#also thanks to bella for giving me the inspo this is for you <3

[rubiia]

floch went from "fuck eren jaeger 😠" to "fuck eren jaeger 😳"

[rainydawgradioblog]

a covidsation with mary claire

For the first Covidsation for autumn quarter, here is an interview I did back in May with Mary Claire, my dear friend and one of my favorite local artists. Mary Claire is a singer-songwriter based here in Seattle who makes “sad girl rock” (see: Mitski, Angel Olsen, etc.). I first met them through the DIY scene and was lucky enough to book them at the finale Red Room show, a house venue I used to live at and help run. As evidenced by the picture below taken that very night, seeing Mary Claire play live is a magical, mesmerizing, captivating experience. Often accompanied with minimal, but tonally-rich instrumentals, their powerful and hauntingly stunning voice paired with visceral, poetic lyrics transport you into another realm. I *highly* recommend listening to their album Phantom Limb, which you can find on your streaming platform of choice or you can snag a physical copy at Everyday Music on the Hill like I did! Last month, they also just released an incredible stop-motion music video for their song off PL called “I Don’t Like Drinking”, directed, edited, and animated by Barb Hoffman, which you can find here! Thank you Mary Claire for these thoughtful responses and for creating such vulnerable, beautiful art <3

Lola Gil: Tell me about your project. How has it evolved? Which artists are you most inspired by? How would you describe your sound?

Mary Claire: Hi hi I’m Mary Claire. I was never someone who was playing music since they were a little kiddo, it was something I picked up my senior year of high school. But pretty much everyone in my family has some amazing and weirdly specific aptitude for music, so I think being surrounded by that kind of allowed me to gather an eclectic, personal understanding, appreciation, and internalized feeling for music, so I never really took lessons or anything like that. I enjoyed and still enjoy that from the start, I was okay with the fact that I didn’t know “academic” theory and I just played with what feels and sounds right. And I still do that. So I played around with all those youthful punk feelings and had an angsty band in high school that was not bad for small town Sacramento. I think I learned so much from that and it gave me a flood of unhindered and unhinged confidence for recording, performing, maneuvering stage mechanics and technicalities, etc. Also it introduced me into the world of songwriting that I did for that band and for myself that just immediately poured out of me, which led me to what I’m doing now. I am extremely lyrically-focused and write mostly about lived personal experience that I surrender to and make extremely overly-wordy. I went from a solo act, to a bigger full piece crunchier band, to me and a piano player, back to a solo set, so I’m really just kind of evolving with my resources, the songs I’m currently living in and playing, and with what would bring everything to life most fully. 

I’m inspired by everyone, even if I don’t necessarily sound like them or listen to them all the time. Like, my adoration for incredibly angry punk music is what got me started in the creation of my own music, so that foundation will never leave me. Even though I won’t sound like IDLES or Shame or Pissed Jeans, their point of view and their devotion to cramming so many words into one breath is a place I also come from. We execute similar feelings in different ways. And though I currently am not anything like Yves Tumor, King Krule, or FKA Twigs, the layers in their stuff sends me so far. But I think lyrically and melodically, I pull inspiration from and sink most into Mitski, Sasami, Angel Olsen, Palehound, Big Thief, Bella Porter, Darci Phenix, Fiona Apple, Sufjan Stevens, Izumi, and Weyes Blood. 

Someone once said my tunes are “sad girl rock” and I think that sticks in a fun, quick way, so that’s what I tell people. But more recently, the stuff on my upcoming album I think is like a sad, fucked up, incredibly fast-paced nursery rhyme book (lol). I’m really excited for this album I wrote, more than anything ever. Also my good friend and twin flame Francis is helping me record it and is giving me a lot of knowledge and challenges and affirmations and inspiration. I owe a lot of this second album’s production and complexity him. There are a lot more people involved in the recording of this one, so it’s a lot fuller in a new and exciting and scary way.

LG: As an artist, how have you been affected by the pandemic? I saw most of your tour you had booked was unfortunately cancelled-- are you planning on rescheduling?

