#RIP MTM

[sinners-go-to-drink-the-wine]

MEETING THE MASTER. GOODNIGHT. GOODNIGHT SIR.

[autistickaitovocaloid]

Tempted to post some of the pd2nd loading screens I really like.

[marcoaguilarmex]

Beware of Scott Kramer's MTM Medical Tourism Mazatlán

I must share my harrowing experience with MTM Medical Tourism Mazatlán, a medical tourism services provider in Mazatlán, Mexico, owned by Scott Kramer. Initially, I sought their services for a hip replacement surgery, which was quoted at $40,000. While the treatment itself was satisfactory, the real nightmare began after the surgery when we discovered a shocking case of fraudulent billing.

Scott Kramer's team billed us a staggering $100,000, including unnecessary medical services that were neither discussed nor required. This unexpected financial burden left us reeling, questioning the integrity of MTM Medical Tourism Mazatlán.

I urge anyone considering their services to exercise extreme caution. The initial promise of affordable medical care quickly transformed into a costly and deceitful experience. Be vigilant, seek transparent pricing, and explore alternatives before placing your trust in this establishment.

My intention in sharing this review is to safeguard others from falling victim to similar deceptive practices. Trust your instincts, and don't let the allure of affordability blind you to potential financial pitfalls. Your well-being deserves a provider with honesty and integrity, which, in my experience, MTM Medical Tourism Mazatlán failed to deliver.

[judeiscariot]

I recently started listening to CSH and famous prophets (stars) is one of my favorites out of everything I’ve heard so far. I’ve seen you mention it on here a couple times and I’d love to hear more about your interpretation of it! Only if you feel like it of course lol but I’m not great at lyric analysis stuff and I’m super interested

hi yes i’d love to talk about it!!! i’ve been wanting to do a line by line of this song for forever so thanks for asking <3 (fair warning though this is gonna be really long)

this song is sort of the last 'event' on the twin fantasy timeline, even though it's more of a summary. it's the culmination of everything that this story has been building up to. it's a breakdown in every sense of the word. like many songs in twin fantasy and will's body of work at large, it has an insanely ambitious structure that's hard to even nail down. it's made up of around six parts but it's basically impossible to even separate into choruses/verses/bridge, etc, so i'm just gonna go section by section:

much like the first track on the album, this song starts off with a really simple, isolated bassline before will's voice comes in softly. the first thing the speaker does is apologize to the idealized future versions of himself and his partner who he had become attached to. he had all these wonderful visions of what their life together might look like, but he's finally realizing that none of that is ever gonna happen, and things are quickly coming to an end. the 'ripping of the tape' could refer to an audio tape, a reference to how the original version of this album was a lot rougher in terms of sound quality, and will has said before that he prefers the smoother, more professional sound of face to face as opposed to the lo-fi of mirror to mirror. the tape could also be what's metaphorically holding the relationship together, and it's finally failing. the speaker knows the relationship is falling apart, but the realization doesn't make it any less painful. in the final line, he shifts the blame to the subject, in a coy and resigned sort of way.

the bruises represent the speaker and his partner - painful, brought on through trauma, lesions that the speaker carries around physically on his body. 'kicking the back of the seat in' probably refers to the fact that most of the vocals for will's early projects, including twin fantasy (mtm) were recorded in the backseat of his car, hence the band name. the speaker has sort of embodied the role of 'emotional punching bag' throughout the story (you can text me when punching mattresses gets old), and the bruises, or the pain the speaker was caused through the relationship, were something he wore with pride as though they represented the burdens he was willing to shoulder for love of his partner. but the bruises are fading now, healing, steering the speaker towards the metaphorical 'healing journey' he will embark on after being set free from the expectations and needs of this person. the vocals up until this point are soft, almost spoken-word, but here we crash into a jarringly intense instrumental that totally shifts the tone.

this part is buried beneath the instrumentals, almost inaudible, but it's so important. i see this as the speaker encouraging his past self, who this album is sort of dedicated to, not to spend too much time lamenting over the end of the relationship, because everything is gonna turn out alright even though it feels like the end of the world. even still, the speaker knows his past self wouldn't listen to this advice if he could hear it.

