#Top mid range TV 2020

[plumbob-pudding]

The opulence of the 1950s gave way to the structured, office wear inspired clothing of the 1960s with structured pinafores and tailored trousers for both boys and girls. It wasn't all serious, however; the 1960s birthed an explosion of colour with vibrant magentas, vivid teals and sunny yellows gaining popularity in children's clothing.

By the 1970s, this colour explosion began to die out in favour of more muted browns, oranges and greens. Flared trousers were in vogue for boys and girls as clothing began to become more unisex, though pinafores and dresses remained popular for little girls.

Children's clothing in the 1980s can only be described using one word: zany. Bold colours and even bolder patterns gained popularity: they featured in everything from matching sweatsuits to fanny packs. Acid washed jeans along with converse high-tops became staples for girls and boys.

The 1990s took the casual style of the '80s further. Boys' clothing was baggy in fit, ranging from comfortable tracksuits to relaxed cargos. For girls, this was largely similar although there was an emergence of "preppy" fashion in the mid 90s. Pleated plaid skirts and button up shirts rose in popularity accessorised with knee high socks.

Y2K saw the emergence of a celebrity culture that remains today. Children, particularly girls, wanted to dress like their favourite tv characters so the bright and often excessive outfits feature on tv channels like disney and nickelodeon were emulated. For boys, skater culture was on the rise so baggy cargos, t-shirts and polos were staples.

By 2010, the extravagance of y2k petered out replaced with preppy, "business casual" inspired outfits. Kidswear began to emerge as a legitimate field in fashion and designers did their best to combine comfort with style sometimes leading to disastrous combinations such as hoodies paired with blazers.

The widespread usage of social media in the 2020s has led to what some call "the disappearance of the awkward phase". Children's wear is often times indistinguishable from adults just like in the 19th century, however, now comfort is very much prioritised. This decade has seen the resurgence of many styles of previous decades: oversized sweatshirts and hoodies paired with flared or baggy jeans are popular along with shoes like uggs and crocs.

[rsadelle]

The best books I read in 2023

I read 85 books in 2023, which is about two-thirds as many as I read last year. If you want more, shorter recs, I kept up an ongoing Twitter thread where I recced things as I read them. I've provided content notes where I remember them; as always, feel free to comment or message/email me if you want more information.

Top 11 fiction books/series I read in 2023

Major Bhaajan series (Undercity, The Bronze Skies, The Vanished Seas, The Jigsaw Assassin) by Catherine Asaro - This is a very fun sci fi in space series about a woman who was in the army but is now a PI who also leads her looked down upon people. It's a spinoff from the Saga of the Skolian Empire, but you don't have to read that (or remember anything about it if you have read any of it) for this to make sense. Also, you can skim a lot of the technobabble. My mom also read them and was irked by the gender politics of the world; they make more sense if you know that they're part of the established Skolian Empire, which Asaro started publishing in the mid-90s. Content notes: genre typical violence, somewhat of a military is good vibe.

Before She Finds Me by Heather Chavez - This is a really good thriller with alternating points of view between a pregnant assassin with a moral code whose husband took a job without telling her and a woman whose daughter was shot (but not fatally). Content notes: gun violence, murder.

Alias Emma by Ava Glass - This is a very well done action thriller about a spy taking an asset across London in one day - without getting caught on any of London's cameras. It would make an excellent movie.

The World We Make by N.K. Jemisin - This is the sequel to The City We Became, which was one of my best books of 2020. Jemisin originally intended this to be a trilogy but made it a duology instead, so you no longer need to wait to read the whole story. I loved everything, but also cared absolute most about the Manny/Neek romance. Content notes: eldritch horror, real-world racism and injustice.

Wild Massive by Scotto Moore - This book is ultimately a little forgettable, but it is also a super fun read. If you have watched or know about any long-running sci fi/fantasy TV series (Supernatural fans, I'm looking at you), you will probably enjoy the meta of it all. This was a sci fi book club choice, and people's responses ranged widely from loved it to couldn't finish it and included everything in between.

The Kingdoms by Natasha Pulley - This is a very enjoyable book that plays with alternate history and time travel and is also queer. I loved it and when I was thinking about what I read this year that was definitely going on my list, this was one I immediately thought of. It also helped me develop my theory that "genre bending" in the description of a book actually means "this is a very specific type of story, but telling you the specific kind is a spoiler." Content notes: death/disappearance of people in different timelines, war-related violence, off-screen/past sexual coercion

When the Sparrow Falls by Neil Sharpson - This is more or less a thriller, and also funny. It's set in a future repressive anti-AI state in an otherwise benevolent AI-governed world, and has one of the funniest navigating bureaucracy scenes I've ever read. Content notes: repressive state violence.

Lay Your Body Down by Amy Suiter Clark - The book cover calls this "a novel of suspense," which I disagree with. This is a solid mystery in a small town with a megachurch and a former member of the church both investigating and confronting her own past. Content notes: all kinds of harm to women and girls in that kind of environment

First, Become Ashes by K.M. Szpara - This is a completely compelling queer story. The worldbuilding and the place of kink within it are much better done than in his first book, which I read two years ago and still occasionally think about. I loved the ambiguity about whether or not the magic was real. Content notes: cults and all kinds of physical and sexual abuse, including rape. It also has some Harry Potter references, which made me twitch. Szpara is trans and in the acknowledgements, he talks about fandoms, not necessarily creators/original stories: "To Drarry but not to JKR."

Some Desperate Glory by Emily Tesh - I loved this book. This is another one that immediately came to mind when I was thinking about this list. I thought Tesh did such a good job of putting the reader in the character's worldview, the worldbuilding was interesting, and parts of it were funny even inside a serious story. The rest of my sci fi book club disliked both the main character and everything else I liked and thought worked well, so it may or may not be your thing. Content notes: all kinds of fascism related horrors

This Might Hurt by Stephanie Wrobel - This was a completely engrossing story. It did a good job building the characters and their stories, and I did not see the ending coming (in a good way). Content notes: a cult, self-harm as performance art, death.

Top 5 books/series I read and then thought about a lot in 2023

Godshot by Chelsea Bieker - This was so well-written, and I got completely absorbed in it. It is also about the sexual assault and forced pregnancy of young teenage girls (the protagonist is 14) in a cult in a drought in central California, and I kept thinking about it after I read it.

Adrift by Lisa Brideau - This is a thriller involving amnesia set in a climate change-devastated near future. It starts out a little slow, but I kept thinking about it after I read it and I enjoyed the building a new life aspect of the story. Content notes: climate change, storms, genre-typical danger.

Constance by Matthew FitzSimmons - A big part of why I kept thinking about this is that I had a lot of complaints about it that I was prepared to share at book club, and then everyone else liked it. The plot had potential, but what I found most annoying about it was that the author seemed to smugly think his ideas were new and revolutionary, which they are not.

Captive Prince trilogy (Captive Prince, Prince's Gambit, and Kings Rising) by C. S. Pacat - This was on my best books of 2021 list. This year, I watched all of Black Sails and wanted to read some other twisty plotting, and ended up rereading this whole trilogy twice. I still love it, and reading it closely twice means I started to see that some elements of both the worldbuilding and writing style start to fall apart if you think about it too hard. Content notes: Ancient Greece-style slavery, consent issues, war-related violence, explicit sex scenes.

Cover Story by Susan Rigetti - This is an Anna Delvey-inspired story that's built around diary entries, emails, etc. I don't know how much I enjoyed reading it in the first place, but the final reveal at the end recontextualized the parts I thought were boring enough to skim and made me keep thinking about it.

Top 2 nonfiction books I read in 2023

"You Just Need to Lose Weight" and 19 Other Myths About Fat People by Aubrey Gordon - I sat down on a Saturday morning planning to read just the beginning of this and finished the whole book by lunch. I found it much more accessible than her first book, while still being grounded in facts and pointed toward justice. I highly recommend it if you have any interest in social justice and/or the science behind weight. I do have two criticisms: 1. There's a heavy reliance on the implicit bias tests, which in my understanding are not fully scientifically validated as useful. 2. The last chapter is dedicated to pointing out all the other kinds of discrimination that are alive and well in our world today, which is great! Except she leaves out antisemitism, which seemed like a bad thing to leave out.

Burn It Down: Power, Complicity, and a Call for Change in Hollywood by Maureen Ryan - I was glad I bought a copy of this instead of trying to get it from a library. It's very good and also very intense, so I needed time to recover between chapters and it took me almost four months to read. I greatly appreciated her voice as a fan of TV wrestling with some of the same issues I've been working through, and her turns from thoroughly reported facts to conversational opinions. I do think she lets Damon Lindelof off too easily - sure, he says the right things now, but has he changed his behavior? Content notes: All kinds of interpersonal, institutional, and systemic injustices, harms, and crimes.

The authors I read the most in 2023

There wasn't anyone whose books I read in large amounts this year. I read four or six books by a few people, and they're worth mentioning because they're representative of the kind of easy reads I read a lot of this year.

Jessie Mihalik - I read a total of six of her books in two trilogies. They're sci fi romances with political intrigue and space adventures. I liked the Consortium Rebellion trilogy better than the other one I read. The content notes for these sound very serious, but they're mostly just adventures with space ships. Content notes: genre typical violence, past intimate partner violence, results of nonconsensual human experimentation.

Annabeth Albert - She was one of the authors I read the most in 2021. This year I read the four books in her Hotshots series, which are m/m romances about smoke jumpers in Oregon. I continue to appreciate the diversity of relationship dynamics in her books. One of these deals with disability issues, including sexual functioning after a spinal cord injury, in a way that seemed respectful to me. Content notes: grief/mourning, injury.

A.M. Arthur - I read four of her books this year, and I've read several others before. She writes basic contemporary m/m romances, which is sometimes all I want to read. Content notes: explicit sex, various past traumas.

[avtips34]

What is the most common screen size?

As technology advances, screen sizes have evolved significantly over the years. From the tiny screens of the first computers and mobile phones to the large TV and monitor screens we see today, displays have gotten bigger and smaller depending on the device. But among all the various screen sizes available, which one can be considered the most common or standard size nowadays? Let's take a look at the most popular screen resolutions and how they have changed over time.

The Evolution of Screen Sizes

When computers first emerged in the 1980s, screen sizes were relatively small due to limitations in technology at the time. Most computer monitors ranged from around 9-15 inches diagonally. As the 1990s rolled around, CRT monitors started becoming more common in the 17-21 inch range. These larger sizes provided more usable screen real estate for software applications and multimedia content.

In the late 90s and early 2000s, LCD flat panel displays started entering the consumer market, bringing even bigger and thinner screens. LCD TVs in the 20-30 inch range became widespread in homes. Laptop screen sizes also increased significantly during this era, with 15-17 inches becoming standard on portable PCs. By the mid-2000s, LCD had almost completely replaced bulky CRT monitors, with 19-22 inches becoming the norm for desktop computer displays.

The Rise of Mobile Devices

The smartphone revolution of the late 2000s greatly impacted screen sizes across all devices. The arrival of the iPhone in 2007 with its 3.5 inch display established mobile phones as portable media computers. Over time, screens gradually increased to 4-5 inches on Android phones to match the larger canvases needed for modern apps and content. Tablets then popularized even bigger 10-12 inch screens for portable media consumption and lightweight productivity.

As touchscreens improved, they started replacing laptops and desktops for many basic tasks. "Phablet" devices in the 5.5-6.5 inch range emerged as a cross between phones and tablets. This brought down the average screen size as mobile phones became people's primary computers. Now in the 2020s, screens have fragmented across different form factors once again. Foldable and dual-screen devices are experimenting with new form factors.

Surveying the Most Common Sizes Today

So based on current usage trends, what would be considered the most widely-used screen resolution globally? Here are the top contenders:

1080p (1920x1080)

The HD 1080p resolution has been the standard screen size for laptops, desktop monitors, and LED-LCD TVs for over a decade now. It provides a good balance of pixel density and affordability. Over 60% of all computer displays worldwide are estimated to be 1080p.

1366x768

Slightly lower than 1080p, the 1366x768 resolution remains very common on lower-cost laptops and some budget desktop monitors. While not quite HD-level quality, it's still sufficient for basic computing needs.

720p (1280x720)

As the baseline HD resolution, 720p screens are found on millions of smartphones, tablets, low-end laptops, and entry-level LED TVs. With its compact size and high pixel density, 720p continues to dominate the mobile space.

Analyzing Screen Size Trends

Taking a step back, some broader trends are apparent from the evolution of screen sizes:

Bigger is generally better for stationary desktop use cases where screen real estate isn't an issue. Most desktop monitors today are in the 20-27 inch range.

For portable laptops, 15-17 inches has long been the sweet spot balancing mobility and usability. 13-14 inches remains popular for ultra-thin ultraportables.

Mobile devices favor compact sizes that fit in pockets and hands. The 5-6.5 inch range reigns supreme for phones, with 7-12 inches for tablets.

Higher resolutions are prioritized on devices viewed up-close like phones, VR headsets, and high-end monitors. Lower resolutions suffice for TV viewing distances.

Affordability remains a major decision factor. 1080p and 720p continue selling in huge volumes due to their cost-effective ratios of quality to price.

So in summary, while screen sizes have proliferated across different applications, 1080p and 720p remain the most ubiquitously used resolutions spanning laptops, desktops, TVs, and mobile devices. Their pixel densities meet most general use cases while staying reasonably priced.

Key Takeaways and the Road Ahead

To conclude, here are the main highlights from this analysis of common screen sizes:

1920x1080 (1080p) has emerged as the de facto standard desktop/laptop/TV resolution, found on over 60% of displays worldwide.

1366x768 and 1280x720 (720p) resolutions remain extremely prevalent on budget portable devices and entry-level TVs.

Bigger stationary screens balance functionality while smaller mobile sizes optimize for portability.

Higher pixel density is prioritized for personal electronics viewed up-close versus distances like TVs.

Cost and compatibility along with improving technology will continue shaping typical screen sizes over time.

As new innovations like 8K, foldables, dual/multi-screen devices, and micro/mini LED screens develop, screen sizes may fragment further across specialized contexts. But for general purpose use, 1080p and 720p are likely to hold their ground as the most popular resolutions for balanced high quality and affordability going into the future.

[denimbex1986]

It was billed as the definitive box office showdown, but the summer phenomenon that was Barbie v Oppenheimer ultimately proved to be the catalyst to get the UK’s struggling cinema sector back on track.

The extraordinary success of both films, released on the same day, pushed admissions in July to more than 17.6m – the biggest month for UK cinemagoing since December 2019. And the popularity of “Barbenheimer” has continued into this month, with experts predicting 13.5m admissions for August.

Their combined takings are now more than £130m, according to the UK Cinema Association, with further screenings to come over the weekend, a bank holiday in England, Wales and Northern Ireland.

Directed by Greta Gerwig, Barbie has raked in more than £86m at the UK box office, making it the biggest film of 2023 so far. The first movie launched from toymaker Mattel’s newly created in-house film division, it has already overtaken Tom Cruise’s blockbuster Top Gun sequel Maverick.

Christopher Nolan’s Oppenheimer has taken north of £51m, with the two contrasting films combining to give Vue its best weekend since Covid.

The summer’s figures are something of a boost to UK cinemas, which have been struggling to recover from closures during the Covid lockdowns. Admissions from May to August are forecast to total about 49.6m – up 8% compared with summer 2022.

However, this is still some way short of 2019, the last full year pre-Covid, when there were 176m admissions, and the 177m in 2018, the highest since 1970. By contrast, in 2020 admission numbers fell to 44m due to the pandemic.

“For all the positivity, the sector still faces considerable challenges, including cost increases in a range of operating areas, in particular around energy and staffing,” said Phil Clapp, the chief executive of the UK Cinema Association.

“While we all hope for a positive resolution to the current disputes involving actors and scriptwriters in the US, anything which risks disrupting a supply of film content which is still not back to pre-Covid levels must be a concern.”

In July, the union representing Hollywood actors formally announced a strike, expanding the standoff between Hollywood workers and studio executives over wages, artificial intelligence technology and how to divide the profits of the digital streaming era.

The strike by the Screen Actors Guild and American Federation of Television and Radio Artists (Sag-Aftra) is the first time in 63 years that Hollywood writers and actors are striking simultaneously.

Clapp said: “For all of the rhetoric around audiences having left the cinemagoing experience, box office in 2022 was proportionate to that pre-Covid, when the number of major film titles released is considered.

“While it is a fool’s errand to predict end of year results this far out, we’ve seen nothing to suggest that that will not also hold true for this year.”

Box office takings from the beginning of May until mid-August this year stood at £396.4m, up 12% on the same period in 2022 and only a few percentage points down on the same time in 2019. This could reflect the significant proportion of premium tickets, such as Imax, bought for Oppenheimer, Clapp said.

It seems there has been no letup in consumers continuing to prioritise spending income on entertainment. There was a 15.8% year-on-year rise in spending in the sector in July, according to Barclays’ consumer spending report.

Despite the cost of living crisis, 11% of people cut back on other expenses to afford tickets for concerts and cinema trips, while 10% said they treated themselves to a concert or film ticket in July even though they could not really afford it, the report said.

It comes as parliament launched an inquiry into British film and high-end TV, examining issues around skills and retention as well as challenges posed from the rise of AI.

MPs on the culture, media and sport committee will investigate what needs to be done to maintain and enhance the UK as a global destination for production and how the independent film sector can best be supported.

The committee will also examine challenges for British cinemas, following the recent Cineworld restructure and the collapse of the Empire chain.'

[d-criss-news]

20 Questions With Darren Criss: How Acting Has Helped Him Make New Music

While Darren Criss has graced our TV screens with a range of characters, from high schooler Blaine Anderson on Glee to serial killer Andrew Cunanan on The Assassination of Gianni Versace, he was last spotted just being himself, on our For You Page on TikTok. “I’m walking to rehearsal with a guitar on my back with a Trader Joe’s bag ... I did not bring an umbrella because I forgot that it was raining. I’m rocking that NYC musician life,” the Glee alum explained in the hilarious clip posted three days ago.