MC: Rescheduling feels so completely beyond me right now, so I am just considering it to be cancelled until things in the world really start to settle down to some degree of safety and responsibility. However, the silver lining in all of this ‘rona stuff is that it has given me a ton of time to recenter myself with my music and devote my own energy into recording and feeling the core of my upcoming album. I think when the world is moving so fast, it’s easy for me to feel like I’m behind, like other people are getting shit done faster and in a more “impressive way”, in a way that matters more or has more inherent value. So when we are all forced to stay at home with ourselves, not only does it remind me that all of those insecurities are completely not real and are in fact a delusion borne from a capitalistic-productivity-equals-artistic-worth-framework, but I also get time to actually enjoy and fine tune what I otherwise might have just thrown out into the ether desperately and prematurely in hopes to be current and up to date and ~with it~.

LG: Have you been working on writing any new tunes? Have you been involved in any other creative projects recently?

MC: When I was recording Phantom Limb, I wrote the majority of my next upcoming album, so while those songs don’t feel incredibly new, there is a ton of stuff I have yet to share and that I am so eager to scream to the world. It feels like some of the stuff I am most proud of making in my entire life. 

But since I left for Berlin to study abroad last fall to when I came back to Seattle this January, I really hadn’t written anything new. I think I had been going through a lot of personal and immense change and hard growth that wasn’t particularly inspiring, it just sucked and was intense and necessary, but sometimes all that bad stuff is not something you can just make art out of. Plus I had to just do something totally different and invest and surrender to techno and being a gross city Eurotrash gremlin and let that out cathartically. But recently, I wrote my first super new song in what feels like ages, and I’m so happy. I was afraid maybe I’d forgotten how to do it, but it’s pouring out of me again and I feel like me again. I have also been working a bit back and forth with a friend from the project World Peace. We just keep sending clips back and forth and weaving our separate projects together a bit, which is something I’ve never done and I’m having a ton of fun, especially because our music is so different. Besides that, I have some plans to work with another good friend Izumi after having adored them the moment I moved here. 

LG: How have you personally been dealing with the pandemic and the craziness that is 2020? What has your quarantine experience been like so far?

MC: I went home to Sacramento for a month and watched more TV than I had probably in my entire life. It was really good to see my family and siblings who I miss so much. But I came back to Seattle in April and since then have just been spending my days in a limbo of online school weirdness. But I’m so fortunate that I live with so many people who are all so unique, all of whom I feel are my best friends. So I definitely don’t get too bored:)

LG: What music have you been listening to during quarantine? What has been your go-to isolation album?

MC: Okay to be honest, when I begin to think of my next album and what it feels like inside of me, I make one single playlist with like hours and hours of songs on it and it’s the only thing I listen to for like a year. So I’m prone to listening to the same stuff perpetually forever and always, but I think I’ve always sort of been like that. It makes the feeling familiar. But since I’ve felt close to the sounds of my upcoming album for a long while now, I’ve actually pretty much been listening to what is my ~album 3~ inspo playlist, because I already feel that beast growing inside of me. I’m a planner. 

Most of the artists on those playlists are the ones I listed above in regards to who I feel are my biggest inspirations. But right when quarantine started though I would pretty much only play Man Alive!, I would just go through the whole thing and then restart immediately. When I was in Sacramento, my family had a rule I could only play it with headphones because it was literally nonstop, that’s just how I consume things; I take a bath in them until I feel every single part of what was made. But other than that, I’ve been bumping Peter Campanelli’s Pesto Baby and crying a lot about it, Darci Phenix’s (my best bud from Sac) Juniper Street which is some of the best songwriting literally ever, and Francis Farmer’s Bruised Fruit which is SO expertly recorded and thought out, I am so lucky he is my friend and wants to record my upcoming album with me.

LG: Arethere any spring shows that you were particularly looking forward to attending that got cancelled?

MC: Pretty much all of them imaginable. 

LG: How do you think the Seattle music scene is going to be like post-COVID?

MC: Hopefully, this can recenter us and remind us we’re all really really and truly in this together. It’s up to us to lift each other up and get each other on bills and spread the word and create community for those who need it most and for those whose lives rely on this art. Seattle seems like it is really good at that on a small scale, but once it gets to a little bit larger stage, it’s easy for people to forget where they came from, who supported them, and what should be at the forefront of our radars. I think shedding this cool guy persona and getting back to why this shit is so important and listening to/PROMOTING smaller artists who are making The Best stuff is something everyone could be reminded to do. 

