#audio visual innovations

[geniewithwifi]

Los Angeles Roof Extensions Deck Example of a mid-sized minimalist backyard deck design with a fire pit and a roof extension

[crazydiscostu]

Ferrofluid Speaker (GoGameGeek) - An Immersive Fusion of Sound and Visual Art

Ever wanted your own Venom Symbiote, trapped in glass and reactive to music? I’m being strangely specific because today we are looking at the Ferrofluid Speaker on offer from GoGameGeek. Ferrofluid speakers are becoming increasingly popular in the world of audio and visual technology, offering an engaging fusion of art and sound that transforms how users experience music. Let’s find out…

[neturbizenterprises]

Revolutionize Tech with Multimodal AI!

Multimodal AI is revolutionizing technology by seamlessly combining text, images, and audio to create comprehensive and accurate systems.

This cutting-edge innovation enables AI models to process multiple forms of data simultaneously, paving the way for advanced applications like image recognition through natural language prompts. Imagine an app that can identify the contents of an uploaded image by analyzing both visual data and its accompanying text description.

This integration means more precise and versatile AI capabilities, transforming how we interact with digital content in our daily lives.

Does Leonardo AI, Synthesia AI, or Krater AI, leverage any of these mentioned Multimodal AI's?

Leonardo AI - Multimodal AI:

Leonardo AI is a generative AI tool primarily focused on creating high-quality images, often used in the gaming and creative industries. While it is highly advanced in image generation, it doesn't explicitly leverage a full multimodal AI approach (combining text, images, audio, and video) as seen in platforms like GPT-4 or DALL-E 3. However, it might utilize some text-to-image capabilities, aligning with aspects of multimodal AI.

Synthesia AI - Multimodal AI:

Synthesia AI is a prominent example of a platform that leverages multimodal AI. It allows users to create synthetic videos by combining text and audio with AI-generated avatars. The platform generates videos where the avatar speaks the provided script, demonstrating its multimodal nature by integrating text, speech, and video.

Krater AI - Multimodal AI:

Krater AI focuses on generating art and images, similar to Leonardo AI. While it excels in image generation, it doesn't fully incorporate multimodal AI across different types of media like text, audio, and video. It is more aligned with specialized image generation rather than a broad multimodal approach.

In summary, Synthesia AI is the most prominent of the three in leveraging multimodal AI, as it integrates text, audio, and video. Leonardo AI and Krater AI focus primarily on visual content creation, without the broader multimodal integration.

Visit us at our website: INNOVA7IONS

Video Automatically Created by: Faceless.Video

[innovationlightingbc]

Innovation Lighting

About Us: With a focus on the live events industry, we provide lighting equipment rentals and sales, design and consulting services, as well as full production services with labour and trucking. We are large enough to keep pace with emerging technologies and small enough to care about your event. With some of the most talented lighting designers and professional production personnel in Western Canada, let us help turn your vision into breathtaking reality.

Contact Us:

Phone: (604) 398-2651

Address: 7818 Express St, Burnaby, BC V5A 1T4

Website: https://www.innovationlighting.net/

Facebook: https://web.facebook.com/InnovationLX/

Linkedin: https://www.linkedin.com/company/innovation-lighting/

Instagram: https://www.instagram.com/innovationlighting

Business hour: Monday to Friday 9am–5pm, Saturday and Sunday : Closed

[shivam-video]

From Ordinary to Extraordinary : LED Screen Innovations Elevating Indian Events

The Indian LED screen industry is transforming the landscape of events. From basic backdrops to immersive experiences, LED screens have become essential. Let’s explore the ground-breaking inventions that are influencing Indian events going forward.

Introduction

The evolution of LED screens in India is nothing short of spectacular. From their initial use as simple backdrops, these screens have now become the cornerstone of captivating and immersive experiences at events. With innovations that range from transparent displays to interactive screens and dynamic cubes, the future of Indian events looks brighter and more vibrant than ever. Let’s delve into these exciting developments.

Future of Transparent LED Displays – Discover AIR Series LED

The AIR Series LED Displays are revolutionizing the event scene with their transparency and versatility.

Unmatched Transparency: The natural light, air, and music can flow through these displays as they mix in flawlessly with the surroundings.

Energy Efficiency: Perfect for outdoor venues with limited power supply, these displays consume less energy, making them both eco-friendly and cost-effective.

Lightweight & Compact Design: Easy to transport and install, these screens are a dream for event organizers who need to set up quickly and efficiently.

Safety: Ideal for outdoor and hanging installations, the lightweight nature of these screens ensures they do not obstruct airflow during high wind pressures, making them the safest choice for outdoor shows.

Limitless Creativity: Hybrid CL Series LED Wall

The Hybrid CL Series LED Wall takes creativity to new heights.

Dynamic Formations: These walls allow event organizers to craft stunning visuals with dynamic formations. Whether you need S-shapes, concave or convex displays, this series has you covered with an 80-degree turning angle.

Smooth, Seamless Curves: The self-supporting frame ensures easy setup, providing a smooth, seamless curve that enhances the visual appeal of any event.

With such flexibility, event planners can let their imaginations run wild, creating unique and captivating experiences for their audiences.

Interactive Engagement: 86″ & 98″ Interactive LED Displays

Engagement is key at any event, and these interactive LED displays ensure your audience stays hooked.

Sleek Aesthetics and User-Centric Design: These high-resolution screens deliver crystal-clear visuals, while the responsive multi-touch technology allows for seamless interaction.

Revolutionary Audience Engagement: Whether used for presentations, interactive games, or live polls, these displays bring a new level of engagement to events, making them more interactive and memorable.

Imagine an audience actively participating in a conference or a concert, directly interacting with the content on large, vibrant screens. It’s a game-changer for audience engagement.

LED Cylindrical Pillars: Elevate Your Events and Exhibitions

Introduce a new dimension to your events with LED Cylindrical Pillars.

360-Degree Visuals: These innovative displays offer stunning 360-degree visuals, creating a captivating and immersive experience. These pillars enhance the visual impact of any event, whether used alone or as part of a larger setup.

Sleek, Modern Design: With a minimum diameter of 3 feet, these are the smallest cylindrical rental products available in the market, ensuring they fit perfectly into any venue while adding a touch of modern sophistication.

These pillars are perfect for exhibitions, product launches, or any event where you want to leave a lasting impression on your audience.

LED Cube: Dynamic and Engaging Display Solutions

Elevate your events with bespoke LED cube displays.

Versatile Sizes: These six-sided cubes come in sizes ranging from 500mm to 2000mm per side, providing flexibility to fit any event space.

Flexible Configurations: With options for 3, 4, 5, or 6-sided displays, these cubes can be customized to meet specific event needs.

Pixel Pitch Customization: Crafted for optimal resolution (2.9mm or 3.9mm), these cubes ensure sharp, clear visuals from any angle.

