#Teengirl Fantasy

[omegaremix]

Omega Radio for June 3, 2017; #139.

Geneva Jacuzzi “Group Dynamic”

Ryan Power “I Don’t Want To Die”

Holydrug Couple “U Don’t Wake Up”

Work Drugs “Absolute Bearing”

Young Summer “Echo”

Steve Hauschildt “Sundialed”

Jackie Mendoza “Chemtrails”

John Maus “Keep Pushing On”

Black Queen, The “Ice To Never”

Kitty “Asari Love Song”

George Clanton “It Makes The Babies Want To Cry”

Minks “Playboys Of The Western World”

Teengirl Fantasy “Star-Rise”

Nite Jewel “2 Good To Be True”

Cellars “Do You Miss Me?”

Survive “A.H.B.”

Costavision Lo-Fi “Peninsula”

Natural “Cherry Blossoms” (Com Truise RMX)

Com Truise “Memory”, “Isostasy”

Ducktails “Don’t Want To Let You Know”

Oneohtrix Point Never “Terminator Lake”

Deluxe electronics (synthpop, vaporwave, chillwave).

[rudeteens]

[the-queerview]

Priscilla, 2023

by Sofia Coppola

Well how couldn't I write about Priscilla.

Where do we start. As a millenial dirtbag I grew up with Coppolas Virgin Suicides, Lost in Translation and Marie Antoinette. All films fetishizing young girls. Around the 2010 there weren't many female filmmakers present, and we could say that Sofia Coppolas films were therefore as much creating a certain tumblr aesthetic, that reminds of teengirls/horsegirl fantasies, thou there weren't horses, as well as depicting a certain type of white girl, her characters mostly malenourished, blond, dreamy. What a cis men could connect trough our male gazed history as pedophile lolita-aesthetic (thanks nabokov. fuck you), would be read trough my pre-coming out gaze as something I wanna be and therefor something I realize at the end desire. Coppolas characters are those lost babes, that are bored and sad, intellectually unchallanged, and living in bizarre patriarchical structures ( thinking of the Character in Lost in translation, living isolated in Tokio because of her photographer boyfriend) or Marie Antoinette, who lives in an arranged marriage with a King, she barely knows. All those babes I want to save, I wanna take them out of the social prisons and have fun with them, and thats what those characters are basically doing in Sofias films. They escape trough different ways, and still they are all highly commercialized, superficial product value oriented, fashion films. Here we realize, that I'm bought as much as in the idea of the patriarchical constructed princess peach syndrom ( I'm supermario saving princess peach) as much as Sofia Coppolas films are in any way feminist or questioning this order.

Well so lets roast Priscilla.

I was actually very excited to see the film, especially interested in the costumes and how Coppola would deal with this grooming tale. Just a little background info: Priscilla Presley was 14 years old and Elvis was 24, when the grooming process happened. They married when she was 21 , but Priscilla started living isolated at Presley's Graceland, when she was 17/18. Elvis brought her into contact with amphetamines and sleeping pills and yeah basically groomed that kid.

The film itself is beautifully shot, as viewers we are very much following up the story out of Priscillas perspective. The prison in form of the Graceland ranch, is present here as well. Her feelings of isolation and lonelyness ( Priscilla is not allowed to have friends during her stay with Elvis) is depicted trough many close up of details, like the carpet in the house, scenes of her dog, details of her doing Make up. The control freak Elvis is treating her like a doll, and decides on her looks and dresses, who she talks to, where she even goes to school to. It's BIZARRE. But yeah all those tik tok kids out there imitating the 50s/60s fashion looks right, ITS BAD. those times were bad, and we queers would all be in prison. It's scary my dear readers. Watching time period films to me is always such a strange experience.

Anyways back to the film. So the film is dealing with Priscillas life from the moment she meets and leaves Elvis, and thats basically it. We see her adolesence passing in the prison of Elvis, and the film therefore reminds me of an old, pink stamp. It's not life changing, but beautifully filmed, like an ass log prada commercial, but also its pace is very slow, but not to slow. It's definetly an arthouse film, and I wished she had the freedom in her music choices like in her earlier works, as an example indie music and converse in Marie Antoinette.