While Criss’ acting work has earned him acclaim and stardom, he leaned into making music during the pandemic. On Aug. 20, he dropped a new EP, Masquerade, featuring five new tracks that Criss says were inspired by the different characters Criss has embraced throughout his career. After Criss wrote songs for his musical comedy web series Royalties and Apple TV+’s animated sitcom Central Park before the pandemic struck the United States, he then used those experiences as a precursor to his new EP. As Criss continues to promote his new music, he answered 20 of Billboard's questions – giving us a peek into how his new EP came together, and how growing up in San Fransisco shaped him as an actor, singer and all-around artist.

1. What inspired your latest project, Masquerade?

Although I would have preferred that it come at a far less grim cost, I finally had the time. Before the pandemic, I had written 10 new songs for my show Royalties -- along with an original song for Disney and another for Apple’s Central Park. These were all assignments in which I was writing for a certain scenario and character. Go figure. It was the most music I had ever written in a calendar year. This really emboldened me to rethink how I made my own music— to start putting a focus on “character creation” in my songs, rather than personal reflection. The latter was not proving to be as productive. The alchemy of having this time and having set a new intention with my own songwriting and producing made me put on a few of my favorite masques and throw myself a Masquerade.

2. How do you think your background as an actor complements your music?

They are one and the same to me. I treat acting roles like musical pieces— dialogue is like scoring a melody; there’s pace, dynamics, cadence, tone. Physical characterization is like producing -- zeroing in on the bass line, deciding on the kick pattern. Vocal characterization is like choosing the right sonic experience, choosing the most effective snare sound, and mixing the high end or low end. It goes without saying that it works in the complete opposite direction. Making each song is taking on a different role literally and employing the use of different masques to maximize the effectiveness of the particular story being told.

3. On Instagram  you wrote that “Masquerade is a small collection of the variety of musical masques that have always inspired me.” Which track do you identify with most in your real life?

Everybody absorbs songs differently. Some key into the lyrics, some into the melody, some the production, some into vocal performance. When I listen to songs, I consider all of their value on totally different scales. So it’s hard to say if there’s any track I “identify” with more than any others, since I -- by nature -- identify with all of them. I think I just identify with certain aspects more than others. If it helps for a more interesting answer, I will say I enjoy the slightly more classical, playful -- dare I say -- more Broadway-leaning wordplay of “Walk of Shame,” but that’s just talking about lyricism. I enjoy the attitude of “F*kn Around,” the batsh--t musicality of “I Can’t Dance,” the relentless grooves of “Let’s” and “For A Night Like This.” All have different ingredients I really enjoy having an excuse to dive into.

4. What’s the first piece of music that you bought for yourself, and what was the medium?

Beatles audio cassettes: “Help” and “Hard Day’s Night.” I just listened on repeat on a tape-playing Walkman until my brother and I got a stereo for our room with a CD player in it, which was  when I just bought the same two albums again, but this time as compact discs.

5. What was the first concert you saw?It’s hard to say, because my parents took us to a lot of classical concerts when we were small. But I guess this question usually refers to what was the first concert you went to on your own volition, and that my friend, was definitely Warped Tour ’01. My brother and I went on our own— two teenagers going to their first music festival, in the golden age of that particular genre and culture. It was f--king incredible.

6. What did your parents do for a living when you were a kid?

My dad was in private banking and advised really, really wealthy people on how to handle their money. My mom was, by choice, a stay-at-home mom, but in reality, she was my dad’s consigliere. They discussed absolutely everything together. They were a real team, and I saw that every single day in the house. They both had a background in finance (That’s how they met in the first place.) and were incredibly skilled at all the hardcore adulting things that I absolutely suck at. They were total finance wizards together. So of course, instead of becoming an accountant, I picked up playing the guitar and ran as far I could with it. Luckily, they were all about it.

7. What was your favorite homecooked meal growing up?

My dad was an incredible chef. For special occasions, I’d request his crab cakes. They were unreal. I’ve never had a crab cake anywhere in the world that was good as my dad’s.

8. Who made you realize you could be an artist full-time?

I don’t know if I’ve actually realized that yet.

9. What’s at the top of your professional bucket list?

The specifics change every day, but the core idea at the top is to continue being consistently inconsistent with my choices, and to keep getting audiences to constantly reconsider their consideration of me. But I mean, sure, what performer doesn’t want to play Coachella? What songwriter doesn’t want to have Adele sing one of their songs? What actor doesn’t want to be in a Wes Anderson film?

10.  How did your hometown/city shape who you are?

San Francisco. I mean, come on. I was really lucky. The older I get, the more grateful I am for just being born and raised there. It’s an incredibly diverse, culturally rich, colorful, inclusive, vibrant city. By the time I was born, it had served as a beacon for millions of creative, out-of-the-box thinkers to gather and thrive. I grew up around that. The combination of that with having parents, who were unbelievably supportive of the arts themselves, laid an incredibly fortunate foundation to consider the life of an artist as a legitimately viable option. It’s a foundation that I am supremely aware is not the case for millions of young artists around the world. I was absurdly lucky.

11.  What’s the last song you listened to?

I mean probably one of mine, but not by choice. I know, lame. But I’m promoting a new EP, what’d you expect? But if you wanna know what I’ve been listening to, as far as new s--t is concerned: a lot of Lizzy McAlpine, Remi Wolf, and Charlie Burg.

12.  If you could see any artist in concert, dead or alive, who would it be?

The Beatles is an obvious "yeah, duh." Sammy Davis, Mel Tormé, or of course, Nat King Cole. I would’ve loved to see Howard Ashman give a lecture on his creative process and his body of work.

13. What’s the wildest thing you’ve seen happen in the crowd of one of your sets?

I feel like just having a crowd at all, at any one of my sets, is pretty wild enough.

14. What’s your karaoke go-to?

The real answer to this I’ll write into a book one day, because I have a lot to say about karaoke etiquette. I have two options here: I can either name a song that I like to sing for me, for fun, or I can name a song that really gets the group going. The answer depends on what kind of karaoke night we’re dealing with here. So I will say, after I’ve selected a ton of songs that services a decent enough party vibe for everyone else, then I would do one for me, and that would be the Beatles’ “Oh! Darling.”

15. What’s one thing your most devoted fans don’t know about you?

What I have up my sleeve.

16. What TV show did you binge-watch over the past year?

Dave is a stroke of genius. There are episodes that I believe are bona fide masterpieces. Also, My Brilliant Friend is a masterclass in cinematic television.

17. What movie, or song, always makes you cry?

It’s A Wonderful Life.

18. What’s one piece of advice you would give to your younger self?

Get used to sharing everything about yourself and your life now, or more astutely, to the idea that you don’t necessarily get to control how your life is shared. I know it’s not really your thing, but you’re gonna have to get used to it, so start building up those calluses now. And don’t worry, all the stuff you love now will be cool again in your mid-thirties, so keep some of those clothes because you’ll be a full-blown fashion icon if you just keep wearing exactly what you’re wearing. Oh nd also, put money into Apple and Facebook.

19.  What new hobby did you take on in the last year?

I’ve always been a linguaphile. My idea of leisure time is getting to study or review other languages. This past year, I took the time to finally dive into learning how to read, write, and speak Japanese. Other than making music, it was one of the biggest components of my 2020-2021.

20. What do you hope to accomplish or experience by the end of 2021?

I hope I get to play live shows again.

[extremelyblackandwhite]

cardigan

pairing: mob!bucky barnes x reader

warnings: violence

a/n: this is a limited three part series based on three of my favourite songs from taylor swift’s 2020 life saving albums; cardigan, willow and invisible string. this one is cardigan, hope you enjoy xx

WILLOW

She clutched onto her worn out brown leather bag as she stepped inside the her father’s precinct. There wasn’t much that looked different from when she was a little girl, the tables still stood on the same messy layout which made no sense, the officers still didn’t look up whenever someone came in and the whole room smelled like stale coffee and burnt bread. The only difference was that the once endless room now felt small, nauseating, confining, a place where she didn’t want to be. 

      - Y/N. - her father’s voice rang through the small room, making her look up to where he was standing. Captain William, or dad if she was lucky enough to call him as such, was an intimidating presence even after all these years yet after her mother’s death it was him who was left of her family. - Come in. 

Her shoes felt heavy as she stepped inside his office, two more officers standing inside as she walked with her father. He closed the door, nodding his head which was a tell tale for everyone to sit down. She sat at the end of the dark green couch, away from the other two officers who were looking her up and down as if she were a prey.

       - I told you she would be perfect. Inconspicuous, he wouldn’t even think she’s undercover.

       - She’s not the type of woman Barnes go for.

       - She doesn’t need to be the type of woman he goes for, she needs to be the one who works in his bar and listens to their plans. 

Her father had told her about James Barnes. They had been trying to get him in for minor offences yet nothing seemed to pan out. The force knew they could never apprehend him for the crimes he knew he had committed but if they could get him in for something small: weapon charge, drug charge, something. For that to happen they needed someone to be in their circle and unluckily for them, Barnes and his men knew everyone who worked in the force but they didn’t know her. In return for her working in his bar, the force would pay her tuition fees as well as any books she needed. 

“It won’t be hard” was what her father had told her but as they dropped her at the bar she couldn’t help but freeze at the door. They were expecting her, she had gotten the job yet she couldn’t find herself walking inside. In any other situation she would’ve rushed past it, it wasn’t the place she would like to be in. Her hand grasped the bar of the door, pushing it open. The nightclub looked vastly desert with squeaky clean floors and bright lighting which showed the dark aesthetic of every single owned Barnes club in town. She didn’t know the man but she knew his style, dark, sleek, leather, sensual even, enough to make people feel sexual whenever they walked into his club. Yet, in broad daylight it was merely an abandoned establishment with one a table with a few hangover men still nursing a bottle of beer each, waiting for 7 PM for the club to come back to life. 

She stood out like a sore thumb, dressed in brown tones. A loose gingham black dress over a brown turtle neck covered and low black Mary Janes. Her eyes roamed the room, looking for someone to speak to but someone found her first. A tall man, probably pushing fifty, toothpick hanging from his lips and dirty rag on his left hand. She felt short, cowering under the gaze of the man.

     - You're the new girl, or what? - he questioned, thick Brooklyn accent yet Y/N didn’t dare reply, instead nodding at him. - Do you have a name?

     - Y/N.

     - Y/N, that’s nice. I’m Bobby, I’m the bar supervisor. You wanna talk to anyone? You talk only to me and you’ll do well.

She nodded her head quickly, almost like a bobble head figure, following him behind to bar. Now Y/N knew about bars or at least what they did in them, she just wasn’t expecting to see the huge amount of spirits, wines, and beers behind her. She was almost sure if someone robbed the club, they’d be better off with the booze than the money in the cash register.  The man, Bobby, ran through the basics, showing here with the cleaning products were, where some more complicated cocktail mixtures were written, how the washing machine worked and how crucial it was to constantly collect glasses from the bar and put them in there. She held a small reporter notepad, pen scribbling down messy wiggles which she wouldn’t be able to understand later on but it was still worth it. She could memorise it, she was a university student after all hence her memory for cocktails shouldn’t be hard. Everything was so polished, meticulously placed, almost too organised for a bar; the bottles placed onto glass shelves which light from under, placed almost the same measure apart in a sea of expensive beverages. 

     - Don’t serve any drinks to people who haven’t presented a payment form. If the boss comes in, serve him whiskey on the rocks. Glenlivet, no other brands. 

     - I’ve never seen the boss.

     - You’ll know. 

She was left there watching as more staff came in, the sun going down at the same time. “Just breathe, Y/N” she remembered her father’s words, she could do it, she could do it. How hard could it possible be to be a bartender? Just breathe, Y/N. She can do it, she can help his father, she can do this and then no longer have to worry about how many hours she would have to do at that little mean shop which had taken more of her than she gave them. She could be a regular university student, she just needed to breathe.

The purple, blue lights started to light the sunlight coloured bar as people started to queue up outside for a chance to get inside one of the most famous bars in town. She could faintly remember hearing her friends talking about how exclusive it was but as she looked out the window and at the queue she could finally understand it. As the doors opened and people started flocking in, suddenly she was serving drinks left and write, vodka and other shoots drenching her dress and apron as she messily tried to serve everyone at the bar screaming at her to hurry up. She kept running around like a crazy person, dragging bottles and bottles and pouring drinks which kept overfilling and dropping onto the floor. People kept yelling at her “hey sugar, how long does it take you to bring me some vodka?” but one man who was sitting still, gaze glued onto her while a cigarette hanged from the middle of his lips. She cowered under his gaze returning to hand a tray of jello shots to some girls. 

She continued to work until the last person was out of the bar but the man remained calmly leaned against the bar, the flame of his cigarette dying down. She tried to avoid him, pretending to clean the spot over and over again but the man merely scoffed, rubbing the butt of the cigarette against the ash tray.

      - You’re terrible. - he spoke out, voice raspy. - Who hired you?

      - That’s nothing to do with you. - Y/N turned around to place back the bottles onto the shelves.

      - Are you the owner?

      - No. - she placed the bottles on the shelf, hands shaking. 

      - Then it is something to do with me. - the air seemed to be punched out of her lungs, as her grip tightened around the neck of the bottle she was holding. She refused to turn around and look at him, understanding what it implied. Instead she just looked at herself in the glass wall. Just breathe, Y/N. - Can I get a ...

      - Glenlivet. - she rose herself on her tippy toes, interrupting him mid sentence. Grabbing from ice from under the bar, she added it to the glass, topping it with the expensive whiskey before placing it under a black square napkin. She continued to wipe down the counter until Bobby came back from the storage unit with more alcohol. 

     - You can go now, Y/N. I’ll see you at 7. - Bobby dismissed her and almost like thunder, she bolted off, not even stopping and allowing him to question why their boss was sitting at the bar.

Clutching her bag against her chest she started walking up to campus. She had done it, or at least managed to do something yet get no information her father wanted. That is unless her father wanted to know James Barnes’ drink of choice which she was pretty sure he didn’t want to know. Reaching her flat, she turned the key around, opening the door to see her friend Wanda waiting in the couch. 

    - You’re alive. - she mocked, turning the TV on. - Once again, tell me why you said yes to working in a mob bar ...

    - It’s not a mob bar, Wanda.

    - It is a bar owned by a mob boss who has been blamed on several murders. It is a mob bar. 

    - I’m just a bartender, nothing is gonna happen.

    - Can you tell me again why you’re doing this? Your father is the reason why you were raised by John Hughes’ movies. 

    - Okay, Wanda, you made your point. - Y/N took her jacket off, hanging it onto one of the hooks in the door.

    - I’m buying you pepper spray.

    - Pepper spray is illegal, Wan. 

    - So is the bar you’re working.

    - Okay. I’ll be careful, don’t worry. I’ll go to sleep now.

Wanda continued to ramble about her working where she was but there was really nothing she could do other than continue. All she had to do was breathe and listen and the department would pay for her tuition for the rest of her degree. Small price to pay for a much bigger price. 

As another day started, the routine started once again with her awaking up and running into class with Wanda complained about her brother followed by spending the rest of her free time until her shift began. Walking back to the bar she was telling herself once more that she would be just fine and that Wanda slipping a knife inside her bag was only her overreacting. Stepping inside the same building, Bobby was setting some shoot glasses on the counter.

    - Y/N. - he acknowledged her. - Glad to see you’re still here.

    - Wouldn’t be anywhere else. - she placed her bag and jacket under the bar and tied her apron around her waist. - Busy day?

    - Fridays are the busiest. All the university kids. Let me know if you need a hand.

    - I’m sure I’ll be okay.

Once again, wrong. She was not okay and as everyone found themselves flocking to the bar she was already running around like a crazy person, holding two bottles on each hand as people. The lights were blinding, shining on her as she served and slide more drinks onto the bar counter and to the waitresses who’d give her snide remarks whenever she took too long. Her hands were numb from the ice already yet her face was warm from moving side to side. At least, Mr. Barnes wasn’t around and that was already something she could be thankful for. She knew she had to eventually speak to him if she wanted to ever hear anything or maybe she wouldn’t have; she was good at being invisible, maybe she could just overhear something without having to ever speak with him.

   - Hey, sugar, where’s my drink? - a sluggish voice came from the bar and Y/N ignored it. Bobby told her, if anyone sounds or looks drunk to cut them off that “Mr. Barnes doesn’t need drunk people being roudy in his bar”. She continued to serve the group of girls celebrating passing an exam until the man moved over to them. - Hey, I asked where is my drink?

   - Sorry, you’re cut off. - she shrugged, grabbing some glass onto a plastic bucket so Bobby could put them in the washing machine.

   - What the fuck? C’mon give me my drink.

   - No. - Y/N just ignored it, turning around to put the bottles back onto the shelves.

   - Well then be useful and show me your tits. - the man scoffed as if it was the best joke in the world. Y/N turned around, speechless at what he had said before grabbing an half empty drink from the bar and throwing it at him which surprised the man just as much. - You bitch!

   - What’s the problem here? - fuck. Of course he had to show up. Mr. Barnes made his way towards them, holding that same powerful yet frightening stance as the strobing lights painted his face. His eyes were on her, waiting for her to say something but Y/N was mostly frozen. That was it, she was about to get shot, or worse, lose a finger or a leg or an arm. Oh god, how could she take exams without an arm? 

   - Your bartender isn’t serving me. - he pointed at her as if he were a 5 year old. 

   - Really? - Barnes stood slightly behind him and all she could see in a glimpse second was his metal arm, reflecting the strobing lights, come up to the nape of the man’s neck before he slammed his face against the glass topping of the bar counter. Y/N was startled by this, jumping back against the wall of drinks. - Get the fuck out of my bar. 