Specialized Structures: Designed for stability and optimal viewing angles, these cubes make a dynamic and engaging addition to any event setup.

Imagine walking into an event where content is displayed on dynamic cubes, capturing attention from all directions. It’s a fresh and engaging way to present information and entertain audiences.

Introducing Kinetic LED

The latest innovation in LED technology is here with Kinetic LED.

Moving LED Panels: These panels can be controlled for both outward and inward motion, giving you full control over how your content is displayed.

Mesmerizing Kinetic Motion: Create eye-catching LED setups that turn heads and leave a lasting impression. This cutting-edge technology is unlike anything seen before, making it a must-have for your next event.

Picture an event where the LED screens themselves move, creating a dynamic and ever-changing backdrop that keeps the audience engaged and intrigued.

Anamorphic LED Displays

Anamorphic LED displays take event visuals to a whole new level.

Sharp Edge to Soft Curve Options: These screens offer a range of options from sharp edges to soft curves, providing versatility for any event.

In-Depth Anamorphic Content: By utilizing in-depth anamorphic content, events can achieve a truly spectacular and immersive experience. These displays are suitable for both indoor and outdoor use, with options ranging from small pitch to high brightness.

These displays are one of the most effective and in-demand marketing tools, offering a larger-than-life visual experience that captivates and engages audiences.

Anamorphic LED Displays

Conclusion

The innovations in LED screens are revolutionizing the Indian event industry, constantly pushing the boundaries of what is possible. From transparent displays and dynamic walls to interactive screens and kinetic panels, the future of events in India looks brighter and more vibrant than ever. These advancements are not just enhancing visual appeal but also transforming how audiences engage with events. It’s an exciting time to be part of the event industry, and the possibilities are truly endless.

What are your thoughts on the future of LED screens in events? Share your ideas in the comments below!

Know more about :

1. Hybrid CL Series - Our Latest Innovation

2. What you Need to know about Outdoor LED Walls ?

[zentendo]

Tears of the Kingdom Soars Again, Nominated for 2024 GDC Game of the Year!

Hold onto your Hylian Shields, folks! The critically-acclaimed The Legend of Zelda: Tears of the Kingdom has just snagged yet another prestigious nomination – Game of the Year at the upcoming 2024 Game Developer Choice Awards (GDC)! This comes hot on the heels of its impressive win for Best Action/Adventure Game at The Game Awards and Nintendo Game of the Year at the Golden Joystick Awards,…

[theserenefounder]

Welcome to this week’s edition of The Serene Founder — calming deep focus music specifically designed to improve and amplify your creativity.

This production features 11 minutes of guided meditation inspiring you to enter a state of serenity and focused mindfulness. Experience how relaxation music and entering into a moment of mindfulness can bring you into a state of flow that can help start your day ready and fully energized.

Face the 2024 with a positive, powerful, and mindful start.

If you find yourself resonating with our mission and creations, we welcome you to like, comment, and subscribe to help us grow alongside you. Let’s thrive together.

[sound-symmetry]

Hey there, fellow enthusiasts of mind-bending visuals and entrancing music! I'm thrilled to introduce you to a mesmerizing YouTube video titled "Trippy Strange Darkness" that's taking the internet by storm. As an expert in this niche, I'm convinced that sharing this video is not only valuable but an absolute treat for your senses.

Creator Bio: The mastermind behind this captivating masterpiece is Timmy Lee & Kristen Motos, They are visionary artist known for pushing the boundaries of creativity. Their YouTube channel, just starting but promises artistic wonders, showcases a fusion of music, images, graphics, and videos that transport viewers to otherworldly realms.

You can explore more of Name's enchanting creations on their YouTube channel and personal website. Key Takeaways: Sensory Overload: "Trippy Strange Darkness" is a sensory feast that seamlessly blends music and visuals to create an immersive experience like no other. Artistic Innovation:

Witness the boundless creativity of the team. As they challenge conventional artistic norms. Copyrighted Elegance: The video is a testament to Timmy & Kristen's dedication to their craft, as it's copyrighted to preserve its uniqueness. step-by-Step Process:

Start by visiting Sound Symmetry Studio's YouTube channel. Locate the "Trippy Strange Darkness" video and prepare for a visual journey. Put on your favorite headphones to fully immerse yourself in the audio-visual extravaganza. Sit back, relax, and let the magic of Name's creation transport you to a world of enchantment. Resources Mentioned: YouTube Channel: Sound Symmetry Studio's YouTube channel is the hub of their artistic expression, housing a plethora of captivating content. Personal Website: Explore {Name}'s portfolio, discover their creative process, and connect with the artist through their official website. Expert Advice: As someone deeply entrenched in this niche, my advice is simple: surrender to the experience. "Trippy Strange Darkness" isn't just a video; it's a gateway to artistic brilliance. Immerse yourself fully, let your senses roam free, and allow Names creation to take you on a unique journey of visuals and sound.

A swirling kaleidoscope of colors and shapes A mesmerizing dance of light and shadow A cosmic landscape of stars and galaxies A psychedelic journey through the human mind A breathtaking exploration of the beauty and mystery of the universe

Trippy Strange Darkness: A Visual and Auditory Masterpiece

As an expert in the field of mind-bending visuals and entrancing music, I'm thrilled to introduce you to the mesmerizing YouTube video titled "Trippy Strange Darkness." This captivating masterpiece is the brainchild of visionary artists Timmy Lee and Kristen Motos, who are known for pushing the boundaries of artistic expression.

"Trippy Strange Darkness" is a sensory feast that seamlessly blends music and visuals to create an immersive experience like no other. From its swirling kaleidoscope of colors and shapes to its mesmerizing dance of light and shadow, this video is a journey of synesthetic wonder that will leave your senses tingling and your mind expanded.

Timmy and Kristen's dedication to challenging conventional artistic norms is evident in every frame of "Trippy Strange Darkness." It's a daring exploration of creativity that defies expectations and invites viewers to step into uncharted artistic territory.

To preserve the uniqueness of their creation, "Trippy Strange Darkness" is copyrighted. This is a clear signal of their commitment to maintaining the integrity of their work and ensuring that it continues to amaze and inspire for years to come.

If you're up for a truly unique and mind-bending audio-visual experience, I highly recommend checking out "Trippy Strange Darkness." Here's a step-by-step guide on how to get started:

Visit Sound Symmetry Studios' YouTube channel. Locate the "Trippy Strange Darkness" video and prepare for a visual journey. Put on your favorite headphones to fully immerse yourself in the audio-visual extravaganza. Sit back, relax, and let the magic of Timmy and Kristen's creation transport you to a world of enchantment.