an experience like the one conveyed through this album is very much confined to teenagers/adolescents. it's essential that the speaker and his partner are fumbling young people with underdeveloped brains. there are certain emotions and ways in which we see the world as teenagers that inevitably dampen when we become adults. even if the speaker and his partner, now grown, were to touch each other like they used to, they wouldn't be able to access the emotions that were conjured by their teenage brains. the speaker and his partner are no longer in contact, sure, but they've lost access to one another in more ways than one. the speaker likes to think that he remembers what it was like to be with his partner physically, but he gives just about the vaguest and most generic description of a human body that he possibly could, literally trailing off at the end like he can't name anything beyond a few body parts. he doesn't actually remember specifics about this person at all.

the speaker questions whether the deterioration of the relationship was his fault, if he could have done something different, been better, saved it somehow. at the same time, he's realizing that he couldn't have, and wondering if this whole thing, that he dedicated all this time and stress and agony and love and joy to, was a complete waste of time, simply because it was destined to fail. throughout this verse, the speaker is coming to terms with the end of the relationship while simultaneously resisting it. it's pretty clear that there have been a good few 'breakup scares' at this point, and the speaker isn't sure if this is the real, true, final end. is this how life is going to be from now on? waking life feels like a bad dream, and he's walking around wondering if this person is, or ever was, his, if they're truly gone. 'the great silence' is the enormous canyon that opens between two people who have just ended a relationship as intense and intimate as this. they go from indescribable closeness to functioning like complete strangers, and it would give anyone whiplash, but especially a teenager who had never felt truly loved or understood before this person. this relationship has been so unsteady that even once significant time has passed since the end, he still sometimes wakes up with the hope that he might roll over and see his former partner next to him.

will refers to himself as both 'nervous' and 'a wreck' multiple times in this album, and in several other places throughout his discography. it's kind of a recurring motif. this may also be a callback to 'the bell jar,' one of the first tracks will ever released, before he was even making music as car seat headrest. as far as 'naming names' goes, this is probably a reference to the fact that he did in fact call cate wurtz by name in famous prophets (minds) in the mtm version of the album. cate wurtz is a comic artist and the author of the lamezone series, and she may or may not be the subject of twin fantasy. i find theories about the real life person who might be the inspiration for this album largely irrelevant and uninteresting, nevermind unimportant to my personal interpretation of the album, so i'm not gonna linger on that aspect of it. the last line is probably a reference to this song's counterpart. famous prophets (minds) ends with a spoken word recitation of 1 kings 19:11 - 12. the actual final lines of the verse are as follows: "But the LORD was not in the fire. And after the fire came a gentle whisper." in the song, the final line is changed to "And after the fire, a sound of sheer silence." right before will says 'silence,' the music cuts out completely.

by this point in the song, it seems like the narrator has fully accepted that the relationship has come and gone whether he likes it or not. this person has faded into and subsequently out of his life, as people often do. there's nothing more to be said, it's all over, there's no getting around this.

now we slide into the seminal refrain of this song. even though in the previous verse, it seemed like he had fully accepted the end, now he's crying and screaming and begging to go back. the end of a relationship like this is obviously going to cause some extreme inner turmoil and it's not gonna be a smooth transition for the people involved. the vocals here are kind of agonizing - it gets more and more intense until he's more or less howling. even after the final repetition, he goes on yelling and crying under the instrumentals. what is the speaker even begging to go back to? when the relationship was new and full of promise? before the two of them ever met in the first place? if he could go back, would the speaker do things differently, or does he just want to live out the events of the relationship again exactly as they happened, so he can cling to the fleeting moments of joy and hope that were there, even though he knows how things are going to end? at the end of all this, he asks his former self again not to spend too much time on it, which is somewhat ironic. once he's done yelling, the instrumentals quiet down almost entirely to just the bassline that was present at the beginning, with the occasional guitar note.