LG: In this funky era of social distancing, how do you think artists can support each other during these weird and difficult times? How do you think social media is facilitating and/or inhibiting connection within Seattle’s overall creative community?

MC: I think people’s ability to make what seemed like such an immediate switch to social media music promotion and shows was really amazing. However, it makes me feel a bit hopeless and dystopian and sci-fi in a weird way. That being said, trying to resist the change has only proven to be detrimental to me and kind has come back to kick me in the ass. Like, I should not be turning down opportunities just because livestreams kind of freak me out in how foreign and disconnected they can appear to be. I’m no better than them, and it’s important I think to accept things where they’re at instead of pretending they’re not happening. 

That being said, I think everyone has been maneuvering with such grace and empathy and compassion for others in a way that I can really feel, and I hope that sticks around forever. 

- Lola Gil

[amphtaminedreams]

Tommy Hilfiger x Zendaya Inspired Outfits: Lookbook no.6

Hi to anyone reading,

This post is part a Zendaya Maree Stoermer Coleman appreaciation post (yes, we getting back into that 2013 stan twitter lingo of always unnecessarily stating full names) and part me trying my hand at her interpretation of probably my all time favourite decade for fashion inspiration, the 70s. 

As much as I’m in love with her portrayal of Rue Bennett on Euphoria and her and Labrinth’s All for Love and could also probably write a whole post about that alone *deep breath*, I’m here to talk about what originally drew me to Zendaya (aside from her Oscar-worthy performance as Rocky Blue on Shake it Up where she had to act like she and Bella Thorne liked each other) : HER STYLE. Her looks a collaborative effort between her and stylist, Law Roach, I have never once seen any photo of Zendaya where she’s anything less than exquisitely put together, thus it should’ve come as no surprise when she teamed up with Tommy Hilfiger to put on one of the coolest shows of Paris Fashion Week in February this year. 

-ZENDAYA’S BEST STREET STYLE/RED CARPET MOMENTS-

Whilst the collaborations with Tommy Hilfiger haven’t necessarily been the most visually groundbreaking or daring, for me personally they really hit the sweet spot between the bohemian aesthetic and a rock and roll edge, especially in the latest collection. For a celebrity collaboration, the line feels unusually authentic and the clear direction and overall cohesiveness showcases Zendaya’s ability to convey a distinctive mood. Also, it’s WEARABLE. So many of the outfits you see go down the runway only appear to cater to that tall, washed out, willowy type, who are gorgeous too, don’t get me wrong, but...well, they’ve had their time, haven’t they? These are the kinds of clothes everyone can feel beautiful in and that’s so, so important.

-ZENDAYA WEARING THE COLLECTION-

The first collection, debuting in February of this year at Paris Fashion Week, went the disco route and was the best thing Tommy Hilfiger has done in a while. Everything from the set to the models to the music was so fucking FUN and you could tell how much love and passion went into planning the show. I had so many favourite looks:

And I honestly think I might have liked the recent collection even more. With a slightly biker chic element to it, the leather look pieces and the jewell tones, I think this one has a grungier feel to it that the previous collection lacked, in terms of catering to my personal preference, that is; yes, catering to me, random girl on the internet they’ve never met before was definitely Zendaya and Tommy’s intention. Why wouldn’t it be?

Again, it’s not something that’s never been done before but the collection is fresh in a different way, almost like the individual makes the clothes what they are and not vice versa. I doubt any fashion show is so laxly organised as to let the models style themselves backstage but that’s the feeling you get when you’re watching the runway. 

Like I said, this collection is definitely slightly darker and grungier than the first but in a way that it gives me Stevie Nicks joins a biker gang but then decides to leave that behind to become the editor of a fashion magazine vibes (that was a TRIP) and what’s not to like about that? I want all of it, from the waistcoats, to the wide brim hats, to the houndstooth, to the snake print, to the shearling. 