As someone deeply entrenched in this niche, my advice is simple: surrender to the experience. "Trippy Strange Darkness" isn't just a video; it's a gateway to artistic brilliance. Immerse yourself fully, let your senses roam free, and allow Timmy and Kristen's creation to take you on a unique journey of visuals and sound.

This video is more than just a viewing experience; it's an opportunity to transcend the ordinary and dive into a world of creativity and wonder. Don't miss out on this one-of-a-kind adventure!

[av-industry-blog]

How To Choose The Best AV Equipment for Church?

Church AV Equipment refers to the audio-visual technology and equipment utilized in churches and places of worship to enhance the overall worship experience and communication with congregants.

This church av systems includes a wide range of audio systems, such as microphones, speakers, and sound mixers, to ensure clear and impactful delivery of sermons, hymns, and musical performances. Additionally, video components like projectors, screens, and cameras are employed to display multimedia presentations, scripture verses, and religious imagery during services or events.

🔊 Tips for Choosing the Best AV Equipment for Church 🔔

Hey Tumblr fam! 🙌 Looking to take your church's audio-visual experience to the next level? 🎉 We've got you covered with some handy tips for selecting the best AV equipment for your sacred space! 🛡️ Whether you're starting from scratch or upgrading your current setup, these pointers will help you create a truly immersive and impactful worship experience. 🙏

Know Your Needs: Before diving into the vast sea of AV gear, identify your church's specific requirements. Consider the size of your congregation, the layout of your worship space, and the types of events you host. Understanding these needs will guide you in choosing the right equipment.

Quality Over Price: We get it; budget is a significant factor. But remember, investing in quality AV equipment pays off in the long run. Opt for reputable brands and products known for their reliability and performance. You don't want technical glitches interrupting those precious moments of worship! ⚡

Audio Excellence: Crystal-clear sound is key during sermons, music performances, and other church events. Choose a high-quality sound system with proper speakers, microphones, and mixers. Pro-tip: consider acoustics in your space to optimize sound distribution.

Visual Impact: Enhance your worship experience with top-notch visuals. Projectors with high resolution and brightness are perfect for displaying lyrics, sermon notes, and multimedia content. Don't forget to consider the screen size and positioning for optimal visibility. 🖥️

User-Friendly Control: Technology should be an aid, not a hindrance! Look for AV equipment with intuitive controls that your team can easily operate. This way, you can focus on spreading the message without struggling with technical complexities.

Connectivity Flexibility: Churches often host a variety of events, and you'll want your AV setup to accommodate them all. Ensure your equipment has diverse connectivity options, including HDMI, USB, and wireless capabilities, to cater to different needs.

Future-Proofing: Technology evolves rapidly, and you want your AV setup to keep up! While making choices, think about the scalability and upgradability of your equipment. Invest in solutions that can adapt to future advancements.

Consider Expert Advice: If you're unsure about AV tech, don't hesitate to seek advice from professionals or AV integrators. They can assess your church's unique requirements and suggest the perfect setup tailored to your needs.

Test and Review: Before making a final decision, test the AV equipment you're considering. Request demos or borrow equipment for a trial run. Take feedback from your church community and volunteers to ensure everyone's needs are met.

Warranty and Support: Last but not least, choose AV equipment that comes with reliable warranties and excellent customer support. It gives you peace of mind and ensures that any technical issues will be promptly addressed.

There you have it! 🌟 With these tips, you're well on your way to creating an inspiring and immersive audio-visual experience for your church community. Embrace technology with open arms and let it amplify your message! 🎤💒

🔊 Best Church AV Equipment: Elevate Your Worship Experience! 🔔

Hey Tumblr fam! 🙌 Ready to take your church's worship experience to heavenly heights? 🛡️ Look no further! We've compiled a list of the best AV equipment that will amplify your message and create an unforgettable atmosphere of worship. 🎉 Let's dive in and discover the perfect tech solutions for your sacred space. 🙏

Immersive Audio Solutions: Experience the divine with crystal-clear sound! 🎤 Invest in top-notch audio systems featuring powerful speakers, high-quality microphones, and user-friendly mixers. Let your congregation feel every word and every note, creating an intimate connection with the message.

Captivating Visual Displays: Enhance your sermons and worship sessions with mesmerizing visuals! 🌟 Opt for cutting-edge projectors with high resolution and brightness, complemented by well-positioned screens. Display lyrics, sermon notes, and multimedia content in awe-inspiring clarity. 🖥️

Easy-to-Use Control Systems: Keep the focus on spreading the divine message, not fumbling with complex technology! 💫 Choose AV equipment with user-friendly control interfaces, allowing your team to seamlessly manage sound, visuals, and other elements with ease.

Flexible Connectivity Options: Be prepared for any event with versatile connectivity! 🎚️ Equip your church with AV solutions offering multiple input options like HDMI, USB, and wireless connections. Adapting to different needs has never been easier!

Future-Proof Your Worship: Embrace the future with technology that stands the test of time! 🚀 Select AV equipment that is scalable and upgradable, ensuring you stay ahead of the tech curve and continue to deliver exceptional worship experiences.

Expert Guidance for Divine Results: If you're seeking heavenly advice, turn to AV professionals or integrators! 📞 Let them guide you in choosing the perfect equipment, tailor-made for your church's unique needs.

Tested, Trusted, and True: Experience the divine reassurance of testing AV equipment before committing! 🧪 Request demos or trial runs, and gather feedback from your church community to make the most informed decision.

Divine Support and Warranty: Bless your church with reliable warranties and exceptional customer support! 🙏 Ensure that your AV equipment comes with a safety net, providing peace of mind and rapid assistance when needed.

Revitalize your worship space with the best church AV equipment available, bringing the congregation closer to the divine through captivating sights and sounds. 🌌 Embrace the technology that complements your message and create an atmosphere that leaves hearts inspired and souls uplifted. 🌠

[knife-em0ji]

I feel like I'm going insane. Chappel Roan's appeal clearly lies in her abilities as a performer (which are truly impressive and innovative!) but when people say with their full chest that her music -- and I mean just her music, as in what you listen to on Spotify or on the radio without visuals -- is groundbreaking or even indie I'm just like. What. She makes the most generic pop imaginable. It is the audio equivalent of eating a mediocre glazed donut. Sweet and slightly filling, maybe cloying to some palates, perhaps addicting to others, but it otherwise satisfies a craving though it's nothing that's groundbreaking or new. Haley Kiyoko was making pop songs about lesbian longing ten years ago. I mean ????? Like Chappel Roan is fine !! It's just musically I think she's in the same category as Carly Rae. That's not a bad thing! But don't pretend her songs themselves are doing anything that hasn't already been done by other artists -- other lesbian and queer artists at that! -- before

[rad-hound]

I wish we could actually witness Monsoon's cruelty as described in his Wikia. In fact, I would love a graphic novel/mini comic of the WoD's interaction with each other both on the field and off the field. It'd be nice to see Sundowner have a little chat with Monsoon about his gangster life. Idk, I'm hungry, okay?