I also thought a lot about if Coppola is actually bi/gay anything? Like she has as a certain way of depicting women, very sensual camerashoots, mellow color grading, pastell light situations, also FEET, like details. Personal theory since I witness that a lot in films made by women, this obsession with details. I feel like since we live in a patriarchical society and women were for a long time considered less smart ( educational systems, the performance of women in scientific fields worldwide is : Across the world, roughly 33% of persons employed in science research are female. The highest share is in Central Asia at 48.5% and the lowest in South and West Asia at 23.1%) SO in my theory they are so intellectually underchallanged, that they develop an obsession with details :D

But yeah the film is respectful towards the character of Priscilla, who came herself to the premiere, because the rape scene with Elvis is not depicted. It's still thou not really moving me in any way. Like I end up with the same feeling, while watching the film, I wanna kick Priscillas ass and tell her to leave and have her youth and not be in this prison. But it's not my position and as my experience being a human in this planet, not everybody want to be saved, like you can only help someone in a toxic relationship if the person asks and wants your help. So the film is evoking again those princess peach thoughts within me. I wish for Sofia Coppola to make once a film about a women, who doesn't live in a prison and maybe saves herself. Within this, babes be strong be brave out there and take care.

yours,

the queerview

[fuckingwreckedd]

🕊️🐁

[sanktpolypenbourg]

Did we ever learn why they weirdly insist that Nidorina and Nidoqueen are sterile, so that Nidorino and Nidoking have to mate with the tiny baby form Nidoran (female)? Where did that come from, and why was that so important?

One bad reason I can think of is that they wanted the nidorans to be the "natural" form of the species and all evolutions to be freak mutations, but then they decided it would be an insult to virility if the male mutants were sterile, cannot have them be eunchs, nooo

One even worse variant would be that they thought boy players would fantasize about impregnating the teengirl one and the one with the tits

About the most wholesome but still kinda weird angle I can think of is that the idea came from a female team member who promoted the idea that the inability to get pregnant was a female power fantasy

(On a side note, though, I like that pokémon kinda stuck to the idea that other than with proper baby forms, "evolution" is not metamorphosis in the classic sense, but a "powerup" not strictly necessary for the critter to survive and reproduce.)

[omegaremix]

Omega Radio for December 30, 2017; #152.

Sokro “Whip$”

Algiers “Underside Of Power”

Nnamdi Ogbonnaya “You Got Stupid On Your Face”

SEENMR “What Side Is You From”

Oldbills “smoke.mirrors”

Ho99o9 “United States Of Horror”

Pond “Colder Than Ice”

Cults “I Took Your Picture With My Eyes Closed”

Grizzly Bear “Morning Sound”

Moon Diagrams “Magic Killer”

Nite Jewel “Good To Be True”

Zola Jesus “Siphon”

Teengirl Fantasy “Star-Rise”

Second Woman “VII” (JLin RMX)

Bad Zu “Kllkllkll”

Alice Glass “Forgiveness”

Nine Inch Nails “Less Than”

Alan Vega “DTM”

Eric Copeland “Neckbone”

Liars “Staring At Zero”

Aaron Dilloway “Switch”

Martin Rev “My Street”

Godflesh “Post Self”

Ninos Du Brasil “A Magia Do Rei II”

Uniform “The Lost”

Blanck Mass “Silent Treatment”

Boris “Absolutego”

Pharmakon “Transmission”

Second of two deluxe Winners Of '17 broadcasts.

[tsqdance]

TITLE: "B.D.S.M."

ARTIST: Pictureplane (Bandcamp/Soundcloud/Facebook/Twitter/Tumblr/Site)

ALBUM: Degenerate, 2018

WHO IS IT: Travis Egedy, from Brooklyn, New York

WHAT'S IT SOUND LIKE: A noisy, punky amalgamation of all the best things in electronic music. A house beat, scuzzy synth leads, and smooth, almost whispered vocals that would fit perfectly in a darkwave/synthpop single.

FOR FANS OF: Cold Cave, Default Genders, Teengirl Fantasy

BUY HERE

[laurastudarus]

There was a time when Kelela Mizanekristos—known mononymously by her first name—did not know how to translate the ideas in her head into music. A second-generation Ethiopian with a love for music—despite the confusion—the talent was always there. As a young student at American University, she found herself regularly singing jazz standards in D.C. cafés. Later, after moving across the country to Los Angeles, Kelela joined with Teengirl Fantasy, contributing vocals to 2012 track "EFX" (a pairing that, between the duo’s 8-bit soundscapes and her strong alto now sounds incredibly forward-thinking). But it was a meeting with Yukimi Nagano 10 years ago that truly shape her artistic life. The Little Dragon frontwoman gave her some annoying-simple advice that would change everything: “jam with your friends and see what happens.” At the time, Kelela wasn’t a believer. Could it really be that easy? Three months later, she had her first original song.

(via Kelela Will Not Be Boxed In - Musical Artist Kelea interview)