the speaker didn't want his partner to develop too high an opinion of him. even though this whole album is literally about his ridiculously high opinion of this person, he's anxious at the idea of his partner thinking of him the same way. he doesn't want to disappoint him. the speaker also asks his partner not to joke about his own death - this is the only person he's ever felt truly loved or understood by, and the speaker desperately doesn't want to lose him.

the speaker urges his partner to keep it together. because he cares about him deeply, yes, but also because he's not sure if he'll be able to give his partner the support he'd need if he truly lost it. the 'art' he mentions is likely a reference to the art of cate wurtz, but like i mentioned above i'm not interested in diving too deep into that whole deal.

now we're back to the seminal refrain of twin fantasy itself. the whole 'beach' theme is a frequently recurring motif in will's work as far back as the numbered albums. the 'grave' is the place the speaker is trying to lay his feelings for this person to rest, and the ocean is...everything. life, the universe, any given day-to-day experience that might bring up feelings of this person again. no matter what the speaker does, this situation affected him so deeply that his feelings will keep resurfacing over and over again long after the relationship has reached its conclusion.

the refrain continues in the background as the instrumentals build in intensity and will starts to shout over himself. when an artist’s work begins to gain recognition, whichever piece it was that initially drew the attention of large crowds of people may become their 'holy grail,' so to speak. if a particular song gets a singer famous, or a particular painting gets a painter famous, they might lean on the themes and techniques they used when creating that particular piece in an attempt to create another piece which draws similar attention. this leads them to 'descend into cliché' and create work with less creative integrity. the grave symbolism continues, and now at the emotional climax of the album, the speaker says he might ‘fill it in,’ signifying that he has reached some sort of emotional resolution. he is hammering in the nail to ensure that the coffin remains shut tightly, so he can finally move on with his life and walk away from these emotions which have consumed him. 'i could give you what you deserve' may be a reference to the oft repeated line ‘art gets what it wants and art gets what it deserves,’ which pops up throughout will's work. the speaker comments on the fact that he could continue to make music about this relationship, that he could ‘watch the hammer swerve,’ as he attempts to metaphorically nail the coffin shut, i.e. watch himself fail in his attempts to move on from the emotions he has drowned so many times in.

the mirror symbolism is a direct reference to the original version of this album, with the 'mirror' symbolizing the relationship between the speaker and his partner. i've talked about the 'mirror to mirror' vs 'face to face' images before, but i'll summarize it again here: the first image is one of two mirrors facing each other, creating an endless tunnel of reflection between two people who can only see themselves in the other. the face to face image is one of two people regarding each other, recognizing the other while existing as separate bodies. the mirror breaking is the transition between mirror to mirror and face to face. the fantasy is shattered, and will is now at a very different place in his life than when the original version of this album was written. he's decidedly beyond his adolescence, and he no longer sees his partner as a mirror. he wouldn't trade anything for this absolutely necessary change in perspective. 'blackstar' is probably either a reference to the david bowie album of the same name, or the radiohead song of the same name. 'painstar' is explicitly a reference to cate wurtz's work. basically, it's a concept from the lamezine comics of a star/entity which only comes around once every thousand years or so. when you touch it, you feel unfathomable pain, but only for a split second. i see the concept used as a metaphor for the pain of the relationship - was it worth the agony the speaker is currently in for the joy he once had? the vocals here once again grow increasingly intense as the speaker begs...someone, for something.

as the vocals descend in intensity, will mutters this, which is probably a reference to the bit in high to death that includes an audio sample from the movie adaptation of ray bradbury's 'all summer in a day.' it's a science fiction story which takes place on a planet where the sun can only be seen once every nine years. the main character, a girl named margot, is originally from earth, and remembers what the sun looked and felt like. the other children don't believe her, and lock her in a closet before the day the sun is supposed to show itself. when the sun does appear, the other children forget about her, and she remains locked in the closet. the sample included in the song is her calling "william! let me out! william! william! let me out, william!" margot is a stand-in for the speaker's partner, who is begging will by name to release him from the fantasy will has him trapped in. now the roles are reversed and the speaker is begging his partner to let him inside the locked closet. despite all the speaker’s efforts, the two of them still somehow end up on opposite sides of the door. will wants his partner to let him in, so that they may at least be in the dark together. 