Oh, yeah, it certainly would have been nice to have at least been able to see fragments or the entirety of Monsoon's—as well as the rest of the villains and their merry band—backstory, at the very least in the form of something visual, like cutscenes, rather than monologue spews which are only available through audio tapes / codec calls. (Very much a flaw that a lot of the games suffer, but is likely most present within games like Metal Gear Rising: Revengeance and Metal Gear Solid V: The Phantom Pain.) Which I understand would have likely costed a little more money to produce, since... animation doesn't simply appear out of thin air. But still.

I agree, entirely. As happy as I am that we even got to see even the slightest, most insignificant interactions between the main villains (I.E. Sam / Sundowner, Sam / Monsoon), it would have been a lot nicer to see them all interact with each other in the same room, unfettered. To see just how well they bounce off of one another, to give them a sense of humanity outside of their occupations / workplace. Given how "well" Sam and Sundowner seemed to click with each other, even if it may have been purely performative. The very same especially being true in the case of Monsoon, who likely needed that humanization the most, given how... fans tend to perceive him.

I remember, I think a year or two ago, someone on Instagram had created a 'fan-made' Monsoon DLC for the base game of MGR:R, the initial post / concept of which was eventually given a like / thumbs up by Platinum Games. Towards which, naturally, the creator of the 'DLC''s concept got a little giddy, because, "Oh my God, Platinum liked this!"

While I'm happy for them, it's just unfortunate that nothing would have likely come out of that interaction, given... the Kojima / Konami situation. Not that Kojima himself had any sort of groundbreaking prowess over the development of MGR:R, but the fact that he holds the cards—all full houses—and Konami / Platinum holds the games, if that makes sense.

Not that fanartists can't 'pick up the slack' where those companies fucked up, of course. This can be said about you, as well, Mx. Monsoon-Artist-of-the-Decade. I feel grateful everyday for the innovative, dedicated minds of Monsoon fans everywhere. ^_^

[easays]

This Shawl, This Chair: Materiality and Worlds Beyond Number

Hi! Below is an actual play mini-essay. These are written as part of a personal writing practice of thinking critically about actual play. I hope you find this reading engaging and know that all I write reflects my own interpretations rather than as an official representation/canonization of these shows. Keep reading for thoughts on Worlds Beyond Number, an audio-only actual play show, and how it crafts a visceral, material experience.

For an audio of this mini-essay, please click this link. I'm new to audio recording, so please excuse the quality!

CONTENT WARNING: Discussions of parental death, discussion of grief (general) Minor spoilers for episode two and seventeen

Ahead of @worldsbeyondpod Arc 3, I've been thinking about what sets this show apart from so many. Charlie Hall at Polygon recently showcased that WBN leans into Dungeons and Dragons, giving them free rein in playing the show without focus on combat because once they arrive at that combat, the system is already there. I think Hall's astute observations help articulate why WBN has retained (and grown) its Patreon (and wider audience), even though it's an audio-only, every other week podcast that takes month long breaks between arcs. None of these factors are bad, but the questions of audio versus visual, pacing, content production, and audience engagement are part of every actual play's design. It takes what we think Dungeons and Dragons can be, breaks down those assumptions, and builds something better. To me, this is best seen in how its narrative crafts masterclass materiality without using visuals or minis of any kind.

WBN taps into materiality often. Materiality is a fancy term for the physical properties of an item being considered as essential or important to the significance of the item. It's something I'm constantly aware of. The show builds its world through the hyper-individual experience of these three characters, tapping into how human experience is being woven into and through each other. The world of Umora, from its earliest moments in the show, come to us through the sensory experience of a small girl, held under cloth. The listening experience can be overwhelming at times, jetting back and forth between the interiority of the characters, the setting of Umora, and the endless material pieces mediating the interior and exterior. The cast and the sound design (thanks to Taylor Moore with additional design from Michael Gelfi studios) work in tandem to stoke the audience’s minds eye towards the embodied experience of being in a world that is simultaneously only your experience and impossibly infinite. Unsurprisingly, then, is the show's ability to tap into material in new, innovative ways, even as an entirely audio medium.

Aabria Iyengar was the first person I heard use the phrase "paint me a word-picture." Whether she originated (or not) the phrase, the kenning-ness of it sticks out to me as capturing the thrill of "theatre of the mind" actual play done at the level WBN has achieved. A word-picture gestures to both the process of creation and the creation as completed, simultaneously. Word, in this instance, is the ephemeral improvisation of the performance; picture is the scene completed. Alternately, word is the inscription of that picture, already completed in the player's minds-eye, waiting to be described. The way the phrase collapses created, waiting to be created, and being created captures perfectly how materality becomes weighted and real through the lack of visuals and minis and battlesets.

My personal affinity for materiality stems from what I've always called "Southern mausoleum decorating." Like Ame, I grew up in a home filled with dressers, beds, mattresses, couches, photos, clothes, books, and other physical items connected deeply to people and sentiment. Specifically, the winding thread between myself and various dead relatives across both sides of my family often strung itself through these objects.

I hail from Missouri and Arkansas (paternally) and the Carolinas (maternally). Growing up believing this kind of home decorating was normal fit right alongside knowing it's the humidity that gets you, not the heat. Right now, the oldest thing in my home is a 90 year-old horse hair wingback chair that belonged to my great-grandmother, then my mom, and now, me (though it's been reupholstered a half dozen times). When Suvi scavenges her favorite, slightly-threadbare shawl from Grandmother Wren's cottage in episode two, I was a bit struck because Aabria Iyengar (who plays Suvi) showed perfectly how an item, carried from home-to-home, accrues meaning rather than changing. Her word-picture in that moment contained her childhood, her present grief, her home in the Citadel, as a site incongruent to said shawl, all simultaneously. Transporting that item with her to the Citadel creates a rip in time Suvi might (or might not) access later and goes beyond the momentary solace of holding a piece of her fictive kin.

Thinking of her summer at the cottage or even to the night her parents were lost, those precious last moments of being held under a different cloth, Suvi exists in multiplicity to the audience as well as to her fellow player characters. This character depth through materiality speaks, in my view, to how WBN shakes up the expectations of a Dungeons and Dragons-based show. Combat is not trotted out to make the world or more real, and there's no mini for anything, from the shawl to the Citadel. Suvi's reality and her Citadel justification machine (a self-described mechanism on Iyengar's part) is not given to us primarily through movement speed or action economy. Rather, it reveals its self methodically: a shawl, from a cottage run by a witch, carried to Port Talon and beyond, stretched across Suvi's bed*, nestled in the heart of a Wizard of the Citadel's tower, a thread jutting through space-time, signifying to us and Suvi how many ways to be "out of place" in the Citadel. Over time, I've accumulated new furniture and items that are just mine, like Suvi does in her tower, but I constantly orbit around and to that chair. Some days, I can't sit in it for too long because the black hole of grief from losing my Mom comes hurtling up through the wood, the springs, the fabric. Others, I sit in for hours, cocooned. I wonder often what other objects in Suvi's world mock or tease or beckon or enamor her.