The man ran off, bloody nose, like a scared wounded animal leaving Y/N only to stare at him. Her mind rushed miles an hour, wondering if he had done that to someone what he would do to her. She should’ve taken the pepper spray from Wanda. 

   - Get back to work. - he left her with that, turning around and getting lost in the sea of people dancing. 

   - Hey ... - Bobby touched her arm, waking her from her own mind. She looked at her hands; good she still had both hands. - Go take a break, wash the glasses, I’ll do the bartending for a while.

   - I’m fine, Bobby.

   - I know. I just want you to go do something else. - Y/N nodded, not wanting to disobey anyone yet she couldn’t help but be glad she would be in the back where the big washing machine was for most of the pint glasses and other oddly shaped cups. After all, Mr. Barnes wouldn’t be hanging in the kitchen.

She pushed her hair away from her face and put on the big pink gloves and started to wash the glasses and plates from some small appetisers they sold until closing time started to near. Once the bar was cut off, she joined Bobby to clean the always messy bar and make it look as precise as it looked every single day. Another day survived, no limbs lost. 

   - That was a good one, Y/N. See you tomorrow. - Bobby bid her farewell as he exited through the door. Y/N stayed behind, moping the floor behind the mar which was mostly a pool of mixed drinks that she always somehow managed to overfill and drop onto the floor on her way to serve them. As she continued to mop, the person who she didn’t want to see sat at the bar and without much thinking, she served him his drink of choice. 

   - I ... hm ... I have to go, I have to walk home and my flatmate is waiting for me.

   - You’re walking home with your flatmate?

   - No, she’s waiting for me at the flat. - Y/N grabbed her cardigan, putting it on which immediately brought her a nostalgic warmth. 

   - I’ll drive you. 

   - Oh .. no, Mr. Barnes. It is not necessary, I’ve walked home before, I know the way. 

   - And I know the type of men who walk around my bar. - he downed the whiskey as if it were water. - Come on. 

Oh god, I’m going to sleep with the fishes. He’s gonna kill me in his car. Y/N thought to herself as she followed him to the back of the bar where he had parked his car. Of course it was a good car, a new model black Audi with sleek matte black leathered seats which looked more expensive than everything together at the bar. She wondered how much money he made. Her father hadn’t told her much about him and all she knew was merely gossip. He opened the door for her which she took as a sign to get inside the car. Once in, she noticed how awfully warm it was, he probably had the heating on so she took off her cardigan, shoving it in front of her feet as he entered the car. 

   - Where am I dropping you?

   - The student campus, south building

   - You’re a student? - he asked as the motor roared, signalling the start of the car. - Why you working here then?

   - It pays well. My mother paid for my first years but I still have my third one and a possible masters. 

   - Why not ask mum for the rest of the money then?

   - Well she’s dead. - she said, not taking the eyes off the road. - Her inheritance lasted as long as it could but tuition is expensive.

   - I’m sorry. - he tried to sneak a look at her but gave up, instead keeping his eyes on the road. - You’re a terrible bartender.

   - You’ve said that one time already, I’ve heard it. If I’m so terrible why don’t you fire me?

   - Bobby likes you. Says you’re a quick learner. Yet again, he likes every single wide eyed Disney Princess girl who works behind the bar. I give you a month or two before you quit or get knocked up.

   - I’m not gonna quit and I’m not gonna get knocked up either. 

   - Got a boyfriend?

   - No.

   - Husband? Friends with benefits?

   - I don’t have the time so if you want to get rid of me you’ll have to fire me.

   - I don’t fire people. - she saw her building come closer and closer from the car window. - Is it that one?

   - Yes. - she grabbed her bag, eager to leave the car before anything could happen. 

   - Hey, you got a black dress? - he asked as she exited the car and she nodded yes. - Good, bring it to work tomorrow. 

She mumbled an okay as the car drove away. God, she was alive. Good.  All she wanted now was to return to her home and in a few minutes she was back in her living room where Wanda and her twin brother Pietro were waiting for her. Of course waiting meant watching Shark Tank and discussing how bad all the inventions were. 

   - How was work in hell? - Wanda didn’t even look at her, eyes glued to the TV while she stuffed popcorn in her mouth.

   - I didn’t need to use the knife you snuck into my bag, thank you.

   - You snuck a knife onto her back? - Pietro looked dumbfound at his sister who immediately snapped back with a response. 

   - She’s working for James Barnes, she needs to carry a knife block and she’s lucky I only put a steak knife. - Wanda turned around in the couch. - Hey where’s your cardigan? I swear you left with it. 

   - Shit. - Y/N looked around. - Fuck, I’ve left it in his car.

   - Whose car? 

   - Mr. Barnes’. He gave me a ride and I took my cardigan off because the car was so warm. Fuck. I’ll never see it again.

   - Why were you in his car, are you crazy? - now Wanda was interested. Clearly her best friend’s lack of judgment was more interesting than the poor soul trying to pitch a tuna can opener shaped like a tuna to a bunch of executives.

   - He gave me a ride ... oh and do you have a black dress?

   - I do. - Pietro said gaining an odd look from the two girls. - What? Girls love me and I love them. Stuff get’s left behind. What can I say?

   - You’re disgusting. - Wanda rolled her eyes. 

taglist: @lookiamtrying @mariamermaid @sebastianstansqueen @unmagically​

[onestowatch]

The Top 21 Artists to Watch in 2021

In a world where the only universal certainty seems to be opening every email with “hope you’re doing well,” the only other surefire guarantee is that there will continue to be new music worth discovering. And, we figured with the start of a new year, what better way to say to spend the waking hours of 2021 than introduce you to a few of the artists we currently have a close eye on. Often genreless and belonging to Gen Z, these are the 21 artists we are watching in 2021. 

spill tab

Where to Start: “Calvaire” 

In her breakout single “Calvaire,” spill tab sings in French over an intoxicating backbeat. The effect is akin to a spell, ushering into existence something inherently danceable and transfixing, like an Angèle B-side finding new life as a Billie Eilish cut. It is a standout moment that would be followed by similar standout moments in the form of a series of varied singles, culminating in spill tab’s debut EP, Oatmilk. Short and sweet, the four-song collection holds all the promise of a 2021 artist to watch.

Joesef

Where to Start: “The Sun Is Up Forever”

Emerging from the fog of Glasgow, Scotland, Joesef’s marriage of heartbreak, desire, regret, hope, and sublime joy is nothing short of intoxicating. Immediately making an impression with his tender, heartfelt croon, the Glasgow artist’s songs soon give way to emotionally rife personal recollections–some beautiful in their understated minimalism, some breathtaking in their expansive scope. Whatever the setting, the result is always the same–a passionate, shared moment you will not be forgetting anytime soon.

brakence

Where to Start: “dropout”

Self-described as “self-care punk,” brakence effortlessly pairs the unmatched energy of punk with an impressive showing of vulnerability. While the past few years saw the Ohio native experiment over a range of singles and on his debut album, 2020 was without a doubt the year he found his sound in the noteworthy punk2. Blending Midwest emo, trap production, hip-hop, and alternative, brakence’s sophomore effort is a masterclass in infectious emotional catharsis.

Mustafa

Where to Start: “Stay Alive”

Few artists embody the sentiment of music as poetry as emphatically as Mustafa. First leaving a mark with 2020’s “Stay Alive,” Mustafa introduced himself to the world with a breathtaking, earth-shattering ballad rife with impassioned emotional imagery. Soft-spoken but never lacking for impact, the poet, activist, filmmaker, and songwriter brings to life the lived realities of Toronto’s Regent Park, a public housing project that shaped Mustafa into the once in a lifetime artist he is today.

Holly Humberstone

Where to Start: “Falling Asleep At The Wheel”

In her 2020 debut EP, Falling Asleep at the Wheel, Holly Humberstone proves herself a master at crafting a palpable atmosphere. Rife with emotional highs and cathartic lows, all backed by Humberstone’s magnetic and graceful songwriting, the British artist lays her heart on her sleeve and in turn lays the groundwork for a debut offering poised to stand the test of time. It is no mere hyperbole to say that Humberstone is an artist to watch out for not only in 2021 but in the years to come.

AG Club

Where to Start: “Memphis”

The initial comparison of AG Club to collectives like BROCKHAMPTON and A$AP may be an easy one to draw, but a single listen tells another story. While the genreless Bay Area collective may radiate the same rapturous energy of the aforementioned groups, AG Club is clearly riding high on their own wavelength. Aiming to make hip-hop but not as you know it, the idiosyncratic collective made their vision clear with the release of 2020’s Halfway Off the Porch, an electrifying amalgamation of disparate genres, sights, sounds, and moods.

347aidan

Where to Start: “Dancing in My Room”

Euphoric, difficult to perfectly define, and haphazardly brilliant, aidan347 embodies the adventurousness and inventiveness of Gen Z. The project of 17-year-old Aidan Fuller, the Cambridge, Ontario native has spent the past five years making music. Yet at the beginning of 2020, the Cambridge artist had less than three thousand monthly listeners; now, that number sits well above five million. A testament to 347aidan’s tenacity, his devoted fanbase, and the power of a TikTok-fueled viral hit–arriving in the form of “Dancing in My Room”–it really feels we are only witnessing the prologue of what’s to come.

Frances Forever

Where to Start: “Space Girl”

When thinking of music’s future stars, what better place to look than to the galactic, lovelorn musings of Frances Forever. Making less of a splash and more of a tidal wave with the release of “Space Girl” late last year, the Boston bedroom artist’s ode to intergalactic love has been rapidly climbing the TikTok and indie charts. Now signed to Mom+Pop records, Frances Forever is more than ready to shoot for the stars and beyond in 2021.

Hope Tala

Where to Start: “Lovestained”

Hope Tala is impossible to ignore. A West Londoner to her core, the UK singer-songwriter finds inspiration in everything from ‘90s movies, classic literature, to the constantly changing world around her. Transforming what feels like a lifetime, and some, of inspiration into an undeniably spellbinding fusion of R&B and bossa nova, Hope Tala’s musings of daydreams, heartache, and fear are the sort ready to define a generation’s ails, joys, and mundane triumphs and anxieties. Universal in scope yet deeply personal, Hope Tala is without doubt an artist to keep your eye on in 2021. 

Q

Where to Start: “Take Me Your Heart Is”

Q, much like his name, is an anomaly. Releasing one album a year since 2018, the ineffable soul and R&B artist has somehow coasted under the radar in spite of releasing some of the most breathtaking music out there. And with the release of 2020’s The Shave Experiment, Q feels like he’s finally stepping into the much-deserved limelight. Leading with the striking “Take Me Your Heart Is,” Q brought to life a nostalgic, hyper-emotive track sure to stop you in your tracks. Hopefully, it’s one of many to come. 

Claire Rosinkranz

Where to Start: “Backyard Boy”

16-year-old Claire Rosinkranz has been making music for the better part of her life, and 2020 was the year that scribbling down lyrics and helping her father compose music for TV shows and ad jingles paid off in a major way. The California native’s single, “Backyard Boy,” taken from her debut EP, BeVerly Hills BoYfRiEnd, soon became a TikTok hit, racking up over 80 million streams to date, on Spotify alone. If there are two things to look out for in 2021, make sure it’s your mental wellbeing and Claire’s euphoric self-dubbed “alternative-blues-pop.”

KennyHoopla

Where to Start: “how will i rest in peace if i'm buried by a highway?//”

KennyHoopla is nothing if not electrifying. The alternative, punk, and ‘80s new wave-evoking artist moves through each track with a sense of world-ending hunger, jumping from one ensuing mosh pit to the next. It is a balancing act of new wave nostalgia and genuine inventive alternative that results in a maelstrom of palpable excitement. To best experience this cathartic form of self-expression firsthand, look no further than his debut EP, last year’s how will i rest in peace if i'm buried by a highway?//. No one is quite making music like KennyHoopla, in 2021 or beyond.

MICHELLE

Where to Start: “THE BOTTOM”

New York collective MICHELLE deftly imbues the sincerity of soul and R&B into a uniquely tender pop outlook, and the result is nothing short of infectious. The project of six predominantly queer POC individuals, the group originally earned widespread critical acclaim for their 2018 album HEATWAVE, but it was arguably their subsequent signing with Atlantic Records last year that has them set to be one of 2021’s most promising acts. Quickly making the most of their newfound major label status, MICHELLE released “Sunrise,” the sonic equivalent of the first rays of light breaking through the clouds, signaling the end of a rainy day. It’s safe to say the future is looking bright for MICHELLE.

glaive

Where to Start: “eyesore”

Few artists define and defy the label of hyperpop as readily as glaive. Falling somewhere between 100 gecs and the second coming of mid-2000s pop punk, the newly-signed Interscope artist released his major debut label EP, cypress grove, earlier this year. Yet before finding a home at Interscope, glaive’s official discography only stretched back as far as 2020. Making the most of a year we all would rather soon forget, the 15-year-old wunderkind showcased to the world a continual musical evolution that is looking to only further pick up steam in the coming year.

Claud

Where to Start: “Wish You Were Gay”

From opening for Clairo to releasing a steady stream of resonant singles, Claud has spent the last couple of years making a name for themselves in the indie music world, but 2020 saw arguably their biggest breakthrough moment yet. With the release of “Gold,” Claud became the first artist signed to Phoebe Bridgers’ Saddest Factory Records. Arriving as the first taste of their upcoming debut album, Super Monster, 2021 is looking absolutely golden for Claud. And not to mention the fact they recently started a band with Clairo and friends.

María Isabel

Where to Start: “The 1”

Where has María Isabel been all our lives? First making herself known with the release of “The 1,” an ode to long-distance relationships, which soon became more prophetic than we ever could have imagined, the debut single served as lovely an introduction as they come. Thankfully, we would not have to wait too long to hear more dreamlike R&B from María, who graced us with her debut EP, Stuck in the Sky shortly thereafter. Uniquely heartfelt and velvety smooth, María’s voice is just the thing to carry you through 2021.

Remi Wolf

Where to Start: “Photo ID”

The past couple of years have seen avant-garde pop wunderkind Remi Wolf test the waters with one out of this world single after another, and 2020 felt like the year everything finally fell into place. Arriving on the Bay Area native’s sophomore album, I’m Allergic To Dogs!, “Photo ID,” and its unafraid, in your face anti pop mentality cemented itself as a surefire hit, and TikTok soon took notice. Serving as a testament to Remi Wolf’s mainstream appeal in spite of her outsider approach, “Photo ID” merely set the stage for what is to come.  

PawPaw Rod

Where to Start: “HIT EM WHERE IT HURTS”

PawPaw Rod may be the only artist on this list with only one single to their name, but in no way does that disqualify him from being an artist to watch in 2021. Releasing his debut single, “HIT EM WHERE IT HURTS,” out into the ether, the Los Angeles artist immediately landed on something special. Blending elements of hip-hop, funk, and alternative under a mellow, syrupy flow, PawPaw Rod wasted no time in setting himself apart from the pack. And with godmode–the same development company that brought us Yaeji, Channel Tres, LoveLeo, and more–it is safe to say that this is only the beginning.

Evann Mcintosh

Where to Start: “WIYULD”

In her dreamlike take on alternative R&B, Evann Mcintosh attempts to capture the turbulent act of coming-of-age. At times delicate to the touch and at times emanating a self-assured confidence well beyond her 16 years of age, Evann Mcintosh’s 2019 debut album, MOJO, laid the groundwork for an act whose promise knows no bounds. It was a promise she made good on during the tail end of 2020, with the release of singles “WIYULD” and “BULL$HIT.” Showing off two different sides of her continued musical growth, 2021 has us all the more excited for what Evann has in store.

Serena Isioma

Where to Start: “Sensitive”

In her breakout single, “Sensitive,” Serena Isioma fuses modern-day R&B and woozy indie pop with reckless abandon. The outcome is a song that not only sounds quite unlike anything else out there, but one whose own vibe seems to shift and evolve from one moment to the next. It is an electrifying opening moment that begins to define the Isioma’s artistry and her debut EP, Sensitive. The first of two EPs the Chicago-based artist would release in 2020, it is hard not to feel like Isioma is already in the process of creating a one-of-a-kind discography.

Blu DeTiger

Where to Start: “Figure It Out”

Whether you know her as the touring bassist for acts like FLETCHER and Caroline Polachek or as the TikTok famous bassist, the fact of the matter is that Blu DeTiger is an artist you need to know. A bassist since age seven and crowned the “coolest DJ around” by Vogue, the New York native’s music skirts the realms of funk, indie, and dance. Unmistakable, nonchalantly cool, and unsurprisingly bass-heavy, you deserve doing yourself the favor of diving headfirst into Blu DeTiger’s music. Just be sure to come up for air, when you’re ready.

[nutty1005]

Xiao Zhan: It’s Your Turn

Translator’s Note: This article comes from VogueMe Magazine 2020 Feb Issue.

Currently, the trend in the entertainment business is to get famous overnight, the statistics dictate everything – a drama, a variety show, a song… all of which could give birth to a super idol, fame, commercial value and opportunities that come along with it. In 2019, the drama “The Untamed”, adapted from an internet novel, became this window of opportunity. This is the story of a young man who received the opportunity. And like other idols created by their era, his fanbase grew immensely, radiating throughout the youth, his name etched in time. All of these simply points to this – it’s now Xiao Zhan’s turn.

1

The summer of 2015, Xiao Zhan had not yet realized that he was going to job switch from the design firm opened by his teacher. The teacher did not feel so as well – as Xiao Zhan left for the talent search variety show, he told him, “Go play, come back to work once you’ve been eliminated.”

The show was called “X-FIRE”, and positions itself as a large scaled youth talent development inspirational show. During broadcast, the description says “16 secretly trained youths painstakingly selected from a few thousand 16-24 year olds”. At that time, Xiao Zhan was 23 years old – nearing the upper age limit.