the instrumentals quiet down once again so that will is singing over a simple piano tune. this verse replaces the lyrics in the original version of famous prophets which called cate wurtz by name. in the original version, these lyrics were buried, whereas these are at the forefront, accompanied by almost no instrumentals. it's impossible for the listener to miss these. in the first ‘descend into cliché’ verse will mentioned that he could 'sing another song' as a sort of coping mechanism or way of dealing with the end of this relationship, so the 'music forsaking you' could refer to the speaker's coping mechanisms not being enough to comfort him in the aftermath of the relationship. rolling the stone over the grave is the same deal as will 'hammering in the nail' in an attempt to seal off his feelings about the relationship. this also evokes some biblical imagery, with how the entrance to the tomb of jesus was blocked with a huge stone. on the other hand, he could stare his feelings in the face, confront them head on and learn to cope. 'when the levee breaks' is probably a reference to the led zeppelin song 'if the levee breaks.' it seems like will is referencing several well-known musicians while thinking of his own 'prophecy' for his music career. this could be a reach, but the stone line might also be a reference to the rolling stones if we're going with this interpretation. the final line might refer to the fact that, even though these bands were and are incredible famous, the music industry is a cyclical entity and all famous bands will eventually fade out of the spotlight.

that 'what happened to you' might be a reference to leonard cohen's 'death of a ladies man.' will is a big leonard cohen fan and references to his work pop up fairly often. but other than that this verse fades into a soft instrumental where the fractured pieces of what will eventually be the spoken word outro start to fade in:

these are snippets from 1 corinthians 13, and reesa mallen is the actress who played margot in all summer in a day. this is a direct quote from the verse, but will shifts the order of the lines around to depart from the original meaning. the intended message of this verse is basically that love is the key to everything, and that one cannot access great and miraculous things in the absence of love. this arrangement of the lines sort of suggests the opposite - that love enters your life and wrecks you on its way out, that no matter what sort of effort you put out, when love goes it will leave you with nothing. i'll talk a little more about the use of this verse when we get to the end.

this is the true ultimate climax of the song, and of the story as a whole. it's a fractured, distorted sample of my boy, the first song on the album. i can't even describe how crazy this actually sounds you gotta just listen to it. i've talked about this before but my boy is a pretty hopeful and optimistic way to open this album, and throughout the story all that optimism and hope has pretty much been crushed. to me, this part is where the speaker has a breakthrough of sorts and truly, truly understands that it's over, even though his feelings for this person will keep resurfacing, the relationship is crumbling in his hands and soon there will be nothing left at all. the only line from my boy that's not present here is 'we won't be alone,' so do with that what you will. this section is just so insane, the instrumentals and the desperation and rawness of the vocals, there's one or two moments in here where will's voice blends completely with a guitar note, it's incredible. one of the things i love most about twin fantasy is how it manages to take this experience that would generally be regarded as frivolous, unimportant, childish, naive, etc, and successfully convey how deadly deadly serious it feels in the moment. like when we break it down to its bare essentials this album is about an online relationship between two teenagers in 2009. yet it somehow adequately conveys the absolute utter and complete long lasting devastation a relationship like this can feel in a hormone-addled teenage brain. the emotions of teenagers and adolescents are very often brushed off as overdramatic and kinda made fun of in media in general, but just because adolescent emotions are affected by teenage hormones or whatever doesn't make them any less real. in fact i think being a teenager often makes interpersonal relationship experiences similar to this all the more visceral and painful. this part of the song is where that really comes through for me and i find it so incredibly cathartic. the sheer grandiosity of the instrumentals ties it all together, and the horn arrangement in particular is amazing. will uses horns a fair amount in his work and it's always beautiful, but something about this instance specifically just shakes me to my core, man. it's like he's wailing in agony with all the choirs of heaven behind him.