I poke and ponder about Suvi likely because, of all the characters, I identify with her most directly. In future, I hope to write more on Erika Ishii's striking portrayal of spirituality as communal responsibility, or Lou Wilson's tender, grief-filled approach to found family, or Brennan Lee Mulligan's portrayal of the Fox as a narrative tool. But for today, three days after what would have been my Mom's 64th birthday, I sit in my chair, writing about that shawl, forging what feels like connections to a world beyond this.

*Covering the current Witch of the World's Heart, but that's another GlassHeart post for another time.

Image description: a wingback chair, with pink fabric that has gold filigree, is centered in frame, against a tall, terracotta colored wall and abstract painting

[accio-victuuri]

sharing this article from today about HB. 🤍

Nominated for "Best Feature Film" at the Golden Rooster Award: "Hidden Blade": a hidden arrow that breaks the unspoken rules of box office for literary and artistic films

A classic is a kind of work,

It continues to give rise to clouds of criticism of it,

And keep getting rid of it,

It never completes what it has to say.

Hidden Blade, whose global box office is still rising, is the box office ceiling for domestic literary and artistic films. The background of this performance is that serious films have encountered an era of shallow reading, the industry and the public have been torn apart, and box office has become an undercurrent sweeping everything. However, because literary films do not conform to the shallow entertainment psychology, their niche nature is predicted by bloodthirsty and crude evaluations, and they are ahead of schedule. They are killed by film placement rate.

The true mission of film︱Making culture visible

The turbulent clouds and red color in the broad field of vision are somewhat incompatible with the festive atmosphere of the Lunar New Year. Released on the first day of the Lunar New Year, it is a kind of performance art in itself... It is very cliché, and it is exactly the same as the self-deprecation of super commercial films. As a spy war literary film, "Hidden Blade" has achieved a breakthrough in innovative expression of Chinese films, and its heterogeneity is unique among domestic films.

The dramatic tension of too many movies relies entirely on scenes and special effects, which disappear once they leave the theater. "Hidden Blade" creates a huge psychological magnetic field, which is still exciting even if it is separated from the audio-visual environment. The tone threshold of "Hidden Blade" is not some kind of contempt for the audience, but the ultimate respect for the audience, history, and movies.

Literary films are a type of film relative to the concept of commercial films. They focus on artistic expression and cultural connotation, and try to pursue higher aesthetic values ​​and cultural significance. Their production is also different from commercial films: commercial films pursue commercial interests or mass entertainment, and take the movie box office as the main goal, while literary films focus on the artistry and cultural connotation of the film.

Transgressing norms and offending common sense, art films are pioneers of film. They often fail but expand the boundaries of film. There are two literary classics in the history of world cinema, "The Shawshank Redemption" and "Westward Journey". They failed miserably at the box office when they were first released. However, they accumulated a large number of die-hard fans through the later dissemination of images. After years of accumulation, they became indelible classics.

The core of the value counterattack between the two works is still that gold will always shine.The former's exploration of human nature and social systems has created a milestone in modern cinema, while the latter's postmodern deconstructive stream of consciousness has won resonance in an era of subversion of tradition.

As a cultural carrier, movies are the most intuitive and transparent value expression of the thoughts of the times. Although most of the classics handed down from ancient times are not the true understanding of the thinkers' era, they have been accepted by the public after years of precipitation. As a result, classics continue to increase in value over the course of history. This is the power of classics and the reason why we respect classics.

As early as in "The Death of Romance", Cheng Er used lines to express his feelings, "Movies are made for the audience of the next century." Look, for artists who break through the context of their times, the feedback they receive from the times is often lagging or misaligned, although this misalignment itself is precisely the connotation of the avant-garde. Yes, art films have always been a disadvantaged group in the industry that suffers at the box office.

In contrast to the tragic box office situation, the ambition and strength of literary films in film art awards. This is also the reason why "Hidden Blade" recently swept the 36th Golden Rooster Awards, with 8 major nominations and caused controversy among public opinion.

The existence of "Hidden Blade" is indeed an isolated example of a domestic literary film. With a box office of 931 million, it is not only the highest-grossing film in director Cheng Er's career, it is even several times the total box office of all his previous works! It's so stunning that "Hidden Blade" has always been criticized by the public, expelled from the art film camp by default in the name of "removing the highest score"!

"No one knows your name, but your achievements are immortal." The grand proposition of the unknown hero in "Hidden Blade" is more sentimental about family and country than any of Cheng Er's previous works. And does this main theme of "greatness, light, and justice" fit in with the art film's original understanding of "the world, society, and life" for individuals and the authorial expression of film language?

"Hidden Blade" is not the first of its kind to draw on commercial marketing for a literary film. At that time, "Fireworks in the Day" was announced as a romantic suspense film, and it received similar reviews and received double box office revenue. It can be seen that only true literature and art dare to joke about "super commercial films".

Cheng Er responded to this joke in an interview with "China News Weekly", "I was editing the film that day, and then they came in with their mobile phones to show me, and said that everyone still thought it was too literary, and I said let's just type a line. Come out - a super commercial film. This is a joke, and indeed no one put such a slogan in the trailer."

He said that he just found it interesting and that there was nothing to rebel about and it was not worth rebelling against. Confidence and relaxation are often qualities of an artist. These qualities make people stand out like fireflies in the dark, allowing the public to quickly pick them up from the crowd. And Cheng Er slowly titled a serious film "super commercial film" because of his humor.

Movies are not just an art of light and shadow | they are also an art that can cultivate people

Low box office is not the standard for art films. “When art is dressed in shabby clothes, it is easiest for people to recognize it as art.” However, this is not an essential representation of art, but the quality of the audience that needs to be improved. The complaints faced by "Hidden Blade" are the same as those faced by literary films as a whole, which is the contradiction between the film's authorial expression and public acceptance.

But does literature and art have to be a niche? Does it deserve to be obscure and slow-paced? Come to think of it, no one is more qualified to answer than "Hidden Blade", who has boiled the black water into a world of wealth and led the public's aesthetic appreciation with niche art!

The most representative narrative style of Cheng Er's films is "flashback narrative", which established his unique creative and imaging style. It invites the audience to participate, rely on brain supplements to build together, and gain the pleasure of decoding. It is a true "understanding", and it is easy to be confused if you don't understand. Such films pursue aesthetics and reflection, and are usually aimed at more mature and artistic audiences.