Xiao Zhan just wanted to “play around a bit”. He felt that he would be just touring for a round, and he would be back after a week. As the former class Cultural Committee Member in his university, Xiao Zhan loved singing, won quite a few inter-school cultural activities awards, but never trained in dance-singing. Xiao Zhan, who graduated in graphic design, learnt drawing since young, but never thought of becoming an artist, because “it is hard to survive as an artist, you still need to earn a living”. He was willing to lead a simple life and go to work everyday, with a direct and clear life plan – as a graphic designer, do his work well, then open his own firm.

The summer 4 years later, the name “Xiao Zhan” meant a lot of different things – a member of a pop group, the lead actor of one of the most popular drama, the owner of a Weibo account with more than 22million followers, or as what Chinese entertainment business puts it – a “top traffic”. The topics and imagery surrounding him includes – Xiao Zhan’s looks, Xiao Zhan’s design talent, Xiao Zhan’s professionalism, Xiao Zhan’s role as Wei Wuxian…

And like the other idols who broke out in this era, he has his own set of records – moderators of Bilibili (a video hosting site in China) nagged that his drama fans uploaded so much of his videos that they “almost see him 800 times a day”, Xiao Zhan was jokingly proclaimed as “The Man who caused the Bloodbath of Bilibili”; he became the cover person of a magazine, and the two mobile sales platform app broke down consecutively on the day of the sales; his popularity in 2020 only got higher – on 9 Jan, according to Tian Mao statistics (TN: Taobao eShopping Mall), the Portrait magazine, where he was the cover person, sold out 100,000 copies in 3 seconds, overall sales exceeding 13million Chinese yuan, a poster was spread all around the internet with the accompanying text “a fandom that brought paper media back from its grave” – this is the Xiao Zhan statistics.

But different from the breakout idols, Xiao Zhan did not encounter major controversies (TN: This was published early Feb), and his career did not seem to go through much fluctuations. He never thought that he would be at this point – “Sometimes you’re not ready, but life has already pushed you to ahead. What you can do is to quickly keep up with the pace.” He is now at the stage where any of his actions are “studied under a magnifying glass”, but he feels that his stress levels are not as high as his previous few years, “the past few years, I had the drive but nowhere to use that, now I know how to work hard.”

2

During the initial auditions, Xiao Zhan still continued to work as per normal, go onstage – sing – leave, which was quite fun. After the selection down to 32 persons, he did not think much of it, and left his work to go to Beijing to practice the dance for the variety show. After the selection down to 16 persons, he practiced everything – dancing, vocals and flexibility training.

He did not think much of what would happen later. The winter in Beijing was especially cold, after the show recording, it would be around 3am or 4am, and there would be fans waiting for him outside of the studio – Xiao Zhan felt quite sorry for them, “All are young girls, it’s so cold and so dark.” He felt surreal having fans. When the 16 of them went to Zhejiang TV “Running 2016” New Year Eve performance, he saw the stage and felt that it was especially big and he was especially happy, and kept making sure he remembered the moves so as not to make any mistakes. After the final battle, Xiao Zhan’s team lost, but he and a few of his teammates were rescued by fan votes.

In 2016, Xiao Zhan debuted as part of X-Nine. During the signing of the contract, Xiao Zhan finally realized that he was going to make a career switch. “When you look at it now, 23 year old is also still a child, but no one took me as a child then.” – Xiao Zhan was the oldest in the group, he made his own decision to sign the contract, he thought that if it did not work out, he could go back to work, there was no need for him to paint himself into a corner.

3½ years after his debut, Artist Xiao Zhan still had to explain to interviewers his obsession with going to work. That day, he had a pimple on the left side of his face, and the makeup artist was applying essences on his face. The makeup room was simply a curtained area in the basement of the Art Gallery, full of passing staff, the editor was discussing the shooting schedule with his manager, the stylist was here delivering clothes, and he sat there with his eyes closed, allowing others to apply whatever it is on his face.

Xiao Zhan’s eyes are long, and also wide, he is very fair and his side profile is graceful and beautiful. With his looks, one would imagine that his personality would be cooler, more introvert, with mild melancholy, like those prince-like male leads in romantic dramas. But his personality does not really match his looks – he is serious, disciplined, he does not talk much initially, but overall he is a relaxed person, and quite funny occasionally.

“A lot of art students do not want to go to work,” the interviewer said. Xiao Zhan learnt drawing since young, some of his happiest moments in his childhood would be to win drawing awards or to have his works praised by his teachers, other unimportant happy moments includes had a good lunch, went to an amusement park, or had a liking for a girl in high school.

“They never went through the society school of hard knocks,” Xiao Zhan said. He described himself as someone who went through “quite a fair bit of knocking”. Since young, his father thought him to be independent, taught him budgeting, and told him stories about Bill Gates’s children… “I wanted to say, god, you’re not Bill Gates.” Despite all these, Xiao Zhan stopped using his parents’ money ever since his university graduation.

Xiao Zhan not only learnt drawing, he also learnt violin, go and Chinese calligraphy… pushed him to study in “National Key” middle school, “National Key” high school (TN: National Key refers to the top range of schools in China). He was an obedient child, but as a standard art student, Xiao Zhan was better in humanity subjects, and his math was not good, hence all the while he had always been the mid-bottom of the pack, which worried his family of 3 quite a fair bit.

Studying graphic design in university, Xiao Zhan felt that his university life was quite comfortable – everyday before class he would adjust himself a bit, although in the end it seemed like it did not work well after all, but at least his results were decent. Xiao Zhan emphasized that he was “definitely not the school hottie”. He was a good student. After he had learnt what the teachers taught, he started a studio on the side. The design studio would take on poster and logo design work; the photography studio only have 3 persons, Xiao Zhan did the photo taking, the other 2 did lighting. Before graduation he went to intern in a design firm, hence it was easy for him to find a job. Within a year of working, his monthly salary was around 4,000 to 5,000 Chinese Yuan, which would quite alright for Chongqing at that point in time.

Being part of a boy group releasing albums, shooting web dramas. The way to do things right was quite different from his previous job – his characterization in the group is a warm guy, although Xiao Zhan did not like characterization, he seriously fulfilled his role, and he was obedient. When someone in the variety show suggested that he lose some weight, he replied “I’m quite thin already I still have to lose weight”. As a commoner, Xiao Zhan was 183cm and 150lbs, his mother would always say he was too thin, and he felt so himself as well. That person showed him the film, “the camera lens is a really scary thing, I literally looked like a ball”. It was not easy for Xiao Zhan to lose weight, so he did it brutally. He was so hungry that he dreamed that he was eating. Xiao Zhan is now 127lbs, but this was not his thinnest.

“How was it like after debut?” “Unoccupied.” (TN: Xiao Zhan used the Chinese phrase “picking at his feet” to describe the state of emptiness.) Xiao Zhan’s words were paced and gentle, most were caught unawares by the sudden switch to casual humor, he might not be laughing, after others laughed he would continue his conversation seriously.

After his debut, he felt that he was freer than the times when he was still an intern. But he did not allow himself to stay free, he took vocal and dancing lessons, making sure that he could do sing-dancing to the best of his abilities. But he was still a bit lost – when he was still a designer, his future was clear and straight, but after his debut he had no clue where his future led to.

3

“I could count the number of dramas I’ve acted in with my fingers,” Xiao Zhan said. After which, he started counting them – “Battle through the Heavens”, “The Wolf”, “Oh! My Emperor”, “The Untamed”, “Joy of Life”, “Jade Dynasty”, “The Oath of Love”… the earliest work “Super Star Academy” was not counted – It was shot with his boy group, he was still fat, and he had no clue what he was doing.

Acting was his own idea. When he started auditioning he had not even attended any performance classes, he saw the director, took a piece of paper that indicated the scene and lines, and just went for it. Xiao Zhan did not feel that it was awkward, it was something he wanted to do, so he would do so without any inhibitions, and grasp every opportunity to do so. Singing was something that he always liked, his first single after debut was a song voted by his fans. With the stage and his fans, with attention, he would always want to do it better. Acting was something totally foreign to him.

The first turning point was “The Wolf”. When auditioning, within 2 hours, Xiao Zhan had tried many roles – the bounty hunter who was threatening someone, the prince whose brother was about to be executed… Xiao Zhan won the role of the bounty hunter – the 4th character on the character roll, Ji Chong. During the pre-shoot training he was still acting in “Battle through the Heavens”, daytime he would be shooting, nighttime he would be having performance classes. He did not feel it was tough then, as long as he had time to sleep. “Work is something I am willing to do, I will only feel very motivated, tomorrow must be done better than today.” Xiao Zhan liked Wei Wuxian, felt that he was vivid. When acting, during the first month he would be second guessing himself everyday, is the portrayal accurate? Would the audience accept it? Xiao Zhan checked with the director everyday. After a month, he stopped asking, he felt that he was Wei Wuxian. Dramas adapted from web novels are rarely positively received, his hopes for Wei Wuxian was that “I hope people would not dislike the character because of my acting”.

The summer of 2019, the drama aired, and the real turning point arrived.

Billions of fans, frequent trending topics on Weibo, appearing on multiple magazine covers and even causing the sales platform app to crash…

He is one of the few artists in Weibo that sets his account as “only posts in the past 6 months are viewable”, but it did not affect his popularity. His interaction with his fans are witty, the statistics are more than enough to attract attention. Last year on the Chinese Valentine’s Day (TN: 7th of the 7th Lunar month), he posted a photo informing his fans that he had put on weight, his pants folded up, legs in the swimming pool. One of his fans replied, “Fine, good to know that your leg hairs are doing fine.” This reply was boosted to the top with 190,000 likes.

“After watching ‘The Untamed’ and ‘Joy of Life’ and then meeting you, I feel like you are very similar to your performance method, calm. You are like an AI, whatever you do you’re especially precise.” “You’re highly professional.” The interviewer concluded.

At the start of the conversation, Xiao Zhan just finished an exterior photo shoot, we were both seated, leaning forward and warming hands above the radiator. He said, “Artist is just a job, I don’t like artists to place themselves on a pedestal, just like today you are the reporter who is interviewing me, today I am someone being interviewed. Cooperation, is just so that we can complete our jobs, coming in for the photo shoot is my job today, every single staff is also executing this job, it’s just the role is different.” Because he went through the society “school of hard knocks”, he respected and understood the truth behind teamwork.

As someone who once had to face clients, he knew how it felt as someone at the receiving end of endless unreasonable requests, and therefore he did not want to be someone like that. His standards for work is consistent – high efficiency, good results, everyone is happy, no one has to serve another person. Also “once I am done I will knock off, after I knock off no one should come find me, let me be alone.”

“Everyone works to fulfill their needs, they have entertainment after they knock off, they have freedom and privacy. As a public figure, artist, the product is yourself, the works are also yourself. You have to output materials, contribute works, and then gain the opportunity to grow, for higher social status, value and better lifestyle. For some people, besides their career, they also included their dreams,” the interviewer said.

“The understanding is very thorough. You win some, you lose some, after becoming a public figure it meant that there are multiple pairs of eyes staring at you, anything you do would be judged. Whether it is positive or misguided. Truth and falsehoods, isn’t this circle just like this? Whether the rumors or the gossip is true or false, who knows?” Xiao Zhan said.

4

On 5 Jan 2020, Xiao Zhan was working in a sculpture garden in Shanghai Songjiang, shooting a series of photographs to be the cover of VogueMe. It was cold, the gallery’s doors were open, and the wind blew from the first floor to the basement. Everyone was wearing winter jackets.

In the morning, beside the metal sculpture on the first floor, Xiao Zhan and model Chen Yu faced the camera separately. As the shutters rolled, they did not exchange glances or touch each other. As the photographer requested the model to sit on the ground, Xiao Zhan said his only sentence to her, “Careful your head.” and used his hands to shield her head from the protruding portion of the sculpture.

That day’s Weibo opening advertisement was also Xiao Zhan. As per the photographer’s request, he tilted his head up slightly and gave a cold gaze, or side glancing a faraway place, but also at the same time, he was smiling sweetly on mobile phone screens, promoting a series of instant food products.

In the afternoon, the team went to the exterior, to a concrete sculpture beside the gallery entrance, where he and the model stood in front of, facing the camera. The arm was on the model’s shoulders, and the two of them looked at the camera – he was even thinner than the model. In yet another set, the staff erected a ladder to one of the rooftop grass patches on the gallery buildings. An ice cold rock slab was selected, which the assistant padded using a jacket, and tested the light levels. After which, it was Xiao Zhan’s turn. He was wearing a red jacket with blue shirt, wearing a baseball cap, lying on his side on the rock slab, supporting his head with his arm. In between shoots, the assisted would hand him a long wool top, with deep blue diamond checks, quite thin. The top was flipped over, he slipped his hands into the sleeves to protect the front of his body, his assistant handed over another water bottle that contained warm mineral water to warm his hands. Xiao Zhan basically did not speak, he placed the bottle on his neck to gain some warmth.

An artist’s job, the profession included losing weight, staying hungry, freezing and staying up overnight, wearing winter clothes in summer is the norm, not drinking water prior to any shoots to prevent water bloating on screen… people who do those well may become famous, if they look good or are lucky they may become even more famous. Now Xiao Zhan has an opportunity, and like his previous job, he chose to be down-to-earth and do it well.

In the evening, the green screens were setup in basement 2 of the gallery. 17:44, Xiao Zhan was in position, his manager reminded the stylist to take note of the clothes’ proportion – “The sweater is too long.” Hence, the sweater was folded up. After the camera assistant brought down the Apple machines, the cameraman adjusted his machines, and started shooting the video. Quite a few scenes were done in one take, in the middle there was a break, the manager and the camera crew were discussing camera positions. This was the 10th hour of the shoot, Xiao Zhan sat behind the table, laid his head on a prop gift box and waited quietly – we could not see if he was tired or not.

The shoot ended, and the sky was already dark. Xiao Zhan has not yet knocked off. The media had ended their work, the manager was darting around, arranging for Xiao Zhan to change out and get on his car, to rush to his rehearsal that night – they were already behind schedule. Both teams bid their farewell, Xiao Zhan warm and gentle, still unclear whether he was tired. After less than an hour’s journey, he would need to go onstage to sing, and thereafter, his work would be to complete the costume testing of 20 different sets of clothes.

The Initial Cold

The time set for the shoot was 9am, Xiao Zhan arrived at the rural set at 8.30am. His overnight flight arrived only the day before, meeting Xiao Zhan on the cold morning of a deep southern winter, his spirits looked great, his face having the same kindness as usual. The endless job schedules taught him how to conserve his energy – no casual conversation, not even to his staff; take every opportunity to eat or rest; absolutely no procrastination, ensure efficiency, do his best to accommodate and complete every job. He is a highly disciplined and professional artist.

In this shoot, the warm, gentle smiles have been replaced by cold, sharp glares, the metal and concrete sculptures gave him a few minutes of inner emotions and narrative, his scenes with the model was almost like he was acting in the set of “Last Year at Marienbad”. Xiao Zhan displayed emotions and charm very different from usual self – this is the power of an actor. The darker filters and monochrome imagery restored the caution that the youth of his age would have, it was the concealed feelings of a sunny boy. With such an idol, not only he can warm your hearts, there are still much to expect from him.

[crowdvscritic]

round up // JANUARY 21

New year, not-so-new Crowd vs. Critic! It’s another batch of films, TV, music, and reads that were new to me this month and think you would enjoy, too. As we cozy up inside for the winter, nothing warms you up like a good piece of pop culture.

January Crowd-Pleasers

Wonder Woman 1984 (2020)

Does this sequel reach the heights of 2017’s Wonder Woman? No, but I wish more superhero movies were like this one. I explain why at ZekeFilm. Crowd: 9.5/10 // Critic: 8/10

21 Bridges (2019)

A solid action crime thriller with a solid Chadwick Boseman at the center. Crowd: 8.5/10 // Critic: 7.5/10

The Lethal Weapon Series (1987-98)

I watched the first Lethal Weapon in 2017 for ZekeFilm, but now I’ve a decade’s pleasure of progressively over-the-top action sequences and progressively more absurd ways to destroy Roger Murtaugh’s (Danny Glover) house. The Murtaugh/Riggs bromance holds this progressively sillier series together, and an supporting cast of charismatic actors (Jet Li, Darlene Love, Chris Rock, Rene Russo) are game for whatever comes their way. Joe Pesci is the true MVP. Series Crowd: 9/10 // Series Critic: 7/10

The High Note (2020)

Tracee Ellis Ross’s Grace Davis is a diva in every sense of the word. A high-strung and highly successful singer, she’s also highly demanding of her assistant Maggie (Dakota Johnson), who wants to step out of her shadow and become a music producer. This rom-com-adjacent flick is one of the most fun escapes I’ve had from a 2020 movie, and it’s perfect for a girls’ night in. Crowd: 8.5/10 // Critic: 7/10

Double Feature—Rom-Coms With a Magical Twist: Just My Luck (2006) + When In Rome (2010)

Disclaimer: These movies are not good. In fact, they’re junk, but they’re my kind of junk. In Just My Luck (Crowd: 7.5/10 // Critic: 6/10), Lindsay Lohan loses her life-long lucky streak when she kisses schlimazel Chris Pine. And When in Rome (Crowd: 8/10 // Critic: 6/10), Kristen Bell attracts unwanted admirers (Will Arnett, Danny DeVito, Josh Duhamel, Jon Heder, and real-life future husband Dax Shepard) after she steals their coins from a wishing fountain. To their credit, both of these movies know they’re silly, which means you have permission to just sit back and laugh along with (or, honestly, at) them.

