#Tina Yavin

[neweramuseum]

NEM PAINTERLY 76 - Curator Julia Badakhshan

FEATURED WORKS BY: Gena Jenson, Mehmet Duyulmus, Jale Yuce, Sara Seldowitz, Andy Mars, Anndrea Lewis, Mim Keophumihae, Tina Yavin, Fleur Schim.

[sydneyadmu]

REBELCAPTAIN SECRET SANTA | gift for @bartowskis ✧˖°.

Jyn Erso spent most of her career as a freelance journalist until she was recently offered a great opportunity to work at the Yavin Times, one of the most prestigious newspapers in the country. While she hadn't planned on working with a big team, she was struggling with her publications and the job was too good to pass up.

Cassian Andor is one of the most important investigative journalists at Yavin Times and was not very pleased to work with Jyn: he read many of her previous publications and admired her works but had a feeling that she was going to be trouble.

At the beginning, Jyn and Cassian had a difficult relationship and attempted to avoid each other as much as possible. However, a few months later, Jyn is investigating Empire Inc., an energy company, and discovers some evidence that could bring them down. The problem? She needs access to certain information that only someone with Cassian's expertise can provide her with.

Working closely, spending time together outside work, and also seeing each other in casual situations made them both realize they had more in common than they thought. Will they finally acknowledge the tension between them and get more than some ‘professional’ amicable relationship?

happy holidays dear tina! ˗ˏˋ ♡ ˎˊ˗

I am very happy to meeting you this year, you’re such a lovely presence in this fandom and the sweetest person! I hope you like my little visual creation based on your prompts (it’s the first time I make a gifset AU like this) and that it made justice to what you envisioned for them <3

and thank you @therebelcaptainnetwork for organizing this wonderful event every year!

[alicetiermes]

THE LAST SHADOW PUPPETS - EVERYTHING YOU'VE COME TO EXPECT

31 August, 2016. By ALICE PYLYPENKO. For The Genius Trash.

Surreal, baroque, and in matching tracksuits, The Last Shadow Puppets explore dazzling imagery of life in California with an immaculate sophomore album, Everything You’ve Come To Expect.

Miles Kane (left) and Alex Turner (right) by Zackary Michael, 2016.

First impressions of this century’s glam-rock band’s return are dizzying. After all, they are the synopsis of an eight year hiatus, written in some Seventies California dream.

The Last Shadow Puppets second album, Everything You’ve Come To Expect, which debuted in April, is a long-awaited surprise. It is the orange-tinged poolside, the salacious, barely-buttoned shirts, the inebriated confessions and vague retellings. The Shadow Puppets speak a language of their own, adore David Bowie, and are now pitching Gainsbourgian pieces on electric guitar. 

Alex Turner (left) and Miles Kane (right) by Zackary Michael, 2016.

A rare rock baroque experience, Everything You’ve Come To Expect is delightfully dichotomous. The title track is a psychedelic blank verse, reciting references to Nancy Sinatra, the Beatles, David Bowie and Joy Division. It’s chorus is a dreamy back and forth croon. Aviation, with a particularly puppety sound, is exciting and full of remarkable metaphors, while shimmery Miracle Aligner sounds almost classical, fit to play from a gold-needled record player when you are at your happiest. 

Dracula Teeth could be the soundtrack to an old Italian horror, with dainty French phrases and moody orchestral sound. The complexity which comes with the fitting string parts (courtesy of Canadian composer extraordinaire, Owen Pallett) adds to the cinematic quality of band’s vision. This fiction-telling shines inn The Element Of Surprise, sung in soft voices spinning stories. The more contentious tune is Bad Habits, catchy and gritty and flaunting Miles Kane’s virtuosity with yelling and the guitar. A country-tinged ballade, Sweet Dreams, TN, has Alex Turner exhibiting his vocal talents, which prevails in the band’s cover of Bowie’s “Moonage Daydream”. The heated Used To Be My Girl is full of iambic lines and catchy brilliance. 

Listen to The Last Shadow Puppets — Everything You've Come To Expect.

The supergroup title is clearly earned in many aspects besides Kane and Turner’s fame outside of TLSP. Every tune features some unmistakable identity of the Shadow Puppets. She Does The Woods, as widely believed, is a ridiculously poetic innuendo. The semantics are only fully clear to Kane and Turner, but perhaps that is part of their thing. Pattern, a personal favourite, is an avant-garde short film. Vocally and musically beautiful, it turns the venue into an intimate, dim-lit bar. 

The Dream Synopsis, is an earnest retelling of an abstract dream. The lyrical weirdness takes us to a phantasmagoric rendition of LA, as it overtakes Turners dreams and hints at the inner turmoils of glamorous rockstar life. Introspective track The Bourne Identity reminds of a lovely acoustic improvisation, remarking on identity and its loss. 

The Last Shadow Puppets at Webster Hall, NYC, 11th April 2016, by Alice Pylypenko.

Recording in Rick Rubin’s Shangri La Studios in Malibu, the Shadow Puppets have stepped a little ways away from the Scott Walker influence, although they still love him, and entered the chambers previously inhabited by the likes of The Style Council and Jacques Dutronc. The album cover is graced by dancing Tina Turner saturated in orange.

Perhaps inspired by the idea of film, Everything You’ve Come To Expect invites the listener to take an emotional summer dip into la piscine of introspection and attraction, soundtracked by the Puppets’ psychedelic pop tunes, of course.

The Last Shadow Puppets at Webster Hall, NYC, 11th April 2016, by Dana Yavin.

The complex, referentially-rich album betrays spectacularly unkempt behaviour and appearance of the duo. Not in a bad way, rather, no artificial effort is involved in their performance. Kane and Turner effortlessly construct the setting of gold-rimmed bohemia, a smoky hyper-reality, one where the audience is on the edge of an intimate scene. Miles Kane is a wired rock star, and Alex Turner is his darker accomplice. Their connection flares onstage.

When I see them in New York, and later in Berlin, they are unbelievably vibrant. They tour a full 5 months and remain elated and magical, vocally brilliant and musically talented. If anything, they continuously add more to their repertoire. I’m lucky to witness their take on the Beatles’ “I Want You (She’s So Heavy)” and David Bowie’s “Moonage Daydream.” They perform with overt pleasure. They play and reflect off of one-another, talented and eager.

The Last Shadow Puppets, Columbiahalle, Berlin, 23rd August 2016, by Alice Pylypenko.

The Last Shadow Puppetsaccomplish in attitude, fashion, scenery, sound and lyrics, and even the secret language with which they seem to imbue their music. The backbends and the dancing, embracing, jovial singing and rockstar extravagance. The dimly-lit concert halls and falling petals, orange and blue lighting. Matching as a mod mob with a rock’n’roll orchestra.

The end of their tour poses the questions – “when can you come back again?”