Movies are products of the cultural industry and are essentially consumed cultural products. In the context of the influx of capital and hot money into the film market and the industrialized mass production of film culture, commercial films are certainly high-return cultural snacks tailored for audiences. Even the creators of literary and artistic films are hard-pressed to avoid being judged by box office success . "The concept of influence or even kidnapping.

It is common for literary films to sell less than 5 million yuan. From Chen Zheyi softly asking the sky, "Why are elegant and gentle people scolded?" to Huang Xufeng angrily choking netizens, "I have no merit but hard work." There is no antidote in the world. The reason why literary and artistic films are criticized is often because in the fast-food era of shallow reading, literary and artistic films have to embrace the sinking market and attract non-target audiences in order to pursue box office.

But movies are just products? No, it is still a cultural expression and a carrier of social values. Comparing movies to products, then literary and artistic films are obviously not fast-moving consumer goods. When facing capital and the market, how can they be in line with the public while not losing their authorial nature? Cheng Er said, "Good-looking art films are also good commodities, and excellent commercial films are also a kind of art."

When it comes to art, most people may think that art is highbrow, aloof, and far away from daily life. And this is not the case. Yu Hua said in the roadshow of "The Mistake by the River", what does it mean to understand? In fact, it is whether it can overlap with our own life experience. If there is overlap, you can understand it. If there is no overlap, you can't understand it. That's normal.

In this explanation, understanding or not understanding is not profound. And Cheng Er has always said that the audience should not be underestimated. People who watch movies are influenced by their own likes and dislikes. Whatever they feel is what they have. Whether they understand or not is not that important.

The audience should not be too demanding to understand, and the artist should also be down-to-earth. Art for the sake of art is not true art. "Hidden Blade" is not only a literary film, but also a literary footnote to Chinese films, because it truly expresses the cruelty of history but is still full of artistic beauty. Cheng Er is very familiar with the history of the Republic of China and knows the intricate relationships between characters.

"Hidden Blade" is composed of real historical details as fine as twists and turns. When I say I can’t understand it, I’m not expressing disdain, but living in China, it’s difficult to understand the history of 5,000 years of civilization, but there is absolutely no threshold for mastering the history of the Anti-Japanese War! It is understandable that one cannot appreciate the narrative technique due to aesthetic differences, but the Internet atrocities of selling one’s soul for five cents and tainting the theme of the film are unforgivable.

There is no universal set of aesthetic rules in the world, but artists try to legislate aesthetics. Every era has its own branded dogma, until the next generation of artists establishes their own profession. Therefore, Gombrich exorcized art and said, "There is no art, only artists." He hoped that the world would stop enshrining art in shrines and use mystery and sacredness to Feeling separates oneself from the work.

There is also a similar "death of the author theory" in the literary field, which means that the author is as if dead when the work is born, and the interpretation and evaluation of the work are left to the readers. That is, there are a thousand Hamlets for a thousand readers, and there is no standard answer.

Just like we cannot require every movie to go straight to the international film festival awards, but also to hit the hearts of the audience and be a classic that will be passed down forever. We cannot require every movie viewer to have high film literacy from the beginning, and to be able to get the spiritual resonance of the creative intention. The growth of movies, filmmakers, and movie audiences requires more tolerant soil and space.

Of course, there is really little space left for literary and artistic films in theaters now! No matter at home or abroad, when the public unanimously agrees that "artistic films deserve low box office", please understand that the industry should leave some room for exploration for artistic films. Allow them to be ignorant of the customs, and only on the soil of tolerance can viable artistic flowers bloom.

Social aesthetic value orientation︱The purpose and driving force of movies

"A lame dog walks through the bombed street scene." One day, Cheng Er took a pen filled with ink and wrote this sentence on the paper. At that time, no one, including himself, knew it, but it was becoming the starting point for a movie called "Hidden Blade," and this moment of brutal aesthetics became the famous scene of the movie.

Personal aesthetics are free, but social aesthetics has a paradigm. Education and social culture will influence and standardize aesthetics and shape aesthetic orientation. Different eras and different environments have different aesthetic orientations, and different aesthetic orientations make people make different value choices. That is to say, no matter how free the aesthetics and how diverse the values ​​are, as long as the rice is sown, it will never grow into tares.

Art and commerce are the two legs of movies. Art movies are full of vitality, and commercial movies are lively. When the leg of literature and art is lame, it is not unfair that Chinese films have been reduced from regulars on the awards podium at international film festivals to regulars on the red carpet.

Yes, there is indeed a "silver-like pewter tip" in the name of art. When artistic conscience is marginalized by desire, the so-called art becomes only a barren and pale flower shelf that cannot withstand scrutiny and argumentation. But "Hidden Blade" allows us to see how an exquisite literary film is polished and shaped, and even simple film layouts contain shooting skills.

Generally, it is the director's habit to record the scene first, then the actors perform, and the cameraman follows the camera movement, but this is not the case on Cheng Er's set. Wang Yibo once mentioned that the crew respects the actors very much. The filming scene is very quiet. Once the mood enters the state, the photographer shoots directly. After the scene is finished, the filming will be finished. The filming will never interrupt the actors' brewing emotions.

In the later stage, Cheng Er slept directly in the studio and only did one thing every day, cut, cut, cut! Thanks to his almost fanatical work status, Cheng Er didn't even get exposed to the sun last year! It took seven years to sharpen a sword, just for a different Chinese movie. Incorporate the main melody into genre movies, and use the language and audio-visual rhythm of genre movies to achieve innovative expression of the main melody theme.

"A truly good movie must be more commercial than commercial and more artistic than art. For me, what I have always wanted to do is to be more commercial than commercial and more artistic than artistic." Cheng Er said this and did the same.

Cheng Er's images are full of subtle metaphors. Puppet Manchukuo, Shanghai, and Hong Kong, the spiritual narrative about the city in "Hidden Blade" permeates the architectural language of Rongzhai, No. 76, No. 567 Xiafei Road, Central Market, and Man Mo Temple; it is hidden in Japanese, Shanghai dialect, The mixture of pidgin and Cantonese arouses emotional resonance and deep thinking in the audience.

The Puppet Manchukuo, which only exists in the dialogue between Watanabe and Mr. Ye, is like a ghost with the chill of a daydream; the isolated island in Shanghai, which occupies the main part of the film, exudes luxury and inconsistency in its exquisiteness; and Hong Kong, as the hub of the international anti-Japanese united front, is full of human fireworks, revealing a simple and soothing world.

Dark clouds are pressing down, devastation is everywhere, and at the end of the tunnel, the historical information in the image of the current situation is compressed into a minimalist narrative, waiting to be decompressed. Until the dark wormhole of the theater, the historical words in the spy war narrative rushed towards us...