now the instrumentals quiet down and an unfractured recitation of 1 corinthians 13 fades in. this verse perfectly sums up everything this story is about, and the whole idea behind remaking the album in the first place. the speaker and protagonist of the album is an adult now, and he's had years to process these events by this point. he no longer views them through that addled adolescent lens, but he remembers what it felt like to be shaken to his core by this situation. even still, he now sees the relationship for exactly what it is. he no longer sees others as a reflection of himself. he's able to regard the person who he underwent all this agony for as a separate, independent being and understand that his perception of them was false. no matter one's age, it's often borderline impossible to grasp the full significance of important life events as they're happening. only with time and reflection can we truly come to understand and process how events have affected us and how we are changed in their aftermath. the speaker in mtm is clouded by raw emotion, and therefore only capable of knowing 'in part.' the speaker in ftf is more mature, has garnered more life experience, and evidently spent many painful hours working through these events. therefore, he now 'knows fully,' and with the ability to know fully comes the ability to be fully known, to be truly loved and understood as he never could while operating under the delusions fueling this relationship. the instrumentals drop off entirely for the final line, which is a slight alteration from the actual bible quote. the original is as follows: 'And now these three remain: faith, hope, and love. But the greatest of these is love.' this change allows for ambiguity as to which of the three remain within the speaker. the change could also refer to the two versions of the album which now exist, or it could refer to the speaker and the subject as people.

so that's famous prophets (stars). it's an absolutely incredible song and if you've never heard it you really really should. you can only really get the full affect if you listen to the whole album straight through, but i know not everybody feels like doing that lmao, same as many people don't feel like listening to a 17 minute song in the first place. but i think this song is best heard in your room, in the dark, at night, played over a speaker, while you're maybe just a little too high. can't recommend enough.

[the-devils-and-libido]

Past 2024

12/14(土)大塚-bar-地底:33

“2 MAN SHOW"

-LIVE-

リビドーと悪魔/ THE DEVILS&LIBIDO 

zo-ki

-DJs-

O.G.W

Fax Dorobō

11/29(金)吉祥寺WARP:32

吉祥寺WARP × きしぱん presents

「Fountain of Fried chicken」※8/16 振替公演

▼出演

リビドーと悪魔

ザ・クレーター

ドン・マルティネス

11/15(金)下北沢THREE:31

“TXAPELPUNK Japan tour with THE DEVILS&LIBIDO”

-LIVE-

TXAPELPUNK

THE DEVILS&LIBIDO

ampcharwar

FLOATERS

ｰDJｰ

Txako

O.G.W

10/12(土)河口湖魔法学校:30

“Nature phenomenon”

https://www.instagram.com/naturephenomenongathering?igsh=ajh0MXo5Z2R3bGJs

10/4(金)渋谷RUBYROOM:29

“3rd E.P 三体現象Release party”

-LIVE-

リビドーと悪魔

moja

RiL

NEW BABYLON

-DJ-

O.G.W

Fax Dorobō

-Art-

Studio So

10/19(土)神楽坂神楽音:28

“MTM PRESENTS ROCK NIGHT”

-LIVE-

THE DEVILS&LIBIDO

VSQ Sports

Ray?oh..needa!!

9/7(土)上海 SPECTERS老卵俱樂部: 27

陣容：魔鬼力比多 / LYSOMA

9/6(金)杭州MAO LIVEHOUSE: 26

@maolivehousehangzhou

陣容：魔力比多 / 雞毛大樂隊 / 反復攻撃小明

9/5(木)蘇州山丘LIVEHOUSE （紅唐店）: 25

陣容：魔鬼力比多 / 雞毛大樂隊 / 反復攻撃小明

8/23(金)三軒茶屋Heaven’s door: 24 “リビドーと悪魔×三軒茶屋Heaven’s door 共同企画��

-LIVE-

リビドーと悪魔

Rip Van Winkle

Ray?Oh…Needa!!