WandaVision (2021)

I sometimes fear for the world of entertainment when I think of how much intellectual property Disney has gobbled up, but WandaVision is evidence the company is a benevolent dictator at least for now. This odd delight is a send up and a tribute to sitcoms like I Love Lucy, I Dream of Jeannie, and The Brady Bunch, and Paul Bettany and Elizabeth Olsen are so charming and weird I don’t need whatever mysterious sub-plot they’re building.

Robin Hood: Men in Tights (1993)

If you want to make the most of watching Robin Hood: Men in Tights, first watch Robin Hood: Prince of Thieves (1991), an action flick I saw last February and didn’t include in my monthly Round Up. This Mel Brooks spoof is a direct response that self-serious Kevin Costner adventure, even down to copying its costumes. While I wish I could find a Mel Brooks comedy with any substantial female character (in every movie I’ve seen so far, the joke is either, “She’s got a great rack!” or “Wow, she’s an uggo!”), I still couldn’t stop laughing at this 104-minute version of the Robin Hood scene in Shrek. Crowd: 9/10 // Critic: 8/10

Aliens (1986)

Peak ‘80s action. Peak alien grossness. Peak girl boss Sigourney Weaver. Crowd: 9/10 // Critic: 8/.510

Big (1988)

After talking about Laverne & Shirley with Kyla on SO IT’S A SHOW?, I had to check out Penny Marshall’s classic. While a few moments haven’t aged so well, its heart is sweet and the script is hilarious. And that Tom Hanks? I think he’s going places. Crowd: 9.5/10 // Critic: 8/10

Unstoppable (2010)

I’ve laughed at SNL’s spoof of this movie for a decade, so it’s about time I got around to enjoying this action thriller very loosely based on the true story of a train that got away from its conductor. Denzel Washington (“You’re too old!”) and Chris Pine (“You’re too young!”) are our heroes in this over-the-top ridiculousness, and their chemistry is so extra it makes me hope they team up for another movie again. Crowd:  9/10 // Critic: 7/10

January Critic Picks

Double Feature—‘90s Space Adventures: Apollo 13 (1995) + Contact (1997)

I have no desire to join Tom Cruise as he films in space, but I know I’ll be pumped to watch whatever he makes because I love sci-fi and space  adventures. Apollo 13 (Crowd: 9/10 // Critic: 9/10) tells the story of an almost-disastrous NASA mission in the ‘60s, and it taps into our hope for the human spirit to overcome obstacles. Contact (Crowd: 8.5/10 // Critic: 8.5/10) surmises what might happen if we received communication from extraterrestrial life, and it taps into our struggle to reconcile faith and science.

McCartney III by Paul McCartney (2020)

I spent January catching up on the albums on Best of 2020 lists, and the one I listened to for hours and hours was Paul McCartney’s latest solo album. Catchy, thoughtful, and musically surprising, it ranges from pop to rock to folk in 45 minutes and still feels like it’s over too soon. Like Tom Hanks, this Paul McCartney guy is going places!

The Thin Man Series (1934-47)

Like Lethal Weapon, I watched the first installment of The Thin Man awhile back, and Kyla and I even covered the series on our podcast. But thanks to a full series marathon on TCM earlier this month, I’ve now laughed through all five. When you talk about great chemistry, you’ve got to talk about William Powell and Myrna Loy, who make Nick and Nora’s marriage feel lived in and romantic as they solve crimes together. Witty, suspenseful, and jaunty, this series is still sexy cool over 80 years later. (Also, Asta? Still one of the cutest dogs in cinema.) Series Crowd: 8.5/10 // Critic: 8.5/10

The King and I (1956)

Here’s your regularly scheduled reminder Hollywood works differently now, and many casting decisions of the ‘50s wouldn’t fly today. What has aged well in this film: The Rodgers and Hammerstein music and the sumptuous costumes and set design. I love extravagant musicals of yesteryear—perhaps it’s time for Hollywood to revisit and remake The King and I for modern audiences?

Inauguration Day

In a year with no major televised events with celebrities in a room together, Inauguration Day felt like the most exciting cultural event in ages. We’ve been missing major fashion, but then we got Lady Gaga! We’ve been missing live performances, but then we got Amanda Gorman! And I got a lot of tears during that poem—not just me, right?

Good Reads

Writing that made me think and smile this month:

Steven Soderbergh’s list of everything he read, watched, and listened to this year, Extension765.com (2020) – An indirect inspiration for these monthly Round Ups!

“My Year of Making Lists,” NewYorker.com (2020) – I made a lot of lists in 2020, so I feel this author’s #mood

“Betty White Says She Will Spend Her 99th Birthday Feeding Two Ducks Who Visit Her ‘Every Day,’“ CBSNews.com (2021) - “Betty is a treasure,” I say as I watch The Proposal for the 99th time

“A Sculpture’s Unusual Journey to SLAM [St. Louis Art Museum],” SLAM.org (2020) – With a casual mention of an attraction I never knew about in St. Louis

“The Culture Is Ailing. It’s Time for a Dr. Fauci for the Arts.” WashingtonPost.com (2020) – An idea that occurred to me a few months ago: Why don’t we have an Arts Cabinet?

“The Arts Are in Crisis. Here’s How Biden Can Help.” NYTimes.com (2021) – Partly in response to that Washington Post piece, a historical look at how artists have made it through difficult times in the past and how we can revive artists’ livelihoods mid- and post-pandemic

“The Right’s Message to Silicon Valley: 'Free Speech for Me, But Not for Thee,'” TIME.com (2021) – A more thoughtful and less reactionary take on a volatile moment in the history of modern technology

“'It Makes Me Sick With Grief': Trump's Presidency Divided Families. What Happens to Them Now?” TIME.com (2021) – A study on how politics has done damage to family dynamics in America

“Help, the Only Cinema I Can Handle Is Zac Efron Prancing Angrily in High School Musical 2,” Vulture.com (2021) - In a lot of ways, same

“50 Easy Things To Do When You are Anxious,” ShopTwentySeven.com (2021) – I especially endorse coloring, puzzling, and watching happy movies!

Double Feature—Miss Marple Mysteries: Murder at the Gallop (1963) + Murder Ahoy (1964)

Remember when I was all like, “Watch these Agatha Christie movies so you’re not sad Death on the Nile is delayed”? Remember when I said I was just a few movies away from becoming an Agatha Christie junkie? Well, I think I’m there because I can’t stop with the murder mysteries! Margaret Rutherford is a treasure whether she’s solving a murder at a horse ranch or on a boat, and a cast of colorful supporting characters (including Rutherford’s husband) makes these breezy instead of heavy. Crowd: 8/10 // Critic: 8/10

8½ (1963)

File this with 2001: A Space Odyssey—I don’t know if I really understood this film, but I think I liked it? Federico Fellini’s surrealist, male gaze-y drama blurs the lines between reality and imagination, love and dysfunction, and the past and maybe some future that involves clowns? What resonated with me was the story of a director with creative block, wondering if he’s already peaked and if he’ll create anything worthwhile again. Crowd: 6/10 // Critic: 9/10

Sense and Sensibility: The Screenplay and Diaries by Emma Thompson (1995)

Sense and Sensibility is not just one of my favorite Jane Austen adaptations—it’s one of my all-time favorite films. One of the co-hosts of one of my favorite podcasts has raved many-a-time about Emma Thompson’s journals from the making of film, so it was only a matter of time before I read them myself. Witty, informative, and all-around lovely, Thompson’s journals are an excellent insight into the filmmaking process and how novels are adapted.

Also in January…

I reviewed the new-ish documentary Flannery for ZekeFilm, which is all about the writer Flannery O’Connor and feels a little like going back to high school English class.

In addition to the Lethal Weapon and Thin Man series, I rewatched all of the X-Men series this month. You can see everything I am watching on Letterboxd, including favorites I love returning to (i.e. X-Men: Days of Future Past) and the movies I try that don’t make my monthly recommendations (i.e. The Wolverine).

Photo credits: Paul McCartney, Zac Efron, Sense & Sensibility. All others IMDb.com.

[dustedmagazine]

Dust Volume 7, Number 1

Phicus

Another year, another volume of Dust, which means we’ve been collecting these brief, pithy reviews for seven years now.  This time around, we sample the usual cornucopia of genres, from ambient death metal to Iranian punk to noisy skree to shoegaze-y lookalikes to polyglot global dj grooves, with the usual stops in free jazz and improvisatory environments. Contributors include Jonathan Shaw, Bill Meyer, Ian Mathers, Jennifer Kelly, Bryon Hayes and Andrew Forell.  

Aberration — S/T (Sentient Ruin Laboratories)

Aberration by Aberration

Not sure what “ambient dark death metal” is, but recently formed band Aberration claims to play it. The “ambient” bit may be a nod to the drone that sometimes resonates deep in the mix of the three songs on this 10” EP. Other than that, Aberration’s music sounds pretty typical of the death metal created by bands on the primitive, murky end of the genre’s sonic continuum. Some of the musicians are in other, more established projects: John Hancock plays guitar and provides vocals in the widely admired death doom outfit Void Rot, Dylan Haseltine plays bass and sings for the blackened death metal (mostly black metal, it seems to me) band the Suffering Hour. Those bands have much more specific musical identities, and their intense records express the players’ clarity of vision. Perhaps Aberration wants to live up to its name, presenting something unprecedented, an unpleasant mutation — and hence, perhaps, the decision to release the vinyl version of the EP on an unusual format. That’s sort of fun. The music is not. But that’s nothing new in death metal, and to be honest, these songs don’t warrant the announcement of a new sub-subgenre. They are just fine, if you like your death metal atavistic, cavernous and claustrophobic. But an aberration? Nope. Maybe a weeping pustule. In death metal, isn’t that enough?

Jonathan Shaw

 Steve Baczkowski / Bill Nace — Success (Notice)

Success by Steve Baczkowski/Bill Nace

Dallas is synonymous with a sort of excess that begs to be perceived as success. Old TV shows, memories of oil, nation-splitting politics, you name it; it’s bigger, badder and gaudier in Dallas. A tape of a free improv show that was recorded at a Dallas bookstore might not fit your preconceptions of longhorn accomplishment, but go ahead and tell that to Steve Baczkowski and Bill Nace. If they answer at all, they might let you gently know that it’s your problem, and then pop in the tape. This 42-minute-long recording will hook you by the belt, take off into the stratosphere, drag you through an asteroid belt, and deposit your cindered remains by the bar (yes, The Wild Detectives serves liquor as well as literature) before the tape reverses. That still leaves plenty of time savor the duo’s mastery of transition, from stout-sounded duel to fading filigree framing the sounds of the cash register opening and closing. Yeah, that’s the sound of Success.

Bill Meyer

 Aidan Baker — There/Not There (Consouling Sounds)

There / Not There by Aidan Baker

Unsurprisingly, 2020 doesn’t seem to have slowed Aidan Baker (Nadja, WERL, Caudal, Hypnodrone Ensemble, and many more) much at all. Of the many records released under his own name, the recent There/Not There stands out for being a surprisingly accessible entry to his personal metal/drone/ambient/shoegaze melting pot, even given the opening 20-minute title track. “There/Not There” marries some whispery shoegaze songwriting with a beautifully monomaniacal repeating drone. Over the course of the track, it does slowly transition until we get to a crescendo as intense as any Baker’s done, but even more so than normal the unwary might get lured in by the low key, blissful opening and the frog-boiling slowness with which the tension is ratcheted up. One of the other two tracks is really just a way to section off the real noise-squall coda of “There/Not There” but then “Paris (Lost)” offers a more concise, quieter storm version of the same framework. Like a lot of Baker’s work, it sneaks up on you, but when it hits it hits hard. 

Ian Mathers

Ballrogg — Rolling Ball (Clean Feed)

Rolling Ball by Ballrogg

The Scandinavian combo Ballrogg changes direction once again on Rolling Ball. Founders Klaus Ellerhusen Holm (clarinets) and Roger Arntzen (bass), who are both Norwegian, started out reinvestigating the folksy jazz vibe of Jimmy Giuffre, then sought out a new home on the range by adding slide guitarist Ivar Grydeland. Now, incoming Swedish guitarist David Stackenäs and his rack of pedals have redirected the trio into a technology-enhanced future. Not the sci-fi imaginings of Sun Ra, but a future more like 2019 might look if you stepped straight into it from 1959; in some ways quite familiar, but in others, different enough to be disorienting. The Giuffre-esque and country elements are still there, but when punctuated by minimalist-influenced compositional flourishes and illuminated by the diffuse, digital flicker of Stackenäs’ effects, it suddenly becomes clear that those Viking cowboys didn’t put a key in the ignition before they drove out towards the horizon.

Bill Meyer

 Bipolar — S-T (Slovenly)

BIPOLAR "Bipolar" EP by Bipolar

For a band named Bipolar, with a single called “Depression,” this EP sure is a lot of fun. Two of the band’s mainstays are apparently Iranian emigres, now seeking the more permissive environs of Brooklyn. (The only hint of that exotic origin is in “Sad Clown,” where there might be an imam exhorting the faithful, but who knows? I don’t speak Farsi.) One of them sometimes plays keyboard with the Spits, and in fact, the Spits are a pretty good reference point for these hard, fast, bratty songs. “Virus” pummels a relentless pogo beat, the one-two of the drums rocketing ever faster, the shouted all-hands chorus in tumbling sync. “Fist Fight” is even more exhilarating, with its blaring, roiling guitar blast and adrenaline-raising refrain, “It’s a fist fight. It’s a fist fight.” There’s nothing profound here, but it’s a good time.

Jennifer Kelly  

 Bosq — Y Su Descarga Internacional (Bacalao)

Y Su Descarga Internacional by bosq

Bosq, a globally omnivorous DJ formerly based in Boston (real name Benjamin Woods), recently moved to Colombia, perhaps to get closer to his source material. The Colombian influence is certainly strong on Y Su Descarga Internacional, which opens with a scorching “Rumbero,” featuring the Afro-Colombian star Nidia Góngora. Dorkas, another singer from Colombia, follows immediately with “Mi Arizal,” an intricately textured dance track which erupts with fiery bursts of Latin brass. Justo Valdez, whose Son Palenque did much to define the Cartagena sound in the 1960s and 1970s, drops by for two of the album’s best tracks: a rollicking “Mambue” and the hand-drummed, bass-thumping hand-clapping “Onombitamba.” And yet the album doesn’t just document the singers and artists of Bosq’s new home. Kaleta, a Benin-based Afro-beat artist who has worked with Fela Kuti and Eqypt 80, takes the lead on funk psych “Omo Iya” and the stirring, horn squalling “Wake Up.” Bosq knows how to pick collaborators, and there’s not a dud track on the disc, but wouldn’t almost anyone sound like a genius in company like this?

Jennifer Kelly

Deuce Avenue — Death of Natural Light (Crash Symbols)

Death of Natural Light by Deuce Avenue

If you are a lurker of the cassette underground, you may remember a West Virginian outfit called Social Junk appearing in the mid-aughts. This duo offered up crackling melodic scree, blown out murky fuzz and semi-coherent mouth sounds like an industrialized version of The Dead C or a new wave outfit newly recovered post-coma. Noah Anthony, the male half of Social Junk, has since moved on to releasing solo material under both the Profligate and Deuce Avenue monikers. The latter is the more recent project and is quite minimal compared to his other work. With Death of Natural Light, there are no cold wave rhythms and vocals à la Profligate. What’s left is a dank, steamy vapor. Contrails of filter-swept hiss slowly develop into a more enigmatic and darkened tonal palette. The ominousness continues to thread its way into the second half of the cassette, fittingly entitled “Blood Turns Black”. Loops of nocturnal jump scare fodder coalesce into rhythms that provide skeletal forms to foil the menace of the more oblique textures. Those who enjoy their horror in slow motion will latch onto these sounds like a facehugger to… …well, a person’s face.  

Bryon Hayes   

 Fleeting Joys — Despondent Transponder (Only Forever)

Despondent Transponder by Fleeting Joys

Let’s start with the obvious. Despondent Transponder sounds a lot like MBV’s Loveless, with wild sirening guitar tones, waves of noise-y feedback, thunderous drumming and sweet, fragile lyrics engulfed in the swirl. “Go and Come Back” has the same fluttering guitar melody as the great “To Here Knows When,” while “Satellite” blusters with the dopplering, dissonance-addled grandeur as “I Only Said.” Fleeting Joys — that was Rorika Loring singing and playing bass and John Loring on guitar and vox — never made any secret of their love of MBV. Despondent Transponder was an homage right from the start. The album was the debut for this Sacramento-based twosome, released originally in 2006, then as now on Loring’s own Only Forever label. And yet, while no one will ever top Loveless, from an ear-bleeding psych-noise daydream perspective, this one has its own particular beauties. “Magnificent Oblivion” surrounds a lullaby-pure melody with a reeling, caterwauling mesh of inchoate sound; guitar notes stream off in bending contrails as Rorika murmurs sweetly into the mic. “Patron Saint” lurches to motion on a Frankenstein bass riff, but softens the brutality with calming washes of vocal hypnotism. It’s all super beautiful and, anyway, even after the reunion, there aren’t nearly enough MBV albums. Plenty of room for a band that sounds so similar.

Jennifer Kelly

 Get Smart! — Oh Yeah No (Capitol Punishment)

Push play: driving staccato guitars, rubbery bass lines, lockstep drums, declamatory vocals and it’s the mid-1980s all over again. Lawrence, Kansas trio Get Smart! — Marcus Koch (guitar, vocals) Lisa Wertman Crowe (bass, vocals) and Frank Loose (drums, vocals) — have that timeless mixture of English post-punk and American indie down. Then see that 33 years after it was recorded Oh Yeah No finally sees the light of day on the back of the band’s reformation. Time and the cycle of musical fashions are fickle beasts and in this case the wheels turn in Get Smart!’s favor. They sound both of their time and thoroughly in tune with the steady flow of recent guitar bands mining this lode of choppy, melodic indie. The Embarrassment, Big Dipper, Pylon and other regional heroes are being rediscovered and reassessed and, here’s the thing, Get Smart! are really good at what they do and this six-track EP is both a testament and, hopefully, a taste of what the future may hold.  