The anti-Japanese drama consumes misery, the anti-war themes are reproduced in large numbers, and the massacres cause psychological discomfort... In the past, expressions of the history of national suffering often followed the rules of exposing cruelty, exposing blood, and even exchanging violence for violence. What is shocking about "Hidden Blade" is that it uses beauty to overcome ugliness. It is amazing: It turns out that suffering can be interpreted calmly, with warmth and depth! "You can't get involved in the frame," is the domineering determination of the man behind the scenes.

Light and heavy, cold and warm, it completes the unfinished soul judgment on a country's sin of aggression in reality. In the sense of cultural export, "Hidden Blade" integrates the isolated history of China's anti-Japanese resistance into the world narrative of the great history of World War II.

It is a message from the times to the times. In the theater, "Hidden Blade" makes us feel the power of literature and art. After walking out of the theater, you will naturally understand what the merits of the unknown are!

[borisbubbles]

Eurovision 2024: #27

27. FRANCE Slimane - "Mon amour" 4th place

Decade ranking: 103/153 [Above The Black Mamba, below Marco Mengoni]

Slimane has a very powerrful voice. 🙂

THE RANKING

Okay, FINE. I suppose I can't leave it like that. 🙄 Although I'd much rather would.

So *SLIME*-MANE. There's a lot to unpack and a lot I know most people will disagree with my takes, but oh well. I've ranked Joost low, and Mustii low, so it's only fair the Slimane fans get some scalding hot truth tea splashed in the face from this deluded overthinker. Disliking men is a much more productive way to run away from my problems than simpling them is.

So remember how I spoke about songs designed to Make People Cry? You know I hold emotional extortion in contempt. "Pity" is just a slightly more charitable way of looking down at others, and shouldn't be strived for. These anthems are inherently designed to manipulate the undiscerning into uglycrying while offering very little sustainance. Yep, we're here yet again. Another song that doesn't pass even a tiny bit of scrutiny, except in a language most viewers do not speak.

In fact, I'm pretty sure that "Mon Amour"'s francophoneness is what made many people sleep on the fact that it's not exactly narratively sound. Most people that I've spoken about ESC to that understand French haven't responded well to "Mon Amour" (lol one of my French friends bursting into chat all "SLIMANE REPS US? EW. HIS MUSIC IS SO BORING AND CORNY 😣" hours after Mon Amour's release passed without comment from any of us ♥).

The indifference makes sense when you read the lyrics. It's filled with cliche's that scream "I YEM ZE FR0NCH~", a little bit too much on the nose. If I thought "Évidemment" was bad, this is worse. Lines such as "reviens à Paris" and ''Es-ce-que tu-m'aimes où pas?" are such clichés they feel thoughtless and expected, like someone writing out the monologue on autopilot.

But what sets me off is the overal narrative. Slimane and France have attempted to retcon "Mon amour" as "the story of an artist reaching out to his fans, seeking validation" but that is not what the lyrics read out. Instead, speak of the aftermath of a broken romance, where SHE has had her heart shattered to a degree that she LEFT THE PROTAGONIST'S HOMETOWN FOR AN UNKNOWN DESTINATION AND BROKE OFF ALL CONTACT. Instead of giving her, you know, personal space or time to reflect, or even lick his wounds, he keeps desperately asking her whether she still loves him or not. Dude, I don't know her, and I know the answer is "no". Give it a rest, and move on. Sadly, Slimane didn't move on and spends a full three minutes wailing on about it. "I want her, I need her only her, why doesn't she love me". We know where this ends - with a restraining order and either her or him dead and dismembered inside a dumpster six months later. (Australia's jury of snarky yet emotionally intelligent gays picking up on this and ranking him dead last ♥ bless them ♥)

As you can perhaps tell, the above realizations completely KILL the romantic aspect of the song for me. I cannot, and WILL NOT get into its grief and sadness. All the parties involved should be GLAD it's over.

Instrumentally, the song's just... generic piano ballad, nothing new or innovative here. Dime a dozen, we've heard it before, bla bla bla. "Mon amour" is a nothingburger, an empty vessel for Slimane's vocal chops.

Which brings me to another problem I have with it - I personally don't really care much about technical skill? Eurovision is an audio-visual SONG contest, not a SINGING contest. It is cool that you can nail those masturbatory vocal projections. You're a singer who can sing. "Loud" however is a pitch, not an emotion. It would have been more impressive if you've also discovered the cure of cancer alongside it. (Curing tumors with vocal vibrations. Medical students reading this, get on it so I can be impressed by Slimane.)

Focusing exclusively on that though, is annoying to me. Good Eurovision entrants start with a SONG. "Mon amour" barely classifies as one. End off.

That isn't to say I cannot respect Slimane's vocal for what it was. I mean THIS:

is a feat only a few vocalists can successfully pull off. It is MORE impressive the first time you witness it before the laws of Diminishing Returns kicks in. But it was immensely clever to trial it at Dora and then include it into the song itself - it gives the performance stakes and gravitas, so why not?

However that brought the song's weakness even more to the forefront to me. My logic is the following: if you can pull off such a stunt, then why aren't you the immediate fave to win? Eurovision 2024 was the most open year perhaps of all times, and I'm supposed to believe a voice THIS strong cannot win it by itself? There are enough examples of strong vocals POWERING through merely decent songs (Céline and Corinne Hermès for instance) into a first place. If you can pull that off and still lose doesn't that prove your song is fucking shite?

Going into the contest I was HOPING to get something out of the live besides Big Vocals and also that France wouldn't morph into a direct contender to win (You would HOPE that 2024's varied and exciting line-up was competitive enough as to not crown a vocal projection exercise as its winner), and ultimately, I got both of my wishes because Eurovision 2024 was BORISVISION. I was the meta this year, bitches, and I think fourth place is a perfectly reasonable result for a vocal that strong on a song that nonexistent.

But more importantly, Slimane managed to inject his performance with EMOTIONS and good god I really needed that.

It took a LOT of effort from Slimane for me to recognize that yes, this man is cooking with gas, and his expertise elevates the whole package. "Seductive" is the incorrect emotion for the subject matter but whatever. Ignoring the subject matter is the only way you can enjoy the song, so if that's what one must to do end the night on a high note, so be it. I let it pass, with few regrets.

Like Nutsa, he served enough for me to respect him ~as a performer~ who deserved the result he got. Like "Firefighter", I still have some contempt for the song itself, and there's a strict limit for how Im i'm willing to place it.

Turns out that boundary lies at Marco Mengoni. "Mon amour" always felt like a lazy, soulless answer to "Due vite" for me, and I'm not willing put it ahead, nor to re-examine my stance on DV so quickly after my 2023 ranking. "Due vite" was a song that ultimately wasn't my cup of tea, but it was the superior composition, and deserves a higher mark.