デッドバンビーズ

バロムさんwithサワラ&佐野麻呂梨王

8/16(金)吉祥寺WARP: 23

"吉祥寺WARP×きしぱん presents

「Fountain of Fried chicken」"

リビドーと悪魔

ザ・クレーター

ドン・マルティネス 

“三体现象”魔鬼力比多乐队巡演“The 3-Body Phenomenon”The Devils & Libido China Tour 2024:22

7.17 Wed. School 北京Beijing with 幻想的假象/机械心/小羊快跑/雨中大冒险

7.18 Thu. DMC 青岛Qingdao with 四线方格

7.19 Fri. Booze 太原Taiyuan with Basement Queen地下室女王

7.20 Sat. Loopy Live 杭州Hangzhou with FYB

7.21 Sun. Harley’s Backroom 上海Shanghai with 尼浊累

7.22 Mon. Secret Party 秘密派对 上海Shanghai （待定）

6/23(日)下北沢ろくでもない夜:17

“テキーラパンクナイト 暴動天国xリビドーと悪魔 2MAN SHOW”

リビドーと悪魔

暴動天国

6月14日(金)大塚-bar-地底:16

“2 man show"

-BANDs-

リビドーと悪魔/ THE DEVILS&LIBIDO 

moja

-DJs-

O.G.W

Fax Dorobō

5/17(金)渋谷RUBYROOM:15

“OUR TOWN”

THE DEVILS AND LIBIDO

GREY GODDESS

KANI GRABB 

HIS AND HER GIRCUMSTANCES 

NITE OWL WORKS

THE HAFU

WOLVES FOR TEAGHERS

SADIE G

SDLX

ATELIC

WEREWOLF

5/11(土)群馬音圖太家:14

???

5/4(土)渋谷RUBYROOM:13

“シーラカンスの戯言GOLDENWEEK SPECIAL!!”

LIVE▶︎

リビドーと悪魔

三根星太郎(犬式)

大久保仁(踊ってばかりの国)

Tō Yō

THE PORTAL

paddy isle

Buddha Jane

DJ▶︎

CALPISS

Acrocanthosaurus

MEME

kobachi

Boogie Piggie

takumi's after party

hanako

4/13(土)青山月見ル君想フ:12

「ずっと遊びましょう」Oh!DirtyFingers in Tokyo with The Devils & Libido and RiL

The Devils & Libido

Oh!DirtyFingers

RiL

4/20(土)三軒茶屋HEAVEN'S DOOR:11

“MOTAHEAD/HEAVEN'S DOOR Presents D.E.A.D Vol.9″

リビドーと悪魔

MOTAHEAD

shuhari

WNiCO!

Don’t worryバンド

4/7(日)渋谷club asia:10

もらすとしずむ x 燐-Lin- pre“らいぶとらいぶ”

リビドーと悪魔

もらすとしずむ

燐-Lin-

MOJA

Momoka Kagamiya

gloptin

3/31(日)西横浜El puente:9

【Charmer’s Pot vol.54】

リビドーと悪魔

TSUKAMARO (大阪) FLOATERS 砂上の楼閣 ニューグリフィンズ The Leslie Southern Tone 斉藤 新 Madoka Kenmochi + Yuki Tanaka 嗚咽民 RT323

DJ :SPY中田

Food : 全日本アメリカ南部料理振興協会

3/4(月)尼崎tora:8

“東方研文録”

リビドーと悪魔

エチュバリア

( )

グルーヴ先生

3/3(日)京都木屋町DEWEY:7

The Elaborate Night

リビドーと悪魔

Record bill babes

than

the dominant 

curve

3/2(土)阿佐ヶ谷モグモグ:6

モグライブ/ mogulive 2024.3. 7-3.2-3.3 mogumogu 1st Anniversary フェス

The Devils&Libido/リビドーと悪魔

Lou Kitamura

Ohayoomama

Mogre Mogru

Keisuke Oki

Katakamuii

Menow

Obake Chant

open15:00 start15:30

Adv / Door ¥2500(+1D) / ¥3000(+1D)

