#Dorothy Carter

[roseillith]

dorothy carter - tree of life

[cyarskaren52]

AMERICAN DRAGON: JAKE LONG 2.16: "A Hairy Christmas"

[seanmorroww]

Dorothy Carter - "Waillee, Waillee"

Waillee Waillee [Palto Flats, 2023]

[fizzgig4]

song otd on this rainy rainy day

[paintgroove]

Paint Groove Playlist #115 “Pray for Frozen Hearts”

1. Rainbow Canyon - lasos

2. Tree of Life - Dorothy Carter

3. Magnolia - Flaer

4. Waterdrum (Revisited) - Woo

5. Eastern - Charles Ditto

6. Dentro - Alejandro Franov

7. African Song - Yusef Lateef

[aktionpak]

10 from '23

Big Brave - nature morte

Body Void - Atrocity Machine 

DJ Arana - Rock Pesado 2 ________________________  

Dorothy Carter - Waillee Waillee

FANTÔME JOSEPHA - Dramarama _____-

Lower Plenty - No Poets

RealYungPhil - Victory Music ________———— -  

Rian Treanor & Ocen James - Saccades

Ronce - CRÈVE 

Ws da Igrejinha - Caça Fantasma, Vol. 1 

Sometimes i wish i could listen to five different songs at the same time. Other days the fridge fan is too loud.

[radiophd]

dorothy carter -- waillee, waillee

[bununiniji]

the doom patrol or something idk

just wanted 2 do smth messy 4 funsies

plus scribbles

thing i drew for a fren (i dont remember the characters name ouuhhh-….)

havnt been posting much mostly bc im too busy sketching stuff lalalalalla

[incorrectssr]

Thinking about how Peggy never asks for Dottie’s real name or ever seeks out any identifying details about her this evening. It’s something that has always puzzled me about the interrogation scene. Considering that they’re looking at Dottie as a permanent fixture in their prison system, it seems peculiar that there is little to no interest in using her to uncover more about what they found of the Red Room in Belarus (knowing, based on reliable similarities, that Dottie comes from the same or at least a very similar background) and the type of person they need to look out for (and also… you lived next to this woman for weeks, if not months Peg).

But then I think of how Peggy approaches Dottie. “Fear is the one chip that little girls who grow up handcuffed to their beds learn to trade on. And I, for one, am not afraid of you.” And she uncuffs her. In full respect to Peggy, Dottie doesn’t try anything and, based on the conversations had on the other side of the mirror, they’re at it for a long time.

This idea of fear in mind, I wonder then if Peggy doesn’t inquire about anything personal about Dottie because she knows that there is very little that’s real about Dottie. Even just in her time in New York, she has been Ida Emke and Dottie’s whole monologue about ‘girls like you’ and how ‘now I can be anybody I want’ shows how transient the idea of identity is to Dottie and it’s a detail that Peggy has not missed. It’s even possible that Dottie doesn’t know who Dottie is and such a possible line of questioning could bring her even further from her goal (neutralising Soviet threats on US soil) than where she began. It’s not like Dottie really ought to be going anywhere anytime soon, and thus it is a line of inquiry that can be tabled for later.

And that is the difference between how Peggy and Jack approach her. Peggy outlines exactly what she wants from Dottie without flinching, knowing that there is more beneath the surface and respecting that that is a rough topic that is not conducive to her objective or her subject’s mental state. The subject is more likely to get cagey and evasive if asked about personal matters, so she asks about something solid, something she knows Dottie knows and something that opens a line of more personal communication wherein Peggy is in charge and control.

Jack, on the other hand, doesn’t know what he’s asking Dottie. He’s mimicking what he’s seen Peggy do but he doesn’t know why he’s doing it and that’s why Dottie can see right through him. He’s the stick and Dottie has been raised knowing only the stick.

Goodness I love this show.

[cartermagazine]

Today In History

Dorothy Irene Height was a civil rights and women’s rights activist focused primarily on improving the circumstances of and opportunities for African American women.

Height’s was the National Council of Negro Women President, addressing the rights of both women and African Americans. In the 1990s, she drew young people into her cause in the war against drugs, illiteracy and unemployment. The numerous honors bestowed upon her include the Presidential Medal of Freedom (1994) and the Congressional Gold Medal (2004).

Dorothy Irene Height was born in Richmond, VA, on this date March 24, 1912.