Andrew Forell  

 Rich Halley / Matthew Shipp / Michael Bisio / Newman Taylor Baker — The Shape Of Things (Pine Eagle Records)

The Shape of Things by Rich Halley

If the bolt strikes twice, it’s probably not lightning. The Shape Of Things is the second successful meeting between Rich Halley, a tenor saxophonist based in the Pacific Northwest, and the current members of the Matthew Shipp Trio. The album is, like its predecessor Terra Incognita, a congress of strengths. Shipp’s trio follows the pianist easily into one of his classic roles, that of supplying sonic foundation and harmonic framing for an extroverted saxophonist. Halley fights right into the spaces that they create, rippling easily over the trio’s turbulent surfaces. He works within the broader jazz tradition, sounding equally at home patiently sketching a lyrical line and blowing raw, acidic cries. This ensemble plays achieves a state of centered abandon which feels wilder than Halley’s recordings with West Coast musicians, but fits right into the spectrum that contains Shipp’s work with the David S. Ware Quartet and Ivo Perelman.

Bill Meyer

 A Hutchie — Potion Shop (Cosmic Resonance)

Potion Shop by A Hutchie

Hamilton, Ontario-based producer Aaron Hutchinson has his fingers in many pies. He nimbly dispenses free jazz, hip hop, outré pop and even more enigmatic forms of song. Potion Shop is his debut LP, although he is a long-time fixture in the Steeltown music scene. This immersion in a small, tight-knit domain has led to many fruitful collaborations. Hutchinson features many of his compatriots in these recordings, in which his music snakes alongside their vocal stylings. Mutant 21st century soul singlehandedly played by Hutchinson is a foil for the slam poetry of Benita Whyte and Ian Keteku, the latter of which the producer warps with a vocoder. Sarah Good’s vocals morph into those of a ghostly chanteuse among smeared strings, while the soulful Blankie swims beneath narcotic R&B beats. When imbibing these intoxicating concoctions, you will be immersed in a warmth of familiarity tempered with the unsettling yet exciting sense of the uncanny. Like absinthe, the disquiet is illusory while the intimacy is authentic.

Bryon Hayes  

 Imha Tarikat — Sternenberster (Prophecy Productions)

STERNENBERSTER by IMHA TARIKAT

Imha Tarikat’s principal member Ruhsuz Cellât (stage name of Kerem Yilmaz) breaks with black metal orthodoxy by musically engaging his family’s Muslim heritage. That’s a provocative move in an artform dominated by glib nihilism, rampant anti-religious sentiment and (somehow sometimes all at the same time) ardent claims of Satanist faith. And that distinction at the symbolic level likely doesn’t come near the intensities of being of Turkish descent, living and recording in Germany, in a scene that flirts (and at its extreme margins actively identifies) with fascism. Beyond those ideological and social dimensions is the music. Imha Tarikat demonstrates facility with tremolo riffs and song forms that twist and snake even as they hammer and pummel. But Cellât’s unusual vocal style cuts against convention’s grain, and it’s immediately apparent as album opener “Ekstase ohne Ende” commences. There’s a lot of grunting and hollering, but rather than contorting his voice, shrieking and croaking in mode of most black metal vocalists, Cellât goes for more straightforward intensity. He often shouts, and the lyrics frequently come in bunches, explosive and punctuated bursts of verbiage, but he makes no attempt to distort the lyrics or his voice. I wish my grasp of German were even halfway close to fluent, in order to report on the lyrics’ thematic content with some coherence — because Cellât clearly wants the words to be heard.

Jonathan Shaw

Jon Irabagon / Mike Pride / Mick Barr / Ava Mendoza — Don’t Hear Nothin’ But The Blues Vol 3 Anatomical Snuffbox (Irrabagast Records)

I Don't Hear Nothin' but the Blues Volume 3: Anatomical Snuffbox by Jon Irabagon

Never mind the blues; if you don’t exercise caution, when you’re done playing this loud-at-any-volume recording, you won’t hear nothin’. The latest installment in tenor saxophonist John Irabagon’s series of one-track, meta-blues recordings starts out with a spray of sound as bracing as Saharan sandstorm, but quickly solidifies into a veritable wall of sound. At the outset, Irabagon and drummer Mike Pride engage in a high-speed dance of charge and countercharge which, if heard without accompaniment, would sit comfortably on the same shelf as your Mars Williams and Mats Gustafsson records. But when you put guitarists Mick Barr and Ava Mendoza on the same stage and tell them both to start shredding, the effect is somewhat akin to putting the pyrotechnic specialists in charge of the circus. Subtlety, dynamics and even the oxygen you breath all disappear as everything catches fire. If any of the participants here have effectively bent your ear, you ought to listen all the way through once. By the time it’s done, you’ll know in your heart whether you ever need to hear it again.

Bill Meyer    

 John Kolodij — First Fire / At Dawn (Astral Editions)

First Fire • At Dawn by John Kolodij

Where there’s fire, there’s often smoke, and while this tape claims alignment with Hephaestus’ element, it’s more likely to evoke thick clouds. As the capstans turn, the murk of “At Fire” accumulates gradually, filling the room with an increasingly dense atmosphere. By the time you notice flashes of flame, it’s too late. “At Dawn” brings to mind a lesser conflagration — maybe the embers of the previous night’s campfire. John Kolodij (who has, until recently, recorded mainly under the name High Aura’d) pushes his heavily processed guitar sound into the background, where it lurks with a bit of birdsong, and leads with an unamplified banjo and acoustic guitar. Fiddler Anna RG (of Anna & Elizabeth) further bolsters the melody while some sparse percussion played by Sarah Hennies heightens the sense of moment. Once more, a mass of disembodied sound rises up as the piece progresses, but this time the effect is the opposite; instead of getting lost in sound, the listener finds a moment of peace and light.

Bill Meyer

 Lytton / Nies / Scott / Wissel — Do They Do Those In Red? (Sound Anatomy)

Do they do those in Red? by Paul Lytton, Joker Nies, Richard Scott, Georg Wissel

“Do they do those in red?” The title may speak to the particular peculiarities of this combo, which is formed from several pre-existing duos, Joker Nies is credited with “electrosapiens,” which seem to be self-constructed electronic instruments, and George Wissel applies various items to his saxophone to modify its sound. Georg Wissel’s synthesizers come with some assembly required, and it would appear that Paul Lytton, best known for playing drum kits and massive percussion assemblages, confines himself in this setting to the stuff he can fit on a tabletop. What, you think your saxophone is prettier because it doesn’t have anything red jammed into a valve?  

Moving on to the music, while the sound sources are heavily electronic, the interactive style is rooted in good old-fashioned free improvisation. Lytton’s barrage sounds remarkably similar to what he achieves playing with a full drum kit, and Wissel’s lines may be more fractured, but his alto sound has some of the tonal heft and agility that John Butcher exercises on the tenor. The electronicians’ bristling activity brings to mind a debate between opposite sides of the electrical components aisle at the hardware store, but it’s a lucid one, thoughtfully expressed on both sides.

Bill Meyer  

Ikue Mori Satoko Fujii + Natsuki Tamura — Prickly Pear Cactus (Libra)

Prickly Pear Cactus by Ikue Mori, Satoko Fujii, Natsuki Tamura

Pianist Satoko Fujii and trumpeter Natsuki Tamura spent February 2020 touring Europe with their combo Kaze, which they’d augmented with the electronic musician, Ikue Mori. As lockdown wore on, they kept the connection going via Zoom chats between their abodes in Kobe and New York. After Fujii shared her experiences of trying to mic and stream her piano online, Mori suggested that she send some recordings. Mori edited what showed up and added her sounds; Tamura contributed additional elements to nearly half the tracks. Some of them are balanced to sound like live recordings, with Mori’s neon squelches and high-res, bell-like tones gathering and dispelling like real-time reactions. Others feel more overtly constructed, with the piano situated within a maelstrom of sounds like a view of a TV set turned on in a room with a party going on.  

Bill Meyer

 Phicus — Solid (Astral Spirits)

Solid by Phicus

Phicus is the Barcelona-based assemblage of Ferran Fages (electric guitar), Àlex Reviriego (double bass) and Vasco Trilla (drums). The line-up looks like a power trio, and if you heard them two seconds at a time, you might think that they were. Reviriego and Trilla each play in ways that convey a sense of motion, and Fages’ bent notes and serrated harmonics are just the sort of sounds to cap off a display of guitar heroics. But if you note that each track is named for an element or chemical compound, and that the album is called Solid, you might get a clearer idea of their concerns. This music is all about essential relationships, and its makers are more interested in making things coexist in productive ways than they are in re-enacting rituals borrowed from jazz, fusion or free improvisation. That means that even the sharpest sounds don’t hook you, nor do the fleetest charges carry you away. Phicus isn’t interested in settling for the familiar. But if you’re ready to observe that thing that looks like a duck making sounds that ducks never make, you’ll find plenty to ponder on Solid.

Bill Meyer

 Quietus — Volume Five (Ever/Never)

Volume Five by Quietus

Quietus songs unfurl like cream in coffee, spiraling curlicues of light into dark liquid drones amid clanking blocks of percussion. The songs expand in organic ways, picking up purpose in the steady pound of rhythm, strutting even, in a loose-limbed rock-soul-psych way you might recognize from Brian Jonestown Massacre’s “Anemone” or Grinderman’s “I Don’t Need You to Set Me Free,” but quieter, much quieter, and seething with submerged ideas. The words are mumbled, croaked, submerged in surface hum, but when pushed up towards the surface, arresting. “This life can be sunlit hills turned all to their angry sides,” murmurs Quietus proprietor Geoffrey Bankowski in the relatively concise “Reflex of Purpose,” which sprawls anyway, notwithstanding its 2:36 minute duration. The music’s better, though, when it’s allowed to find its slow way forward, unconforming to any pre-existing ideas of how long a pop song should be. I like the closer “Posthemmorrhagic,” the best, as guitars both tortured and prayerful intertwine, and Bankowski breathes slow, moaning poetry into a close mic, and the song revolves in three-time like the last dancer on the floor, not just tonight but forever.

Jennifer Kelly

Ritual Extra — In Luthero (Dinzu Artefacts)

In Luthero by Ritual Extra

In Luthero was performed inside an empty water cistern, and the ensuing reverberations act as microscopic versions of the grander ebb and flow within which French-Finnish trio Ritual Extra operate.  Percussionist Julien Chamla’s cymbal scrapes and tom hits form a backdrop of bomb blasts and shrieking, missives from some war-torn locale long since vacated by the populace.  Steel structures seem to groan and collapse as they are rattled by percussive ordnance. This bleak setting is given a sense of color by Lauri Hyvärinen’s acoustic guitar.  A stew of string scrapes diverges into discrete plucks, which morph into strums.  The metronomic chords are enriched as they bounce around the walls of the cistern, folding in on themselves through echo, becoming a mechanical mantra.  Tuukka Haapakorpi’s voice rises from the ashes, soaring polysyllabically yet wordlessly.  As In Luthero begins to take shape, these vocalizations are almost inhuman: whispers and gurgles that come on in waves.  Later, more anthropoid utterances take shape, yet fall just shy of coalescing into a discernable language.  Across 24 minutes, Ritual Extra musically narrate the pre-history of humankind, the primordial essence from which everything good — and bad — about us originated. 

Bryon Hayes  

 Subjective Pitch Matching Band — Twenty-One Subjectivities in Six Parts (Remote Works)  

Twenty-One Subjectivities in Six Parts by Subjective Pitch Matching Band

Chris Brian Taylor has trod a serpentine path on the journey that culminated in the creation of his first large ensemble electroacoustic composition. His roots are in punk and rave — he still DJs house and techno — but he recently shifted his gaze toward improvised electronics. Rather than stifling his ambition, COVID-19 and the ensuing lockdown encouraged him to think big: he would cast a wide net and compose a piece of music for as many people as he could get to participate. He reached out to friends, relatives, and internet acquaintances to assemble his orchestra, and borrowed the melody and chords from Pet Shop Boys’ “Being Boring” to act as the foundation of the work. Twenty people responded from a variety of musical disciplines, and all agreed to participate remotely. The composer gave each player audio cues to work with and encouraged the performers to respond subjectively. They could either stay true to the pitches provided, harmonize against them, or play ornamentally. Taylor collected the resulting tracks and structured the resulting thirty-minute piece of music based on what the respondents provided. Dense yet graceful, the composition unfolds like a slow-motion blaze. Flames of sonority form a sinuous body from which sparks of discrete sound leap heavenward. There is nary a moment of silence, as Taylor weaves a plethora of long tones together to form an undulating core over which stabs of piano, guitar and percussion materialize momentarily. Naivete didn’t keep Chris Brian Taylor from aiming as high as he could with this piece, and we are the benefactors of this ambition, rewarded with a rich and complex sonic brew to enjoy.

Bryon Hayes  

 TV Priest — Uppers (Sub Pop)

Uppers by TV Priest

TV Priest works the same corrosive, hyper-verbal furrow as Idles or, in a looser sense, the Sleaford Mods, spatter chanting harsh, literate strings of gutter poetry over a clanking post-punk cadence. The vocalist Charlie Drinkwater snarls and sputters charismatically over the clatter, a brutalist commentator on life and pop culture. The band is sharp and minimalist, drums (Ed Kelland) to the front, guitar (Alex Sprogis) stabbing hard at stripped raw riffs , bass (Nic Bueth) rumbling like mute rage in the back of the bar. And yet, though anger is a primary flavor, these songs surge with triumph as in the wall-shaking cadences of “Press Gang,” the blistering sarcasm of “The Big Curve.” This is a relatively new band, their first and only tour cut short at one gig by the lockdown, but the songs are tight as hell on record and likely to pin you to the back wall live. “Bad news, like buses, comes in twos,” intones Drinkwater on theclearly autobiographical “Journal of a Plague Year” against an irregular post-everything clangor, loose and disdainful and hardly arsed to entertain us; it’s as fitting an anthem as any for our lost 2020. But when band gets moving, as on the chugging, corroscating “Decoration,” it’s unstoppable, a monstrous thing bursting “through to the next round.” Sure, I’ll have another.

Jennifer Kelly

Voice Imitator — Plaza (12XU)

Plaza by Voice Imitator

Voice Imitator, from Melbourne, Australia, rips a hard punk vortex through its songs, ratcheting up the drums to battering ram violence, blistering the guitar sound and scrawling wild metallic vocals over it all, with nods to noisy post-hardcore bands like the Jesus Lizard and McClusky. “A Small Cauliflower” takes things down to a seething, menacing whisper, Mark Groves, the singer, presiding over an uneasy mesh of tamped down dissonance and hustle. “Adult Performer” is faster and more limber, all clicking urgency and sudden bursts of detuned, surging squall. All four members—that’s Per Bystrom, Justin Fuller, Groves and Leon O’Regan—have been in a ton of other bands, and the sounds they make here have the rupturing precision of well-honed violence. If you like Protomartyr but wish it was lots louder and more corrosive, here you go.

Jennifer Kelly

 Sam Weinberg / Henry Fraser / Weasel Walter — Grist (Ugexplode)

Grist by Sam Weinberg / Henry Fraser / Weasel Walter

Ornette Coleman once called a record In All Languages; these guys ought call one Any And All Possibilities. Saxophonist Sam Weinberg, bassist Henry Fraser and drummer (this time, anyway) Weasel Walter are scrupulous student of improvisation in all its guises, and they’re ready and able to use what they know. You could call it free jazz, for they certainly know how that stuff works, but they’re under no obligation to swing; that’d be a limit, you see. This music bursts, darts, expands and contracts in a sequence of second by second negotiations of shape and velocity.

Bill Meyer  

 Chris Weisman — Closer Tuning (Self-Released)

Closer Tuning by Chris Weisman

Chris Weisman is a Brattleboro, VT songwriter, in the general orbit (not a member but seems to know a bunch of them) of the late, great Feathers and one-time member of Kyle Thomas’ other outfit, the fuzz pop band Happy Birthday. A shunner of all sorts of limelight, he is nonetheless very productive. Closer Tuning is one of five albums he home recorded and released in 2020. You might expect a certain lo-fi folksiness and there is, indeed, a dream-y, soft focus rusticity to the tangled acoustic guitar jangle, the blunt down home-i-ness lyrics. And yet, there’s a good deal more than that in Closer Tuning. The chords progress softly, gently but in unexpected ways, a reminder of Weisman’s jazz guitar training, and the sound is warm and enveloping and every so slightly off-kilter, as if filtered through someone else’s memory. Cuts like “Petit Revolution,” with its close shroud of harmonies, its eerie, antic guitar cadence, feel like Beach Boys psychedelia left out in the garden to sprout, or more to the point, like Wendy Eisenberg’s brainy, left-of-center pop puzzles. “My Talent” is hedged in with blooming bent notes and scrambling string scratches, but its center is radiant, weird, astral folk along the lines of Alexander Tucker. “Hey,” says Weisman, in its slow dreaming chorus, “I gave my talent away.” Lucky us.

 A.A. Williams — Forever Blue (Bella Union)

There’s a dim and shadowy corner where heavy music, orchestral music and post-rock all meet, and A.A. Williams’ music resides there as naturally as anyone else’s. That’s what you might expect when you get a professional cellist who fell hard for metal as a teenager and then started writing songs after finding a guitar on the street. After an EP her first LP is the kind of assured, consistently strong debut that balances calmly measured beauty with the kind of crushing peaks that give that sometimes hoary quiet/loud dynamic a good name. At its best, like the opening “All I Asked For (Was to End it All)” and “Dirt” (featuring vocals from Wild Beasts’ Tom Fleming), Forever Blue is as gothically ravishing as you could hope for, and by the time it ends with spectral lament “I’m Fine” it might tempt even those not traditionally inclined that way to don the ceremonial black eyeliner.  