2/26(月)大塚-bar-地底:5

“2 man show"

-BANDs-

THE DEVILS&LIBIDO 

TRES

-DJs-

O.G.W

EL DIABLO

2/12(月)福生チキンシャック:4

佐伯憲陽プレゼンツ ”Unusual riddim”

リビドーと悪魔

Underbug

vortEks-15≒燐-Lin-✕佐伯憲陽withコヨミ(13歳)

DJ:佐伯憲陽

2/5(月)三軒茶屋Heaven’s door:3

“New Continent”

リビドーと悪魔

Don't worry 

臥狂vs川サキ　 

フラクタル

WonderLand

1/22(月)大塚 -bar- 地底:2

“2 man show"

-BANDs- リビドーと悪魔/ THE DEVILS&LIBIDO Synchre

-DJs- O.G.W studio so

1/10(水)渋谷7th floor:1

“百獣pre「百獣の日」”

<会場> 渋谷BAR1985 1F & B2F(はまこ)・渋谷RUBY ROOM・渋谷7th floor

【LIVE】　 Fanny Hill   リビドーと悪魔  21:35~　 それゆけ！ダブ太郎   水泳　

【DJ】 hernia BOOSKA

[the-lich-blues]

Barbie 2003 Lounge Kitties series

One of my Holy grail dolls. She was (nearly) mint - the box was damaged and one of the sofa legs broke off inside of it. That's nbd since I've no interest keeping dolls mint - I like posing them for photography.

So:

* all the silicone has decayed (obviously) so her leotard is strapless now

* she's sewn into the leotard. I had to cut the stitches to pull out the red wire she was attached to the sofa with. And then sew her back into the leotard. The leotard need to be nearly taken apart bc her hips won't pass through the waist - she has the 90s kind of a Barbie body with a wasp-thin waist.

* the leotard is part fake leather and gueSS WHAT it's 20 y/o so it decayed RIP 🙏 it's sticky and leaves black stuff everywhere. I wish I could sew a new corset for it but alas I'm not even remotely skilled enough.

* I wanted to re-body her BUT GUESS WHAT the mtm body that matches her skin color doesn't exist yet yeeey🌈 the closets one is Yara but a) she's the petite kind and b) costs more than I paid for this "kitty". Fortunately, this doll has one of the more articulated Barbie bodies of the past.

* the epoxy didn't take so the sofa leg remains broken 🚬😑 I'll try the UV epoxy and if THAT fails other kinds of glue.

* the sofa stands bc I taped it to the cardboard box. The closed box protects the kitty from dust but looks out of place on my doll shelves.

* since her hair is gelled into the cat ears if I ever re-body her I won't be able to heat her head without risking damaging the hairdo so I'll HAVE TO break the neck peg on this body so I better have a reaaally good mtm match before I do that.

👆 Ah yes I too love to come home after work and relax in my *checks notes* sexy cat cosplay

[donnatroyprincessofthemyscira]

[micdotcom]

BREAKING: Mary Tyler Moore has died at 80, helped change who women could be on TV

TV icon Mary Tyler Moore died Wednesday in the company of friends and family, according to her spokesperson. TMZ first reported her hospitalization. The actress struggled with her health in the past, battling type 1 diabetes for years and undergoing surgery to remove a benign tumor in her brain in 2011. She passed at age 80.

This was a woman who, to borrow a lyric, could turn the world on with her smile. Her charm, grace, determination and gumption both on-screen and off were infectious. She and her character changed the way TV thought about women protagonists, and her influence is still felt all over network and cable programming today. Read more

[lawandorderforevercsi]

In Memoriam of the funniest actresses out there. R.I.P. Valerie you are gone but will never be forgotten!

[dani-ellie03]

This (ridiculously awkward) picture was taken at the height of my Mary Tyler Moore phase. There is no date on the pic but my braces indicate that this is Christmas of either 1991 or 1992. Going by what I remember of the progression of my fangirlism, I’d put money on 1992.