There’s just one problem in that at the time of first seeing the collection I was still in the middle of a self-enforced shopping dry spell, and also, more pressingly, broke af. To be fair, Tommy Hilfiger is one of the more affordable designer brands but still not affordable enough that I can afford to spend over £100 on a bodysuit, ya feel? So instead, I looked through what I already had and used the runway looks from the collection to try and put my own spin on things, incorporating the key shapes, colours, patterns and accessories that make the line, imo, so distinctive.

-KEY FEATURES OF THE TOMMY X ZENDAYA LINES-

1. Flares: If you really want your outfit to give off a 70s vibe, flares are probably the easiest way to do it. Even if you’re not feeling particularly adventurous with prints, plain ones are still super flattering, imo!

2. Wide Brim Hats: Not exactly a hard one for me to incorporate as they're probably my favourite way to tie together an outfit anyway, but the ultra wide brim, witchy-looking ones seen in the second collection are perfect for autumn and winter AND cost-efficient because they can double as part of a low-effort slutty witch Halloween costume. We love a multi-purpose accessory.

3. Psychedelic Prints: More of a staple of the first collaboration but bold, trippy prints are so easy to make into a look. It’s definitely easier to incorporate these kind of prints into your wardrobe in the summer (there’s nothing cuter than a wacky two piece with some subtle jewellery), but if you go for a piece with a richer, deeper colour palette you’ve got yourself a fab Christmas party outfit.

4. Turtlenecks: Showing why the turtleneck has so much style potential, Zendaya’s collections were a masterclass in how to layer. I can’t believe there was a time in my life when I thought turtle necks were the ugliest thing ever. I am ashamed. Though I blame this cursed face-swap image of Monica and Chandler from friends for putting me off:

I also found this haunting image in the process of searching for the one above:

Is this what they mean when they talk about the dark web? Truly scarring.

5. Snake Print: Not gonna lie, the animal print thing has kinda been done to death and I wasn’t super excited about seeing it on the runway but when it’s reworked through a more maximalist lens (ie. the matching snake print coat and trousers) it still works for me. I think they key in keeping it fresh is more luxurious, textured animal print paired with clothing you wouldn’t necessarily expect to see it with. Basically, animal print mini dress? Boring. Animal print flares? I’m down. 

6. Faux Leather: I say faux leather even though unfortunately it’s usually real leather that gets used on the runway (because nothing shows luxury like wearing a dead animal’s skin purely for vanity, right?), but regardless, some of my favourite pieces in both collections were the leather-look coats and blazers. The waistcoat-trouser combination in particular (far left on the bottom row) was probably my favourite look of both collections and though I relentlessly scoured my dad’s wardrobe to see if there was something I could work with to imitate the waistcoat, I came away empty handed:( sad times:(

7. Jewell Tones: The deep maroons of the second Zendaya x Tommy collaboration and the cobalt, emerald green and amethyst splashes in the dresses at the end of the first are, again, perfect Christmas party colours. I know, I know, I keep going on about Christmas parties but any excuse to drink, lol.

8. Scarfs: Skinny scarves with a load of gold jewellery are my favourite things at the moment. But we can’t forget the original style icon who did it first:

I love Emma Roberts and Wild Child is a great movie with a load of amazing style inspo, fuck you Rotten Tomatoes.

9. Heeled Boots: Kind of a basic winter staple anyway but it seems the more cowboy-y, the better. We’re talking about those leather look, mid-calf length boots that seem to be everywhere at the moment. Personally, I’m not quite sure if my legs are anywhere long enough to pull them off, but I do think they’re really cute, and very yeehaw. 

10. Bonus features that I forgot to include in my outfits: High Waisted Things! Waistcoats! Pussy-bow shirts! Spots! Velvet! Suits!

-PSA: Don’t ask me about the peace sign. I was trying to do a 70s thing. I failed. Let me flop at my attempts to be cute in peace.-

So, that’s it! Thank you to anybody that read this far! And if you enjoyed this post and you haven’t done already: GO AND WATCH EUPHORIA. It is honestly the best new show I’ve watched in ages and almost makes up for the overwhelming TV-related disappointment of season 8 of Game of Thrones. I mean, not really. I’m still mildly furious. But then again, D&D got cut from their Star Wars deal AND the Stark prequel was cancelled in favour of a Targaryen one so it seems the balance of nature is finally being restored. Clink clink bitch (es).

Lauren x