Ian Mathers

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Sortie: 2020-12-03 Durée: 99 minutes Genre: Fantastique, Action, Aventure Etoiles: Milla Jovovich, Tony Jaa, T.I., Ron Perlman, Diego Boneta Directeur: Paul W. S. Anderson, Paul W. S. Anderson, Paul W. S. Anderson, Jeremy Bolt, Robert Kulzer

Il y a de cela fort longtemps, au royaume imaginaire de Kumandra, humains et dragons vivaient en harmonie. Mais un jour, une force maléfique s’abattit sur le royaume et les dragons se sacrifièrent pour sauver l’humanité. Lorsque cette force réapparait cinq siècles plus tard, Raya, une guerrière solitaire, se met en quête du légendaire dernier dragon pour restaurer l’harmonie sur la terre de Kumandra, au sein d’un peuple désormais divisé. Commence pour elle un long voyage au cours duquel elle découvrira qu’il lui faudra bien plus qu’un dragon pour sauver le monde, et que la confiance et l’entraide seront essentiels pour conduire au succès cette périlleuse mission. 31 mars 2020 / Animation, Fantastique, Aventure De Don Hall, Carlos Lopez Estrada, Paul Briggs … Avec Kelly Marie Tran, Awkwafina Nationalité Américain Monster hunter Monster hunter vf Monster hunter grand rex Monster hunter sortie france Monster hunter youtube Monster hunter telecharger Monster hunter age Monster hunter durée Monster hunter bande annonce Monster hunter casting Monster hunter sortie Monster hunter au grand rex Monster hunter affiche Monster hunter à partir de quel age Monster hunter avis Monster hunter avant premiere Monster hunter au cinema Monster hunter age minimum Monster hunter a telecharger Monster hunter age conseillé Monster hunter âge Monster hunter bande annonce youtube 🔮 THE STORY 🔮 Sci-fi is like dream, aside from stories in this classification utilize logical arrangement to explain the universe that it requires place in. It for the most part incorporates or is focused on the assumed impacts or repercussions of PCs or machines; travel through space, time or imaginary worlds; outsider living things; hereditary designing; or other such things. The science or innovation utilized may or probably won’t be completely explained on; stories whose logical components are sensibly point by point, well-informed and viewed as generally conceivable given current information and innovation are regularly known as hard sci-fi. Writing that objectives posses, criminal associations that give a degree of association, and assets that help a lot bigger and more specialized criminal exchanges than an individual criminal could accomplish. Criminals will be the subject of a few motion pictures, especially from the period somewhere in the range of 1930 and 1960. A restoration of criminal sort films happened since the 1990s with the blast of hip-jump culture. Dissimilar to the sooner hoodlum films, the more current movies share comparative components to the more established movies yet is more in a hip-bounce metropolitan setting. An experience story is around a hero who excursions to epic or removed spots to perform something. It could have a considerable number of other classification factors included inside it, since it is an open type. The hero incorporates a mission and faces hindrances to get to their objective. Additionally, experience stories as a rule incorporate obscure settings and characters with valued properties or highlights. At first proposed as a classification by the makers of the pretending game Children of daylight, dieselpunk alludes to fiction propelled by mid-century mash stories, predicated on the style of the interbellum period through World War II (c. 1920–45). Like steampunk however especially observed as a the ascent of oil power and technocratic discernment, fusing neo-noir factors and sharing subjects more clearly with cyberpunk than steampunk. Despite the fact that the striking quality of dieselpunk as a classification isn’t totally uncontested, portions which range from the retro-advanced film Sky Captain and the World of Tomorrow to the 2001 Activision computer game Return to Castle Wolfenstein have been recommended as quintessential dieselpunk works of fiction. A style when an entertainer acts before a live crowd, talking straightforwardly to them. The entertainer is generally alluded to as a comic, professional comedian, professional comic or simply a hold up. In stand-up parody the entertainer ordinarily discusses a relentless progression of amusing stories, short jokes called “pieces”, and jokes, which comprise what’s regularly called a discourse, routine or act. Some professional comics use props, music or sorcery stunts to improve their demonstrations. Stand-up satire is regularly acted in parody clubs, bars, neo-vaudevilles, schools, and theaters. Outside of live execution, stand-up is typically circulated monetarily by means of TV, DVD, and the web. like customary activity; instead of utilizing hand drawn pictures, stop movement films are made with little puppets or different articles which have their image taken regularly over a grouping of little developments to make liveliness outlines. Models are The Nightmare Before Christmas, Coraline, and Corpse Bride. 🔮 COPYRIGHT CONTENT 🔮 Copyright is a type of intellectual property that gives its owner the exclusive right to make copies of a creative work, usually for a limited time.[1][2][3][4][5] The creative work may be in a literary, artistic, educational, or musical form. Copyright is intended to protect the original expression of an idea in the form of a creative work, but not the idea itsDemon Slayer the Movie: Mugen Train.[6][7][8] A copyright is subject to limitations based on public interest considerations, such as the fair use doctrine in the United States. Some jurisdictions require “fixing” copyrighted works in a tangible form. It is often shared among multiple authors, each of whom holds a set of rights to use or license the work, and who are commonly referred to as rights holders.[citation needed][9][10][11][12] These rights frequently include reproduction, control over derivative works, distribution, public performance, and moral rights such as attribution.[13] Copyrights can be granted by public law and are in that case considered “territorial rights”. This means that copyrights granted by the law of a certain state, do not extend beyond the territory of that specific jurisdiction. Copyrights of this type vary by country; many countries, and sometimes a large group of countries, have made agreements with other countries on procedures applicable when works “cross” national borders or national rights are inconsistent.[14] Typically, the public law duration of a copyright expires 50 to 100 years after the creator dies, depending on the jurisdiction. Some countries require certain copyright formalities[5] to establishing copyright, others recognize copyright in any completed work, without a formal registration. It is widely believed that copyrights are a must to foster cultural diversity and creativity. However, Parc argues that contrary to prevailing beliefs, imitation and copying do not restrict cultural creativity or diversity but in fact support them further. This argument has been supported by many examples such as Millet and Van Gogh, Picasso, Manet, and Monet, etc.[15] 🔮 ADAPTATION 🔮 Sarah Paulson is my top choice, yet this film isn’t her best. I trusted that months for this will come out and I’m left asking why I was so energized. The trailer parted with everything. You knew the entire story before it even began. There was practically zero character improvement and everything just felt like it was 0–100 with no pacing at all. Likewise, the cosmetics office for Sarah’s last look-the hellfire would you say you were folks on when you thought of this? I really snickered when I saw her. It was an alright film. One that you’d be pissed on the off chance that you burned through cash on. Nothing new, normal, worn out acting. Additionally, no one realizes the proper behavior an asthma assault. This film had so many plot openings that it seemed like a parody. The mother can simply take an infant from the clinic? She harms her little girl for quite a long time and no specialist actually sees this during her regular visits? How did she manage the postal carrier’s vehicle? No one minded the postal carrier was absent? For what reason did the girl never get one of the numerous sharp or gruff articles around her and hit her mother? The mother leaves all her significant reports in a container sitting out and marked? For what reason would she tie up her girl’s wheel seat and not her girl? This is the means by which the entire film goes. The main redeemable nature of the film was Sarah Paulson’s very frightening acting. Likewise, this story has been done so often. I would not burn through my time watching this. Run is unsurprising and not extraordinary. The acting is phenomenal, while the story is fair. The story makes a magnificent showing of being exciting, yet it chiefly doesn’t go anyplace. I knew all that planned to happen despite the fact that I knew nothing. Nonetheless, There was one scene I appreciated where Clare says, “you need me.” The acting was only exceptional in that particular scene. In general, it’s a one time watch that you’ll most likely fail to remember. This is another film on Hulu by Aneesh Chaganty (and co-composed by Sev Ohanian), following up their realistic presentation Searching (2018) with a spine chiller including a mother and her 17-year-old little girl brought into the world with a few confusions (arrhythmia, hemochromatosis, asthma, diabetes, and most effectively loss of motion). I will say that it’s conceivable this film is superior to I preferred it, yet in the event that so it would be for its coordinating and acting, and less so about the composition. I felt like there were openings all over the place, and maybe an excess of is tossed at us too early for us to appropriately think about the characters and their circumstance. This sort of film has been done previously, absent a lot of new added to the table short the wheelchair perspective. There were a ton of components set up for what might have given a more grounded finishing conveyance and punch, yet the greater part of those beats were one-note and spent prior in the film as opposed to associating a solid inward weaving as Searching had the option to do. I went in visually impaired, and it’s possible better that I did given that the trailer is fairly uncovering. I don’t think it had a sufficiently high roof in any case to overshadow any wild absence of desires I previously had. My solitary desire was in the possession of the makers, and the most saving grace this film will probably have on crowds is I expectation they become mindful of Searching and see it sooner or later… which is the thing that I expectation the greater part of all of you can detract from this. That was my #1 film of 2018, and Run will tumble to the wayside as fairly convincing yet totally forgettable. The story and pre-assembled relationship just needed more squeeze once the credits rolled. This film was average, best case scenario. Try not to accept individuals giving it 8 or 9. The plot has been seen ordinarily, it was excessively unreasonable, and the closure failed. They attempted to showcase it as a loathsomeness/spine chiller however nothing about it is exciting. It’s a dramatization completely. I will say however, the entertainers did astounding with what they were given. Sarah Paulson was her standard sDemon Slayer the Movie: Mugen Train, great, not honor commendable. Be that as it may, Kiera Allen truly captured everyone’s attention. She made the film (which delayed for what seemed like 2 hours) watchable. In the event that you appreciated The Act or have nothing else to watch, give it a go. What’s the point of messing with this poop. It resembles a low lease endeavor at a spine chiller yet you definitely know the closure. The faltering endeavors at tension are more irritating than anything. It’s a terrible lifetime film to be straightforward. Furthermore, I like lifetime motion pictures! It’s additionally excessively coordinated, the music is exhausted and the acting isn’t incredible

[solutionsnew849]

Personal Budget Software Free Mac 10.6.8

Feb 03, 2020  The best budgeting apps can help you manage your money and, dare we say, even make it fun. Here are our picks for the top personal finance tools. Personal Budgeting Software for Mac and iOS. Latest News - May 7th 2020 MoneyWell 3.0.14. Taking control of your personal budget. MoneyWell is a personal finance package built around the concept of envelope budgeting. It's designed to keep you from overspending by using proactive budgeting techniques. Try MoneyWell For Free. Three Simple. Zoom Free VIEW →. Start or join a 100-person meeting with face-to-face video, high quality screen sharing, and instant messaging.

When you upgrade to macOS Catalina, you get more of everything you love about Mac. Experience dedicated apps for music, TV, and podcasts. Smart new features in the apps you use every day. And Sidecar, which lets you use iPad as a second Mac display. Best of all, upgrading is free and easy.

Chances are, your Mac can run macOS Catalina.

Mac computers with Metal-capable graphics processors (GPUs) can upgrade to macOS Catalina.

Make sure you’re ready to upgrade.

Before you upgrade, we recommend that you back up your Mac. Then, if your Mac is running OS X Mavericks 10.9 or later, you can upgrade directly to macOS Catalina.

Personal Budget Software Free Mac 10.6.8 Pc

Upgrading is free. And easier than you think.

Upgrading from macOS Mojave?

Go to Software Update in System Preferences to find the macOS Catalina upgrade. Click Upgrade Now and follow the onscreen instructions to begin your upgrade. If you don’t have broadband access, you can upgrade your Mac at any Apple Store.

Upgrading from an older version of macOS?

If you’re running High Sierra (10.13), Sierra (10.12), or El Capitan (10.11), upgrade to macOS Catalina from the App Store. If you’re running Lion (10.7) or Mountain Lion (10.8), you will need to upgrade to El Capitan (10.11) first. If you don’t have broadband access, you can upgrade your Mac at any Apple Store.

OS X 10.9 or later

4GB of memory

12.5GB of available storage (OS X El Capitan 10.11.5 or later)*

Some features require an Apple ID; terms apply.

Some features require a compatible internet service provider; fees may apply.

For details about your Mac model, click the Apple icon at the top left of your screen and choose About This Mac. These Mac models are compatible with macOS Catalina:

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Force Touch gestures require a Force Touch trackpad.

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Audio calls require a microphone (built-in or external) and broadband internet connection.

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High Dynamic Range (HDR) video playback is supported by the following Mac models:

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Supported by the following Mac models:

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Instant Hotspot

Requires an iPhone or iPad with cellular connectivity, a Lightning connector, and iOS 8.1 or later. Requires Personal Hotspot service through your carrier.

Universal Clipboard

Requires an iPhone or iPad with a Lightning connector and iOS 10 or later.

Auto Unlock

Supported by Mac models introduced in mid 2013 or later.

Requires an Apple Watch with watchOS 3 or later or an iPhone 5 or later.

Approve with Apple Watch

Supported by Mac models introduced in mid 2013 or later.

Requires an Apple Watch with watchOS 6 or later or an iPhone 6s or later with iOS 13.

Apple Pay on the Web

Requires MacBook Pro with Touch Bar, an iPhone 6 or later with iOS 10 or later, or an Apple Watch with watchOS 3 or later.

Phone Calling

Requires an iPhone with iOS 8 or later and an activated carrier plan.

SMS

Requires an iPhone with iOS 8.1 or later and an activated carrier plan.

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Requires an iPhone with iOS 12 or later and a configured Home app.

AirDrop

AirDrop to iOS and iPadOS devices requires an iPhone or iPad with a Lightning connector and iOS 7 or later.

AirPlay

AirPlay Mirroring requires an Apple TV (2nd generation or later).

AirPlay for web video requires an Apple TV (2nd generation or later).

Peer-to-peer AirPlay requires a Mac (2012 or later) and an Apple TV (3rd generation rev A, model A1469 or later) with Apple TV software 7.0 or later.

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Power Nap

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Supports OS X 10.7 or later and Windows 7 or later.

App Store

Available only to persons age 13 or older in the U.S. and many other countries and regions.

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[beatriceinmessina]

TV Shows and Films with the ‘Terror’ Cast (Part One?)

These are just some shows and films featuring cast members of The Terror in roles of various sizes I’ve seen and enjoyed.  I thought I’d recommend some here, if you ever want to see the roles they’ve played where they’re not all dying horribly.  And, you know, they’re all great actors, so who doesn’t want to see more of their work?  In no particular order:

- Chernobyl (2019 TV miniseries, on HBO Now, HBO Go, and Hulu and Amazon Prime with HBO add-on/free trial) (Jared Harris as Valery Legasov and Adam Nagaitis as Vasily Ignatenko).  Jared Harris plays one of the three co-protagonists in this series, and he’s playing the one guy who no one will listen to in a historical disaster again.  But really, there’s a reason he was nominated for an Emmy for this, and I could have been knocked over with a feather watching Adam Nagaitis as the firefighter Ignatenko; not only does he look at least ten years younger without a beard, his character here is basically the opposite of Hickey, and he kills it.  I tell you, the men have the most wonderful range.  And it’s an excellent series regardless with many, many good points to make (and unfortunately, I think it’s getting more and more relevant given our current pandemic).

- Deadwater Fell (2020 TV miniseries, on Amazon Prime with an Acorn TV free trial) (Matthew McNulty as Steve Campbell).  This is a four-part miniseries with a truly fantastic cast: David Tennant, Anna Madeley, Matthew McNulty, and Cush Jumbo play a pair of couples in a Scottish village who are all deeply affected by a local tragedy-turned-murder mystery.  I won’t spoil it much more, but if you watched The Terror and wished you could see Little be happy for more than two minutes, this might be the closest you can get -- at least in the first episode.  After that Matthew McNulty is in top form playing yet another heartbreakingly emotional hot mess, but this time he gets some emotional support!  Yay!  The mystery is great and the way the characters are written makes them feel very real, which makes one feel for them all the more.  I would say to watch it if you want see tragedy dealt with in a very human, very mature manner.

- To Walk Invisible (2016 TV film, on Amazon Prime as a two-part miniseries) (Adam Nagaitis as Branwell Brontë and David Walmsley as Joseph Bentley Leyland).  Speaking of hot messes (not the film, I swear)... The main focus of this film is the Brontë siblings -- Charlotte, Emily, Anne, and Branwell -- and their lives in the mid-to-late 1840s (it spans about 1845 to 1848).  As Charlotte, Emily, and Anne begin to get their poetry and novels published and thus find a means of supporting themselves, their brother Branwell descends further and further into alcoholism.  Adam Nagaitis’s performance is part infuriating, part heartbreaking; there’s something very realistic in the way his family wants to help him, but he’s also just a very toxic person and they’re so close to throwing up their hands.  (And for what it’s worth, just from reading his Wikipedia page, it seems that the portrayal of him in the film is quite realistic.)  The rest of the cast is excellent as well -- Chloe Pirrie in particular stands out as an introverted and fiery Emily who takes precisely no bullshit from anyone in her family.  David Walmsley also has a small role as the sculptor Joseph Bentley Leyland, who was friend with Branwell in real life, and they have a scene together.  Once I realized just who was playing Leyland I nearly screamed for joy and made far too many horrible cannibalism jokes.  It’s even set in 1846; talk about a coincidence!  

[eirian-houpe]

Tuesday - Chapter 1

Fandom: Once Upon a Time (TV), Stargate Universe

Rating: Explicit

Warnings: Creator Chose Not To Use Archive Warnings

Relationships: Belle (Once Upon a Time)/Nicholas Rush

Characters: Nicholas Rush, Gloria Rush, Belle (Once Upon a Time), unnamed OC

Additional Tags: going round in circles, Time Travel, Alternate Universe, Angst, Eventual Smut, Emotional Hurt/Comfort

Summary: When you go poking around in time, you might sometimes find that it pushes back, as Nick Rush finds out… the hard way.