So here I am, in sixth grade and 3 months shy of my 12th birthday, and I’m absolutely in my glory because my mother let me run the video camera for the home movies at my grandmother’s house. Which means for a few hours, I got to pretend I was Mary Richards, producing my very own news segment.

I was too young (and, frankly, a little too far removed from the social climate of the early- to mid-’70s) at the time to understand how groundbreaking The Mary Tyler Moore Show and Mary Richards were. But as a nerdy little 11-year-old, none of that mattered to me. All I knew was that the show made me laugh and I wished Mary Richards was my best friend.

I’m not going to sit here and say that Mary Tyler Moore changed my life or greatly influenced who I became as a person. But she did help make my childhood just a little bit brighter, and for that, I thank her.

[corvidae30]

Chuckles the Clown is dead. Maybe the funniest moment in television history.

[autistickaitovocaloid]

So I ripped some sound files from MtM#

[kevinpsb00]

Who Can Turn On The World With Her Smile by KevinPSB4

Rest in Peace Mary Tyler Moore

[saracsidle]

happy birthday, Mary

[eyesfromastraightguy]

To ensure you have a good fit try a light jog, flex your bicep, squat & swat at a fly without ripping the fabric or seams. • Jacket + Trousers @beckettrobb Tie @al_ties1988 Lapis Lazuli + Yellow Gold pin @sartorisanfrancisco • #eyesfromastraightguy #eyedeaz • • #businessman #guyswithstyle #introfashion #lookbook #mensfashion #mensfashionpost #menswear #menstyle #mensweardaily #menwithclass #mnswr #mtm #ootd #outfitoftheday #sartorialist #sprezzatura #style #styleoftheday #suit #wiwt https://www.instagram.com/p/CZZNPywrsmI/?utm_medium=tumblr

[dolljunk]

It's been quite a long while since I've been excited by a new Barbie release since I have been a firm believer of if I don't like something I won't buy it. I know I can customise something but I frankly don't think it's worth supporting something if I don't feel like it's worth the price they're asking. Barbie's current state of poor quality control, overpricing and fashion direction being stuck in the mid 2010s has significantly turned me off buying anything despite being a longterm fan.

I was surprised how much I loved the Rewind Night Out doll especially since she uses the Steffie sculpt and her design and overall fashion is rooted in a lot of 80s culture that I feel other "retro" releases miss the mark out heavily. It's surprising to me how much people associate early 90s fashion and culture as 80s stuff and how much people tend to homogenise that decade when it's very clear 80s fashion went through massive shifts from the more naturalistic 70s fashion to how synthetic fabrics made a huge impact in how colour was used at a consumer level.

Like slapping on a Memphis Design print on an oversized shirt doesn't make something 80s to me, it's just a modern idea of the 80s aesthetic.

I was really surprised how much I loved this since it's definitely based on Dance Party Midge's outfit from 1989, but with a few style changes that still makes her feel from the same era. I also love the fact the stand is also a display piece since I feel like collector dolls usually neglect the stand, but it works so well for this sort of aesthetic.

The construction and design of the doll really feels like someone who cares about 80s authenticity and I can't find many nitpicks with the choices made. I also really appreciate the packaging is actually reusable and with a very careful hand, you can take the doll out without ripping anything or have to tear off tape from everything. I feel like a lot of Barbie's collector dolls doesn't let you easily reuse the packaging so it definitely feels like a return to form with something like this.

My biggest nitpick is the fact the keytar is a very hollow and flimsy piece of plastic which is so odd to me because the boombox and microphone feel much more substantial. I also am nitpicky about the seashell brush having less prongs than a real 80s brush. But nothing is a real deal breaker. I genuinely feel like every aspect of this doll has some thought put behind it and not just like someone who only knows how to do a limited design retreading their own design for the fifth time.

I honestly wished this doll either had the 80s style TNT body with thicker ankles and bend legs and a bigger bust or a MTM body since I'm not a fan of the click knees on modern Barbie legs due to how thin they are and how easily they warp. But I do plan to body swap her to have more articulation so again it's not a big deal breaker.