CARTER™️ Magazine

[cuntyfieddemon]

agatha looked so good in every era, but she gave such an unprecedented evil dyke energy in the 40s i just know her and dorothy underwood explored eachother's bodies until they woke up the dead

[mymelodic-chapel]

Dorothy Carter- Troubadour (Contemporary Folk, Progressive Folk, Psychedelic Folk) Released: 1976 [Celeste Recording] Producer(s): Stephen Baer, Miles Siegel

[onbearfeet]

Queerwolf By Night: Queercoding, Media Literacy, and Werewolf By Night (part 3)

Lovely to have you back for this, the final part of our examination of WBN being queer as fuck. If you missed the earlier presentations in Media Studies and Writing Hacks With Kat, Part 1 is here and Part 2 is here.

We've gone through the Hays Code AND the AIDS crisis so far, and that's a lot, so could I interest you in a cup of coffee brewed over a campfire?

Thanks, Ted. You're a peach.

So let's look at the final scene of WBN through a queer lens. There's a needle drop, color is restored to the world, and we see Jack waking up in the woods to drink coffee, grunt at Ted, and eventually decide that sushi should happen.

(Side note: I have a whole rant about queercoding and sushi, but I cut it, so here's a gif of Aziraphale gayly eating sushi in Good Omens, which you should watch.)

Okay, enough queer angels. Time for more queer monsters.

First things first: this scene is SO DOMESTIC, y'all. They're literally playing house in the woods, in that Ted has built Jack an adorable little house and brewed his morning coffee. The camp is littered with little domestic touches like the French press and the guitar. It's a homey, if slightly eclectic, vibe. (Where did Ted find a payphone?)

There is no explanation for these objects being there, afaik; Ted and Jack both have presumably come from some distance away, involuntarily in Ted's case, so there's no reason Ted would know the location of a well-stocked camp to put an unconscious Jack down in if Jack even set one up. Presumably the camp is Ted's work, but there's never an explanation for where he got any items other than the robe and the phonograph. (I'm particularly curious about the flower mug, personally.) Yet the objects are not remarked upon, and the entire scene is played as if this is a relatively normal morning for the two of them.

In fact, most of the mechanics of the scene are effectively those of a morning-after scene, perhaps a morning after characters fall into bed for the first time. Jack wakes up groaning, crawls out of bed to see where he is, and finds his partner has laid out something like breakfast for him and is prepared to discuss the events of the night before whenever Jack is ready.

And speaking of that discussion, we once again have displays of queercoded masculinity: Jack and Ted being physically affectionate, playful banter, and emotional vulnerability when Jack asks about Elsa. You know the drill by now. The camera pans up as "Somewhere Over The Rainbow" swells and fades out.

Wait.

Rainbow?

Let's talk about music in this film.

Michael Giacchino is primarily known as a composer of film music. WBN is his directorial debut. I guarantee you've heard his music before, because it's basically in every summer blockbuster franchise. If you can't get John Williams, Danny Elfman, or Hans Zimmer (all of whom are getting long in the tooth), you get Giacchino and he turns in a fucking SCORE.

Now, I am not a music person. Not at all. But even my musically illiterate ass knows that traditional film scoring derives a lot from classical music, especially Romantic composers like Beethoven. And that means LEITMOTIFS, baby!

(I learned about leitmotifs from Bugs Bunny and Star Wars. Do not be impressed.)

A leitmotif is a short musical phrase that can be used to signify a character, object, or theme in a larger work of music. For a very basic example of this, look up the Force theme from Star Wars and watch a supercut of all the times it was used to indicate that someone was using the Force. Or just watch this Sideways video about why the music in Rise of Skywalker was ass:

Anyhoo. The point of leitmotifs is to give an audience a feeling without necessarily tipping them off to exactly WHY they're having that feeling. And Giacchino LOVES his leitmotifs.

So when he uses someone else's music, he's extremely aware of the emotions that can come attached to that music. It's literally what he does.

There are two pieces of music used in WBN that Giacchino didn't write: a late 1930s recording of Vera Lynn singing "Wishing Will Make It So" and Judy Garland singing "Over The Rainbow" from The Wizard of Oz. Let's start with Vera Lynn.

Vera Lynn was an English singer most associated with big band music before and during WWII. During the war, she was known as "the Forces' sweetheart", both for her efforts to entertain the troops and for the fact that she was kind of every British fighting man's waifu. What Betty Grable's legs were to American GIs, Vera Lynn's voice was to British servicemen. She's best known for the song "We'll Meet Again", which is about exactly what it sounds like. She was a nice lady, by all accounts, and there is a ferry boat named after her now.

