd put on my 2024 bingo card for this steadily declining shithole....

[fuckyeahcatdog]

Courtesy of https://twitter.com/FandomSpongebob/status/1554514570324201477

[picturebookshelf]

Here We Go Round The Mulberry Bush (1994)

Art: Tracey Moroney

[bogleech]

Going to put all this in its own post too by popular request: here's how you make your own website with no understanding of HTML code at all, no software, no backend, absolutely nothing but a text file and image files! First get website server space of your own, like at NEOCITIES. The free version has enough room to host a whole fan page, your art, a simple comic series, whatever! The link I've provided goes to a silly comic that will tell you how to save the page as an html file and make it into a page for your own site. The bare minimum of all you need to do with it is JUST THIS:

Change the titles, text, and image url's to whatever you want them to be, upload your image files and the html file together to your free website (or the same subfolder in that website), and now you have a webpage with those pictures on it. That's it!!!!! .....But if you want to change some more super basic things about it, here's additional tips from the same terrible little guy:

That last code by itself is: <meta HTTP-EQUIV="REFRESH" content="0; url=001.html"> Change "001.html" to wherever you want that link to take people. THIS IS THE REASON WHY when you go to bogleech.com/pokemon/ you are taken instantly to the newest Pokemon review, because the /pokemon/ directory of my website has an "index.html" page with this single line of code. Every pokemon review has its own permanent link, but I change that single line in the index file so it points to the newest page whenever I need it to! While I catered these instructions to updating a webcomic, you can use the same template to make blog type posts, articles or just image galleries. Anything you want! You can delete the navigational links entirely, you can make your site's index.html into a simple list of text links OR fun little image links to your different content, whatever! Your website can be nothing but a big ugly deep fried JPEG of goku with a recipe for potato salad on it, no other content ever, who cares! We did that kind of nonsense all the time in the 1990's and thought it was the pinnacle of comedy!! Maybe it still can be?!?! Or maybe you just want a place to put some artwork and thoughts of yours that doesn't come with the same baggage as big social media? Make a webpage this way and it will look the same in any browser, any operating system for years and years to come, because it's the same kind of basic raw code most of the internet depends upon!

[neil-gaiman]

I found myself having, not exactly an argument recently, but a highly opinionated conversation with someone who did not believe my assertion that once upon a time there were official Hello Kitty vibrators. With the aid of the Wayback Machine, I found this article, and thought the world at large might enjoy it too...

Here's the text of the article:

The history of the Hello Kitty vibrator

By Peter Payne October 4, 2004

Sanrio is one of the top character licensors in the world, having more or less created the business model of doing business by creating something that doesn't really exist and licensing its use to other companies. Sanrio produces nothing -- all their characters, like the Little Twin Star, Minna no Ta-bo, Bad Batz-Maru, exist as legal entities and nothing more. Their most successful character, Hello Kitty, or Kitty-chan as she's known in Japan, is now now thirty years old.

One of the many companies that license Sanrio's characters for their products was a Japanese company called Genyo Co. Ltd. Genyo made a wide variety of products, from bento boxes to children's toys to chopsticks, many with the Hello Kitty character on them. They scored big in the late 1990's with an off-the-wall hit, a series of Hello Kitty toys which featured a different Kitty figure from each of Japan's 47 prefectures, each representing something the prefecture was famous for. (The figure from Gunma Prefecture, where we live, represented a wooden kokeshi doll.)

In 1997, Genyo designed a product that would live in infamy: the Hello Kitty vibrating shoulder massager, which really is a shoulder massager (trust us -- it says so on the package). Sanrio approved this design without batting an eye, and the product enjoyed modest sales in toy shops and in family restaurants like Denny's and Coco's. It wasn't until 1999 or so that people began to catch on to the fact that the Hello Kitty massager had other potential uses, and with amazing speed, they started popping up in adult videos in Japan. The next thing anyone knew, they had changed into a cult adult item, sold in vending machines in love hotels -- after all, what self-respecting man wouldn't buy his girl a Hello Kitty vibrator when she asked him for one?

The emergence of the Hello Kitty vibrator as a cult adult item caused friction between Sanrio and Genyo, and Sanrio ordered the company to stop making the units. Genyo refused, since it had paid a lot of money to license Kitty for their products. There seemed nothing Sanrio could do, since they had approved the item for sale (see the official Sanrio sticker on the boxes). The answer came when the Japanese tax authorities raided Genyo on suspicion of tax evasion. It seems that some creative accounting was going on between the president of the company, a Mr. Nakamura, his vice president, and the owner of the factory in China where the units were made. All three were arrested, and Sanrio had the excuse needed to yank Genyo's license. They seized the molds used to make the vibrators and destroyed them.