This was written for the October 2020 Monthly Rumbelling fic using the moodboard, though a later chapter will use the non-smut prompt, (albeit in a smutty chapter), and that's why the title of the story is as it is.

Also, this fic uses some of the events in with Given No Choice, although it is not a remix.

Read on AO3

Chapter 1 - Did You Find What You Were Looking For?

He could barely see for the driving rain, even with the windshield wipers flashing full tilt back and forth in front of his face. He was tired… so tired; like a man that had lived a hundred hundred years in a single lifetime.

The thought hit Nicholas Rush with the force of an exploding neutron star, and in spite of the danger of it, he slammed on the brakes, fighting the car to keep to his lane as the rain-slick tires lost grip, and eventually had their way, slamming into the side of the road to bury the hood in the bottom half of a thick hedge as the front wheels dove into a hidden ditch beneath.

“Fuck!” Rush hissed, but it came out more like ‘Fuuuuh’ as the seat belt tightened against his chest and drove out all the air from his lungs. In frustration, he slammed the palms of both hands against the steering wheel. The car had stalled of course, and despite his best efforts he could not get it to restart, but it was probably moot anyway. Front wheel drive meant he’d have no traction to pull himself out of the ditch. No. There was only one thing to do. Call for help.

A string of very colorful expletives escaped his mouth as he pulled out his cell phone and discovered he had no signal. No fucking signal. A man that had - or maybe that should be ‘would’ communicate over vast distances, across galaxies, brought low by the lack of a cell phone signal.

With a sigh, he stuffed the offending article back into his jeans pocket, and reached in back of the car for his jacket, struggling to pull it on after unfastening the seat belt, before grabbing his things from the front passenger seat and then opening up the door.

A gust of wind blew a torrent of rain into his face, and he spluttered as he stepped out of the car. The ground under foot was all mud and water, and after he slammed the car door, he hurried to get firmer footing on the black top.

He had no idea where he was, or which direction he needed to go, but he knew that he hadn’t recently passed anywhere that looked as though it had a phone he could use, so he decided that walking in the direction he’d been driving was the smart thing to do.

He was soaked within seconds, but what choice did he have? There was no guarantee that anyone would have come along - and if they were in their right mind nobody would be driving in this kind of weather. Which made him a fool.

He lost track of time, cursing with almost every step before a golden glitter of light sparkled off the falling rain; a cottage up ahead. Breathing a sigh of relief, he picked up the pace, and headed for the door.

At the first knock, he began to hear movement from inside, so he tried to wait as patiently as he could, but the cold trickle that caressed his spine beneath his sodden jacket and soaked shirt - hell, even his undershirt was sticking to him as though he were a contestant in a Miss Wet T-shirt competition - tried his patience past the limit, and he lifted his hand to knock again.

The door was opened by a small brunette, who had a shocking white stripe descending from one temple. His belly tugged at him, sending the smallest of waves lower, to center in his groin, and he covered the sensation with an apologetic cough.

“I erm… I wonder if you have a phone I could use?” he began as the blue eyes looked him up and down. “I had a wee accident further down the road and—”

She gave him a tight smile, that for some reason cut him off mid explanation, and then she stood aside.

“Why don’t you come inside,” she suggested. “I’ll find you some towels.  Can’t have you standing there wet through, you’ll catch your death.” And then, as though it were the most natural thing in the world for her to say, added, “There’s a fire lit, if you want to get warm.”

He frowned slight. Her familiarity pulled at him, like and itch he couldn’t scratch, or a word on the tip of his tongue.

“Thank you,” he said absently, and started to follow the sound of the crackling wood that beckoned, warm and inviting, as was the faint aroma of cinnamon he smelled with every breath.

“Did you find what you were looking for?”

The question stopped him cold, and he turned back to look at the woman again. “I’m sorry, do I know you?” he ask, his tone bordering on cold suspicion.

The homeowner smiled sadly. “No, clearly not,” she said. “But you did… or you will… or…”

**

Many Years Earlier.

Nicholas Rush shuddered, taking a huge, uncomfortable breath as the stasis field faded, then blinked out and he slumped against the perspex door that began to lift away, rising to deposit him on the cold of the deck; his shallow breath fogged in the frigid air.

Coughing, shivering, Rush rolled onto his back, forcing his eyes open and searching through the blurred vision for something, anything, that might get him out of the deadly nature of his situation. He spotted the lone EVA suit against the glass of the last closed and functioning stasis chamber.

He reached with a hand that was fast becoming numb, grasped the ridge of the wall and began to drag himself toward it.

“No, no, no, no, no, no, no,” he said as though the word were the chattering of his teeth. “Not like this… not again…”

He grimaced, his fingers aching by the time he reached the stasis chamber, wondering for a moment if he should just climb back inside, but no, he’d tried that… didn’t work out so well. Destiny didn’t like him playing games with her; didn’t like him ignoring her. She wanted the slingshot - albeit for different reasons than his own, but… what she wanted, she made sure she received.

Bone weary, he activated the chamber door, somehow finding the strength to pull himself up, grab the EVA suit, and begin to pull it on.  This time he’d get it right. This time he would succeed.

**

“So uh…” Rush blinked, and stopped mid sentence. Strange, he would have sworn this wasn’t where he was a moment earlier. Moreover, it was important he remembered, and not only that, but remembered why.  He rand a hand over his face, and glanced down at his lecture notes. He felt suddenly hot. Quite unwell as a matter of fact.

“Doctor Rush?” a quiet accented voice, full of concern called out from the belly of the lecture hall. He knew that accent, knew it intimately, just… not here, at least… not now. “Are you all right?”

He pulled off his glasses and walked around to the front of the desk on the dais, perching on the edge of it, feeling somehow grounded by the hard wood drawing a line across his buttocks.

“Quite all right, thank you, Miss French.” He glanced back over his shoulder as he spoke to the chalk board that was almost completely covered in arcane equations - or at least so it looked. “I simply distracted myself with a part of the equations there.” He folded his arms. “So, what was I saying?”

He looked elsewhere for the answer, a suitably willing young sacrifice in the front row said, “You were explaining the concept of using a slingshot around a star at approaching faster than light speeds as a way to affect time.”

“Aaaah, yes,” he drew out the words sagely, and all the while his stomach flipped painfully, one hand slipping into his pocket for his phone. “The age old question. However, FTL propulsion is still theoretical.” He held out the nub end of a piece of chalk to the young man, and challenged. “Board 3. Care to come and solve it for us?”

**

The lecture had been eternal, or so it seemed to Rush, far too long for his comfort. He needed to speak to Gloria, needed to call her, to tell her something important, but with each passing moment, fear mounted that he was forgetting the point - the what, and the why.

In the hallway as he walked to his office, he pulled out his phone again, hitting the number one on his speed dial and listened as his house phone rang and rang, long beyond what he would expect; what he would hope.

“Doctor Rush!”

He closed his eyes, and getting no answer from home, disconnected the call. He let out a long, slow breath, and turned to face the enthusiastic young woman that was threading her way through the crowded hallways as quickly as she could, and muttering numerous apologies to those she bumped along the way.

“Miss French,” he said overly patiently. “I know you’re well aware of my office hours so—”

“This couldn’t wait,” she insisted, “It’s important. I have to tell you—”

The ringing of his cell phone interrupted, and he held up a finger. “I’m sorry, but it will have to wait. I have to take this call.”

“You can’t!” she tugged on his arm, as if she were trying to stop him from lifting the phone to his ear. “You mustn’t take it. You won’t—”

“Miss French!” he caught her hand and pushed it away from him. “What the bloody hell has gotten into you!”

Instead of waiting for an answer, he opened the nearest door, uncaring whose office or seminar room he was bursting into and finally connected the call.

”Nick, I’m sorry, I was playing and I didn’t hear the phone.”

He couldn’t help but smile, though a part of him wondered why he had called her in the first place.

”Are you going to be late again?”

There was no accusatory tone in her voice, though the question could have been construed in such a way. Just the light query of a woman that knew her husband well and appreciated that he bothered to call and tell her anyway. That was Gloria; the way she was. It was why he loved her.

”Is everything all right?”

Startled out of his thoughts by her question he found himself out of sync, answering all wrong, though the part of his mind that had yet to fall completely into place reminded him how ironic that was.

“No. No, that is… I mean…” A humorless, almost embarrassed little chuckle escaped him and he started over. “Everything’s fine, and no, I’m not going to be late, I just…” he stopped again, trailing off. He couldn’t remember why he’d called, not for the life of him, no matter how hard he’d tried. A silence grew between them until Gloria broke it.

”Actually I’m glad you called. There was a man… a general - Air Force pretty sure that’s what he said - and… and a Doctor. PhD of some sort. They came calling; looking for you. Um… O’Neill and… Jackson, I think they said. I told them to try the university. I hope I did the right thing.”

He frowned again, reached for the door and stepped back out into the hallway, safe now that it seemed young Miss French had moved on. He headed for his office, still trying to think of why he’d called.

“No, no,” he assured her, “you did the right thing. If they show up here, I’ll see what they want. Gloria…?”

Don’t ignore it. Don’t wait, go and see someone now. We have a chance to beat this. I can stay and you—

Her voice pulled him back again.

”Nick?”

None of the words would come. He could hear them; feel them, almost taste them in his mouth the way he would a strong cup of coffee or a good whiskey. If he could just open his mouth to speak; to tell her everything and end this nightmare…

“Just… wanted to call; to hear your voice. I love you.”

They were waiting in his office, just as Gloria had told him… just as the far distant memory - another lifetime, another reality showed him they had been. Jackson was smiling and holding out a hand to greet him the moment he opened the door, the other man remained silent as only someone with military bearing ever could; awaiting his turn to announce the Stargate Program, and The Icarus Project.

[vanessakirbyfans]

After breaking out in Netflix’s hit global series and stealing scenes in 'Mission:  Impossible' and 'Hobbs & Shaw,' the British actresses about to display her range with frontier romance 'The World to Come' and gut-wrenching drama 'Pieces of a Woman.'

Vanessa Kirby was two days away from shooting Mission: Impossible 7 in Venice — reprising her role as the glamorous gunrunner known as the White Widow — when Paramount halted production. It was late February, and Italy had just recorded Europe’s then-worst outbreak of the novel coronavirus, at the time not officially labeled a pandemic. Tom Cruise’s billion-dollar blockbuster franchise had become the first major Hollywood casualty.

Seven months on, and with the film industry appearing irreversibly changed, Kirby is preparing her return to Venice. But it’s not for Mission: Impossible (she starts shooting that later in September). With The World to Come and Pieces of a Woman, filmed almost back-to-back in late 2019 and early 2020, the British star, 32, has the rare honor of having two films compete against each other in the Biennale, the first A-list film festival to physically take place since cinemas — and much beyond — shut their doors.

Appearing alongside Katherine Waterston and Casey Affleck in The World to Come — a frontier romance set against the rugged and patriarchal terrain of the mid-19th century American Northeast — Kirby plays flame-haired Tallie, who sparks an intense and liberating affair with a farmer’s wife, played by Waterston.

But it’s Pieces of a Woman — also heading to Toronto — and her quietly powerful and gut-wrenching turn as Martha, a woman dealing with towering loss after a home birth that goes wrong (shot in one hugely impressive yet frequently hard-to-watch half-hour take), that marks yet another new chapter for the actress, who already has condensed what many would consider a lifetime’s worth of career milestones into just a few years. A critics’ favorite on the British stage; Emmy-nominated and BAFTA-winning for her global screen breakout as Princess Margaret in the opening seasons of Netflix’s smash hit The Crown; part of two of the biggest action franchises around (she also appeared in Fast & Furious spinoff Hobbs & Shaw last year); and, for her next act, independent cinema’s newest leading lady.

Even before the reviews come in, Pieces of a Woman — also starring Shia LaBeouf, Ellen Burstyn and Sarah Snook — has found a fan in Martin Scorsese, who recently came aboard as executive producer.

“I haven’t stopped smiling,” says Kirby, speaking from the south London home she shares with her sister Juliet (a theatrical agent) and two close friends. “It’s such a mind-blowing thing.”

The actress was originally shown the script in L.A. by filmmaking couple Sam and Ashley Levinson (Ashley is producing the film for Bron Studios). Within 24 hours, she'd jumped on a plane to London, then Budapest, to meet director Kornél Mundruczó. “You know when you’re supposed to do something. ... It felt so right,” she says. “I wanted to show up and tell Kornél face-to-face how much I loved it and how much it touched me.”

Mundruczó, a Cannes regular who won the top prize in the 2014 Un Certain Regard sidebar for White God, also was taking something of a career leap, Pieces of a Woman marking his first English-language feature. But he found the right partner with whom to “take the big risk together,” likening Kirby to his favorite screen siren, Catherine Deneuve. “She’s someone who can express emotion for the unseen, and that’s very difficult,” he says. The World to Come director Mona Fastvold is equally praising of her star, describing her as an actor “who can truly disarm us” and their work together “one of most fulfilling creative partnerships I've had so far.”

Kirby, who cites Gena Rowlands as her cinematic idol (she has a photo from Rowlands’ 1980 drama Gloria in her room), says she had been “biding her time” waiting for such an opportunity: “I felt ready to lead a movie for a long time, but to actually do it was such a gift. Now that I’ve done it, it feels like a new stage for me.”

While there were few thespian genes in her family (her father is a top prostrate surgeon and her mother once edited Country Living), an 11-year-old Kirby caught the bug after watching a production of Chekhov’s The Cherry Orchard. “I suddenly realized the power of telling these stories is that they can make you feel differently about yourself when you leave,” she says. “And I think that’s always been a goal for me since.”

Countless school plays — including an all-girl Hamlet (Kirby as Gertrude) — would follow, continuing on into college, where spare periods and evenings would be spent relentlessly rehearsing and putting on shows with friends (including Alice Birch, who recently adapted Normal People for TV). Audience numbers didn’t matter – several struggled to make it through a four-hour Eugene O’Neill adaptation, while there were definite walkouts when a group of them took Shakespeare's Julius Caesar to Edinburgh (“Why would you take Julius Caesar to a comedy festival?” she laughs).

It was all for the discovery, experience and thrill, which is why — just a few years later — when Kirby received her first paycheck, having picked up an agent and signed on for her first three professional productions, it felt strange.

“I still have the vision in my mind of holding that white paper and being like, why are you paying me? Someone’s paying me for this? Because I’ve done it so much.”

Performances of As You Like It, Edward II and A Streetcar Named Desire and collaborations with directors like Benedict Andrews would quickly establish Kirby as one of the U.K.’s hottest stage talents in the early 2010s. But by this point, screen had already come calling. BBC drama The Hour — a small part as a troubled young aristocrat alongside a pre-Bond Ben Whishaw — was her TV debut in 2011, landing four years before being cast in her most famous role to date.

The Crown creator Peter Morgan recalls going “rogue” when he chose Kirby, overruling the other show execs’ preferred choice for Princess Margaret. She had turned up to the audition looking like what he describes as a “catastrophic mess”; fake tan smeared haphazardly on her shins and hands stained orange (she’d forgotten to wash them after applying the tan).

“But she had an electrifying presence. ... You realized you were in the company of a rare and special talent,” he says, adding that her chaotic appearance plus visible nerves evoked the essential vulnerability he was looking for. “It was very Annie Hall.”

Subsequent screen tests — and the public reaction — confirmed what Morgan first saw, that Kirby was a “high-impact booking,” much like the royal she was taking on. “There was no room in which you were not conscious that Princess Margaret was there.”

To craft her Margaret, in which Kirby laid the largely unknown foundations that would support the royal’s more brash and defiant public persona in later life, she absorbed everything she could, seeking out footage where the princess thought cameras had stopped rolling, plastering her walls in photos and even listening to her favorite music on repeat (including a version of “Scotland the Brave” played on the bagpipes, much to her housemates' dismay).

“It was so exciting to play someone that was so complicated and so conflicted, who was really struggling with a sense of who she was,” she says. “But I also had to chart this journey carefully, across 20 years of a person's life, and try to make it believable and also set her up for the rest of the seasons that were coming.”

Mission: Impossible came off the back of The Crown, sometime in the middle of season two. “I think Tom had watched it, because he watches everything,” says Kirby, who was surprised to be warmly welcomed into the “Mission Family” during her first meeting with Cruise and director Christopher McQuarrie. “On my way home I rang my agent going, ‘I think I got the job, I’m not sure.’”

Hobbs & Shaw arrived via another route, Kirby approached by creative duo David Leitch and Kelly McCormick after she led a 2018 summer run of August Strindberg’s Miss Julie at the National Theatre.

While different adrenaline-fuelled vehicles, Kirby used both blockbusters to creatively “subvert” the usual expectations for female characters in action films, particularly within the typically masculine Fast & Furious world. “I was like, I don’t want to have to be saved ever, I don’t want to have to wear anything compromising, I want her to have her own emotional journey.” Her efforts were rewarded when a journalist wrote that Hattie — Kirby’s fearless MI6 operative in Hobbs & Shaw — had been her son’s favorite character. “How cool is that?” (She found the writer’s email to thank her).

As Kirby waits to start on Mission: Impossible 7 (and also 8 — she says the White Widow will likely “float in and out” of upcoming storylines), and for audiences in Venice and Toronto to see her first lead role, this philosophy is set to continue into what could be yet another career progression.

Alongside a daily film club with her housemates (with titles ranging from a list she found of the Dardenne Brothers’ favourite films to the cult so-bad-it’s-good hit The Room), Kirby has also used the months of lockdown to consider her next creative step and dream: setting up her own production company.

“I feel so excited by the thought that there’s so many female stories that haven’t been told. And so many that have examined the psychology of a man in a particular situation, but not the woman,” she says. “I feel like there’s so much opportunity for that and that we do actually have a responsibility. Changing that space is very important to me.”