A Vera Lynn song about childhood and wishing is what Verussa plays in the labyrinth, apparently to annoy Elsa, who switches it off (even though that's going to inform everyone of where she is). For the purposes of queercoding, Vera Lynn is mom and apple pie, or possibly mum and fish and chips, and above all she is safe, compulsory heterosexuality. The Forces' sweetheart.

Judy Garland, on the other hand, is a queer icon.

I can't overstate what a Big Deal Judy Garland and Dorothy Gale from The Wizard of Oz are in queer culture. The themes of the story, including acceptance of the unusual and embrace of a found family (along with the sapphic elements of some of the books), resonated so deeply with queer people that for several decades, "are you a friend of Dorothy?" was code for "are you gay?" The US Navy actually launched an investigation to find the mysterious "Dorothy" who was supposedly the ringleader of all the gay sailors.

And then there's the song itself, with its theme of longing for a faraway, more colorful place where those who don't fit in at home are loved for who they are. It's, uh, pretty resonant with the queer experience.

So I now draw your attention to the phonograph. Gramophone. Record player. Whatever it's called.

In WBN, we first see the player set up in the labyrinth, presumably by Verussa or at her orders. It's playing a Vera Lynn song about childhood and wishing, which apparently annoys Elsa so much that she switches it off, thus alerting Jack to her location.

The next appearance of the player is in the camp, where it's now playing "Over the Rainbow" beside Jack as he wakes up. Ted has presumably stolen it; there's no other candidate for that, and we already saw him swipe a murder robe for Jack, so why not a record player too?

In other words, Verussa Enthusiastic Heterosexuality Bloodstone sets up the Compulsory Heterosexuality Machine, after which Elsa Ally-Coded Bloodstone turns it off in disgust, and Ted swipes it and turns it gay for Jack's benefit.

That's the coding. That's BARELY subtext. I really don't know what else to tell you. This essay started with my making an offhand joke to bluemoonperegrine about Ted and Jack being "literally friends of Dorothy" and then realizing nobody else in the conversation had noticed this stuff.

So what do we do about all this? Is WBN queer? Does all the Wolfstone stuff pale in comparison to the glory of Russallis? Am I trying to start a ship war in a fandom so small it probably wouldn't fill up Vera Lynn's namesake ferry boat?

Jack, you can answer this for me.

Nope. Not trying to start anything. I happily read Wolfstone, and technically have written some. I love all three WBN leads and am happy to enjoy them in any configuration (although my personal preference is group napping in a puppy pile, because these characters deserve naps).

I just figured it was worth documenting all this so people who haven't had the benefit of my very strange education would be better equipped to recognize (and ideally enjoy) old-style queercoding when they see it.

Wait a minute. You promised writing hacks. It's in the series title and everything.

Shit, you caught me.

Obviously, queercoding isn't a universal tool. There are plenty of storytelling contexts in which it's much better to make characters explicitly queer. Representation matters, and all that.

But sometimes you won't have time for explicit confirmation (like when your story takes place overnight and nobody really has time to play tonsil hockey). Sometimes you won't be able to include it due to outside constraints (like Disney being Disney).

And sometimes, you'll remember that there are plenty of people who can't or won't pick up explicitly queer media. Homophobic parents who won't let their kids watch Love, Simon ... but who WILL let them read your YA novel about unicorns or whatever where there are two female unicorns who are, uh, life partners. Grumpy uncles who refuse to acknowledge their nephew's boyfriend until they notice that, hey, they kinda act like Finn and Poe from that Star War. And so on. Sometimes, coded rep is the best rep you can get ... and so it's useful to have. A good toolbox has ALL the tools.

So if you're building characters for your story and don't or can't have specific queer goals, throw in a little coding. Put a rainbow T-shirt on a kid. Let two boys hold hands or have literally any feelings. Let a girl say a girl is pretty. Look up some of the older symbols for queer love and have someone growing lavender in their garden, or use newer queer symbols and have a character crack an egg in a key scene. Have a character who's content without a romantic or sexual relationship, and has an arc about something else, because aces and aros exist too.

There's a whole universe of coding out there. Go add some layers to your work.

Or better yet--see if they're there already. You might surprise yourself.

Sometimes the monster has a familiar face.

[brujahinaskirt]

i'm sorry my dude but i am at the point where if a professional writer describes a character as a """"bi disaster"""" my brain heart and interest violently shut off