And so, the sad, weird chapter of the Hello Kitty vibrator is at an end. The last of the Kitty vibes are gone, so now what will the world do for wacky comic -- and sexual -- relief?

[the-cimmerians]

It's 2024. I have been participating in fandom for 40 years. This is a ramble commemorating some history I've experienced along the way.

In 1984, I attended my first convention, and made a beeline for the one long row of covered tables in the Dealer's Room that was, according to the whispered lore of my friends, 'the one'. "um", I said, very suavely and coherently, except for how it was totally the opposite of those things, "I'm here for the... for the, uh. For-"

"Come around here," the man behind the table said with exhausted ennui, so I went around, and he lifted up the table skirt next to him and pointed to rows and rows of boxes underneath the line of tables. "It's all under here."

It was all under there. Along with about five older ladies with glasses, graying hair, cardigans. Flipping through slash zines and chatting in whispered voices like old friends (which of course they were). I noticed one of them had the good sense to be wearing kneepads. I was still too young and ablebodied to need kneepads when crawling on a carpeted floor, but I immediately found her preparedness skills to be both impressive and hot. "You're new," one of the ladies whispered to me--a bit warily, which made sense. "Are you sure you're in the right place?"

In the faint light (the kneepads lady had also come prepared with a flashlight, additional practicality hotness points for her) I grabbed a comb-bound book with a heavy line art piece on the cover, featuring a musclebound Captain Kirk getting righteously and enthusiastically plowed by a stern-yet-ebullient Spock. "This," I said, pointing helpfully at the cover, like I was trying to make myself understood in a language I had only the vaguest knowledge of. "I'm here for this."

Outside at the convention, most of the attendees were wearing large homemade circular pins that shrieked 'K/S is BS!!!'1. But underneath the table, we reveled in the forbidden.

***

In 1985, I fell very hard for Starsky & Hutch fandom. Which was simply referred to at the time as 'the other fandom', because there were only two. We were upstarts. Many fannish elders predicted that it was just a phase.

***

The 'circulating library' was a massive stack of barely-legible pages that smelled strongly of mimeograph ink. When you were on the list, you would write stories while you waited for your turn, and when the big box was mailed to you, you would read everything (new finds, old favorites), add your own sloppily-typed or hastily-mimeographed stories, and then mail the whole thing to the next person. For me, at the time, it was an extremely expensive indulgence--but my favorite one.

***

By 1990, slash fandom had grown enough that I no longer knew everyone in it, which was both thrilling and a bit daunting. A young woman at a convention waited for me after a panel I was part of (I think it was 'writing impactful smut' or something like that), and said she had a question she didn't want to ask in a group setting. I'd heard that before. I said that's fine, go ahead and ask; and she came out with: "Why do you have to be gay?"

I blinked. "Is... that a problem?"

She looked annoyed. "Yes, because your stories are on all the recommendation lists and in all the top zines, but if you're gay and I read something you wrote and I get hot from it that makes me gay, and I'm not gay."

"Wow." I grinned, I couldn't help it. It probably made me look very predatory-dyke-about-to-score-a-toaster. Whatever, it was enough to make her back away from me fast.

When I thought about it later that night, I wondered what it would be like not to be the only queer person in slash fandom.

***

By 1997, slash started appearing on the internet. Many fannish elders claimed it was the death knell of slash fandom, or dismissed it as 'just a phase'.

***

Anyway, I wrote all this for myself as a commemoration of sorts, but if you took the time to read it--thank you. Love you, fandom. I always will.

1 In those days, m/m fandom was known as 'slash', which grew from the fannish shorthand where 'K&S' meant a story of Kirk and Spock having adventures or tribulations or what have you, and 'K/S' meant a story of Kirk and Spock getting it on (Kirk divided by Spock or Spock into Kirk--it was mathy fannish humor and I was into it then and I still am now). Slash was decidedly unpopular in the fannish world in 1984, and there was a concerted effort to force slash authors, artists, and fans out of 'mainstream' fannish public life. Hence, under the table.

[mariacallous]

It is over and everything is lost. This is the refrain repeated by Armenian families as they take that final step across the border out of their home of Nagorno-Karabakh.

In just a handful of days more than 100,000 people, almost the entire Armenian population of the breakaway enclave, has fled fearing ethnic persecution at the hands of Azerbaijani forces. The world barely registered it. But this astonishing exodus has vanished a self-declared state that thousands have died fighting for and ended a decades-old bloody chapter of history.

On Saturday, along that dusty mountain road to neighbouring Armenia, a few remaining people limp to safety after enduring days in transit.

Among them is the Tsovinar family who appear bundled in a hatchback littered with bullet holes, with seven relatives crushed in the back. Hasratyan, 48, the mother, crumbles into tears as she tries to make sense of her last 48 hours. The thought she cannot banish is that from this moment forward, she will never again be able to visit the grave of her brother killed in a previous bout of fighting.

“He is buried in our village which is now controlled by Azerbaijan. We can never go back,” the mother-of-three says, as her teenage girls sob quietly beside her.

“We have lost our home, and our homeland. It is an erasing of a people. The world kept silent and handed us over”.

She is interrupted by several ambulances racing in the opposite direction towards Nagorno-Karabakh’s main city of Stepanakert, or Khankendi, as it is known by the Azerbaijani forces that now control the streets. Their job is to fetch the few remaining Karabakh Armenians who want to leave and have yet to make it out.

“Those left are the poorest who have no cars, the disabled and elderly who can’t move easily,” a first responder calls at us through the window. “Then we’re told that’s it.”

As the world focused on the United Nations General Assembly, the war in Ukraine and, in the UK, the felling of an iconic Sycamore tree, a decades old war has reignited here unnoticed.

It ultimately heralded the end of Nagorno-Karabakh, a breakaway Armenian region, that is internationally recognised as being part of Azerbaijan but for several decades has enjoyed de facto independence. It has triggered the largest movement of people in the South Caucasus since the collapse of the Soviet Union.

Azerbaijan has vehemently denied instigating ethnic cleansing and has promised to protect Armenians as it works to reintegrate the enclave.

But in the border town of Goris, surrounded by the chaotic arrival of hundreds of refugees, Armenia’s infrastructure minister says Yerevan was now struggling to work out what to do with tens of thousands of displaced and desperate people.

“Simply put this is a modern ethnic cleansing that has been permitted through the guilty silence of the world,” minister Gnel Sanosyan tells The Independent, as four new busses of fleeing families arrive behind him.

“This is a global shame, a shame for the world. We need the international community to step up and step up now.”

The divisions in this part of the world have their roots in centuries-old conflict but the latest iterations of bitter bloodshed erupted during the collapse of the Soviet Union. The Karabakh Armenians, who are in the majority in the enclave, demanded the right to autonomy over the 4,400 square kilometre rolling mountainous region that has its own history and dialect. In the early 1990s they won a bloody war that uprooted Azerbaijanis, building a de facto state that wasn’t internationally unrecognised.

That is until in 2020. Azerbaijan, backed by Turkey, launched a military offensive and took back swathes of territory in a six-week conflict that killed thousands of soldiers and civilians. Russia, which originally supported Armenia but in recent years has grown into a colder ally, brokered a fragile truce and deployed peacekeepers.

But Moscow failed to stop Baku in December, enforcing a 10-month blockade on Nagorno-Karabakh, strangling food, fuel, electricity and water supplies. Then, the international community stood by as Azerbaijan launched a 24-hour military blitz that proved too much for Armenian separatist forces. Outgunned, outnumbered and weakened by the blockade, they agreed to lay down their weapons.

For 30 years the Karabakh authorities had survived pressure from international powerhouses to give up statehood or at least downgrade their aspirations for Nagorno-Karabakh. For 30 years peace plans brokered by countries across the world were tabled and shelved.

And then in a week all hope vanished and the self-declared government agreed to dissolve.

Fearing further shelling and then violent reprisals, as news broke several Karabakh officials including former ministers and separatist commanders, had been arrested by Azerbaijani security forces, people flooded over the border.

At the political level there are discussions about “reintegration” and “peace” but with so few left in Nagorno-Karabakh any process would now be futile.

And so now, sleeping in tents on the floors of hotels, restaurants and sometimes the streets of border towns, shellshocked families, with a handful of belongings, are trying to piece their lives together.

Among them is Vardan Tadevosyan, Nagorno-Karabakh’s minister of health until the government was effectively dissolved on Thursday. He spent the night camping on the floor of a hotel, and carries only the clothes he is wearing. Exhausted he says he had “no idea what the future brings”.

“For 25 years I have built a rehabilitation centre for people with physical disabilities I had to leave it all behind. You don’t know how many people are calling me for support,” he says as his phone ringed incessantly in the background throughout the interview.

“We all left everything behind. I am very depressed,” he repeats, swallowing the sentence with a sigh.

Next to him Artemis, 58, a kindergarten coordinator who has spent 30 years in Steparankert, says the real problems were going to start in the coming weeks when the refugees outstay their temporary accommodation.

“The Azerbaijanis said they want to integrate Nagorno-Karabakh but how do you blockade a people for 10 months and then launch a military operation and then ask them to integrate?” she asks, as she prepares for a new leg of the journey to the Armenian capital where she hopes to find shelter.

“The blockade was part of the ethnic cleansing. This is the only way to get people to flee the land they love. There is no humanity left in the world.”

Back in the central square of Goris, where families pick through piles of donated clothes and blankets and aid organisations hand out food, the loudest question is: what next?

Armenian officials are busy registering families and sending them to shelters in different corners of the country. But there are unanswered queries about long-term accommodation, work and schooling.

“I can’t really think about it, it hurts too much,” says Hasratyan’s eldest daughter Lilet, 16, trembling in the sunlight as the family starts the registration process.

“All I can say to the world is please speak about this and think about us. We are humans, people made of blood, like you and we need your help.”

[theworldgate]

I have to explain what is going on in the UK, because it is absurd.

So, this is Gary Lineker:

He's known for a fair few things over here. He was a very good (association) footballer, playing for England in the 1986 and 1990 World Cups, winning the Golden Boot in 1986, and managing to never get a single yellow card in his playing career. He played for Leicester City, Everton, Barcelona, and Tottenham, before finishing his career in Japan. But if you aren't in your mid 30s, you probably know actually know him him for a couple of other things. The first is the role of spokesman for another Leicester icon, Walkers Crisps (which are sort of equivalent to Lays, but hit different), as pictured above. Despite being a notably clean player, he used to play a cheeky serial crisp thief. I don't think he's done that for well over a decade, but his ads were on the telly a lot when I was a kid and it's a bit like learning that the hamburglar was an incredibly clean (American) football player or something.

The second thing Gary is widely known for is having presented Match of the Day, the big football program on the BBC, the sort-of state broadcaster, since 1999. He is, incidentally, very well paid for this (though with a consensus that he could get even more if he went to one of the non-free-to-view broadcasters because he is very good at the job). He also has a twitter account. And political opinions. So, the UK government has got itself dead set upon doing heinous stuff that will totally somehow work to prevent people who want to come to the UK making the perilous crossing of the Channel (between England and France). By heinous, I mean "openly advertise that they won't attempt to protect victims of modern slavery" stuff. It's very obviously using a legal hammer to victimise a marginalised group of people in order to win votes. And, uh, I should clarify that by "legal" I mean "using the passage of laws" - the policy is, in addition to all the other ways it's awful, probably incompatible with the Human Rights Act and the UK's international law obligations. Gary, top lad that he is, objected to this. On Tuesday 7th March, he made a quote Tweet of a video of the Home Secretary, Suella Braverman, bigging up the policy, he wrote "Good heavens, this is beyond awful.". This got a bunch of backlash from extremely right-wingers, and then he made the tweet that really got him in trouble (with right-wingers): "There is no huge influx. We take far fewer refugees than other major European countries. This is just an immeasurably cruel policy directed at the most vulnerable people in language that is not dissimilar to that used by Germany in the 30s, and I’m out of order?".

Now, I am not actually subjecting myself to watching a video of Suella Braverman bigging up a cruel policy to say whether the specific comparison of the language to 1930s Germany is accurate. But needless to say, Ms Braverman was amongst the many figures on the right of UK politics objecting to Gary's rhetoric. And here's the part where a fact about the BBC comes in: it is nominally neutral and impartial (and so, of course, is routinely accused of bias from all sides but particularly the right-wing), and has something of a code for its contributors to this effect. Now, that code has previously been applied to Gary Lineker, over a comment about whether governing Conservative Party would hand back donations from figures linked to the Russian regime. But it generally hasn't been applied too strongly to people like Gary, whose roles have nothing to do with politics (such as presenting a "here's what happened on the footie today" show), on the basis that, well, their roles have nothing to do with politics. However, when directly asked about whether the BBC should punish Gary Lineker for his tweets, government figures basically went "well, that's a them problem". But a couple of days passed, and it seemed like Gary's approach of "standing his ground because he did nothing wrong" was working and everything would die down. He was set to get 'a talking to' but not much more than that. The Conservative right, after all their fire and fury earlier, had gotten bored and moved onto something else. And then, on Friday 10th March, the BBC announced that he would be suspended from hosting Match of the Day this weekend. But it could still go ahead, because there are, like, other hosts! Except, well, funnily enough, when you take a beloved figure off air, for making a fairly anodyne tweet, no one wants to be the scab who actually takes up the role of replacing him. Gary's two co-hosts, Alan Shearer and Ian Wright, said that they would not appear without him. People who (co-)host Match of the Day on other days followed suit. The net result is that Match of the Day is currently set to air without hosts, BBC commentary, or global feed commentary. And the solidarity shown to Gary Lineker, over what is very flagrantly actual cancel culture and an attack on freedom of speech (the logic implied is that institutional impartiality requires that no one say anything too critical of the government ever), has continued to grow. The BBC has pretty much been unable to run pretty much any live sports content today, and has resorted to raiding the BBC Sounds archive to fill the sports radio channel. And, as of 17:30 on Saturday 11th March, the situation shows no signs of improvement, though some are calling for the Chairman Richard Sharp, who is separately facing corruption allegations, to resign (yes I linked to the BBC itself there, there is nothing, nothing, the BBC loves more than going into great detail about how much the BBC sucks).

[doyoulikethissong-poll]

ABBA - Waterloo 1974

"Waterloo" is a song by Swedish pop group ABBA, with music composed by Benny Andersson and Björn Ulvaeus and lyrics written by Stikkan Anderson. It is first single of the group's second studio album of the same name, and their first under the Atlantic label in the US. This was also the first single to be credited to the group performing under the name ABBA. The title and lyrics reference the 1815 Battle of Waterloo, and use it as a metaphor for a romantic relationship.

In 1974, "Waterloo" represented Sweden in the 19th edition of the Eurovision Song Contest held in Brighton, winning the contest and beginning ABBA's path to worldwide fame. The song differed from the standard "dramatic ballad" tradition at the contest by its flavour and rhythm, as well as by its performance. ABBA gave the audience something that had rarely been seen before in Eurovision: flashy costumes (including silver platform boots), a catchy uptempo song and simple choreography. It was the first winning entry in a language other than that of their home country; prior to 1973, all Eurovision singers had been required to sing in their country's native tongue, a restriction that was lifted briefly for the contests between 1973 and 1976 (thus allowing "Waterloo" to be sung in English), then reinstated before ultimately being removed again in 1999. Watch the performance in Swedish here. Sveriges Radio released a promo video for "Waterloo" that was directed by film director Lasse Hallström, whose first notable English-language film success was What's Eating Gilbert Grape in 1993. ABBA recorded the German and French versions of "Waterloo" in March and April 1974; the French version was adapted by Alain Boublil, who would later go on to co-write the 1980 musical Les Misérables.

The song shot to number 1 in the UK and stayed there for two weeks, becoming the first of the band's nine UK number 1's, and the 16th biggest selling single of the year in the UK. It also topped the charts in Belgium, Denmark, Finland, West Germany, Ireland, Norway, and Switzerland, while reaching the Top 3 in Austria, France, the Netherlands, Spain, and Sweden. Unlike other Eurovision-winning tunes, the song's appeal transcended Europe: "Waterloo" also topped the charts in South Africa, and reached the Top 10 in Australia, Canada, New Zealand, Rhodesia, and the US (peaking at number 6, their third-highest-charting US hit after number 1 "Dancing Queen" and number 3 "Take a Chance on Me"). In 2005, at Eurovision fiftieth anniversary competition Congratulations: 50 Years of the Eurovision Song Contest, "Waterloo" was chosen as the best song in the contest's history.

"Waterloo" is featured in the encore of the musical Mamma Mia!. The song does not have a context or a meaning. It is just performed as a musical number in which members of the audience are encouraged to get up off their seats and sing, dance and clap along. The song is performed by the cast over the closing credits of the film Mamma Mia!, but is not featured on the official soundtrack. It is also performed as part of the story in the sequel, Mamma Mia! Here We Go Again, by Hugh Skinner and Lily James.

The Australian film Muriel's Wedding (1994), features "Waterloo" in a pivotal scene in which lead Toni Collette bonds with the character played by Rachel Griffiths. The film's soundtrack, featuring five ABBA tracks, is widely regarded as having helped to fuel the revival of popular interest in ABBA's music in the mid-1990s. "Waterloo" features prominently in the 2015 science-fiction film The Martian. The song plays as the film's lead, played by Matt Damon, works to ready his launch vehicle for a last-chance escape from Mars. In "Mother Simpson", the eighth episode of the seventh season of The Simpsons, Mr. Burns plays "Ride of the Valkyries" from a tank about to storm the Simpson home, but the song is cut-off and "Waterloo" is played, to which Smithers apologizes, advising he "must have accidentally taped over that".

"Waterloo" received a total of 89% yes votes!

(the video is posted by ABBA's own account, not Eurovision's = safe to watch)