So ultimately, I end with Slimane a bittersweet note. A man with the capability to win the Eurovision Song Contest, yes and who manifested his impending loss with below average penmanship. If the French are looking for someone to blame for not winning once since 1977, they can start with their failure to recognize their 2024 song needed a revamp.

THE RANKING (again)

[in-death-we-fall]

Slipknot

The Tightest Knots Never Fray

Metal Edge 48-11, March 2003

By Roger Lotring

(google drive link) Murderdolls interview here – Stone Sour interview here

“Someone has to bring down the whore, dude,” says Shawn Crahan, determinedly addressing the soulless gluttony that has devoured integrity from contemporary music. “I’ve been all over the place,” he admits, readily likening his foregone ranting as being “almost schizophrenic, man.” But for #6—the Clown percussionist of Slipknot—the corporate impurity that desecrates his sacred rock ‘n’ roll art form pits him as the proverbial David in the face of a Goliath. “People always say Clown’s a fuckin’ retard genius,” he exhilarates. “And I say, ‘You’re right.’ I’ve taken an oath, spilled a lot of blood, and I’m part of an organization that is going to do nothing but bring down the pig.”

The challenge of Disasterpieces is the first of the slings and arrows. A turbulently intense package, the very first Slipknot DVD is largely centered around a February 2002 live performance filmed at the London Arena. A fast-paced style of editing moves conjunctively with 5.1 surround sound to overwhelm both the aural and visual senses, making for an extreme Slipknot experience. An accompanying second disc features a video history of the band, including the banned clip for “Spit It Out,” plus a previously unreleased animated version of “Wait And Bleed.” Enhanced bonus material and an exclusive audio track—”Purity”—make this DVD the gauntlet of a challenge to sedentary bands reigning over hard rock popularity. “I’ve kind of made the DVD like, ‘Look, if you’re not this good, and you don’t know what the fuck’s going on, why don’t you quit and do us all a favor?’” Moreover, Disasterpieces is an architectural draft by which metal fans can judge what to expect from their music. Nothing less will suffice anymore in a landscape of media saturated mediocrity.

“It’s the cattle thing,” Clown defines, a cultural popularity branded by lethargy. “If you’re not at the back of the pack, something in life forced you to be at the front,” he says, intimating music fans as an order of natural selection. “There’s probably a chance for everyone, but it means we’re going to have to go, ‘Hey, you guys at the back of the pack, they’re going to eat you, do you understand?’” It’s what he calls an education. “That’s what Disasterpieces is,” he says by comparison, something by which metal fans can decipher the natural order of musical innovation.

Metal Edge sat down on a Saturday afternoon for an intense conversation with Clown about Disasterpieces, as well as his perspective on the Stone Sour and Murderdolls branches of the Slipknot family tree. “I used to talk about unity and pushing forward,” he concedes, noting that, “I think Slipknot did that to the point that we don’t need to anymore. Now, it’s obvious all of us are looking for our insides. We are trying to evolve Slipknot. All of us need to fuckin’ find some stuff for ourselves,” he explains, assuring diehard Slipknot fans that “they ain’t got nothing to worry about. Let the Maggots know it’s all coming for ‘em. We’re not getting older, we’re getting better.”

METAL EDGE: Is the Disasterpieces DVD meant as a means of focusing attention on Slipknot in the interim before a new album? SHAWN CRAHAN: Most people in the world have to realize that we, the band, have been doing this for seven years. We’ve been doing it professionally, nonstop, for four years. We just got to the point where we understand what home is. So, everybody’s kind of doing their own thing right now—which is totally cool with everybody in the band—because we need time. The third album is coming, right around the corner, and we know it’s going to be different. No one has to be worried about anything drastically changing, ‘cause we’re pretty focused on what we need to be. However, the third one, I think it’s gonna be a really crazy, weird, all-out war. Every member is gonna bring who he is to the table, with all the experience he’s downloaded for the last seven years. This DVD was never intended to let people know that we were alright or whatever. It’ll run its course for two or three months, and we’re starting to write the new album in January—not all of us, but people are gonna fall into place as need be. But, like I said, man, this new album’s gonna be completely insane, as far as I’m concerned.

ME: Would it be fair to say that this DVD almost closes a chapter of Slipknot? SC: I’ve been getting into a lot of trouble lately, because I’ve been telling people that it ends an era. And I don't care what anyone says about it, it ends an era. I’m not interested—the Clown is not interested—in using goats anymore. I’m not interested in half the shit that’s on our stage. Have I talked about this with everyone else? No. But I do a lot of that stuff, and I’m just not interested in the Iowa show no more. I mean, I’m done, I’m bored, and it’s over with. The DVD captured it as best as we could. There were over ten thousand people, over twenty-one cameras, and it was just pure mayhem. You got the most of the show that we could do, that we did for Iowa for over a year.

ME: But isn’t that the point? Why continue doing the Iowa show? It wasn’t meant to be forever, it was meant to be that album. SC: Right, I think people just think that we’re breaking up, or something stupid like that. But no, it’s absolutely the end of an era, get fucking used to it! People change. Fourteen-year-old fans that were there [when] we came out, they’re eighteen now. We’re changing, too, and if no one likes it, fuck off.

ME: You mentioned that this project consisted of a multiple camera shoot, comprising a double DVD. When the idea was first conceived, was it readily apparent that it was going to be so intensive? SC: I knew what was going to happen. I came up with the idea of so many cameras, and the reason was, before, we had only a couple that would film the band. I would just pretty much almost shoot myself, every time we got something in, ‘cause I was so disappointed. Great, you got footage of Sid jumping in the crowd, but what about Joey’s excellent footwork? Where’s all the angles? So, I knew we were going to have a monster. They were talking about one disc, but I knew it would be literally impossible. There’s over four thousand edits in the show itself, and that just takes a lot of information for a computer to recognize.

ME: But with a band like Slipknot, and what it does onstage, you almost have to do it the way Disasterpieces was done, because if you’re at the show, visually, there’s so much going on. SC: That’s how I edited the whole thing with Phil [Richardson]. We edited it like we were in the front row. The reason why I was so excited about being able to do this project was, just like you said, yes, it moves very fast. But how is it moving? Is it moving out-of-control, or is it literally going Clown… Chris… joey… Mick… Sid… Paul… Jim… Mick… Clown… Sid—Ya’ know what I mean? That’s what it’s doing. You’re literally getting to see the chaos as it’s being done. Yeah, it moves very quick, but so does Slipknot. [Laughing] This is for kids to identify with what the fuck exactly goes on at a Slipknot show—Who starts what, who’s playing where, and what they’re doing while they’re doing it. This is all about cues, and the only way to do it right is to do it quickly. Plus, I don’t make anything for the weak, dude. I am here to cleanse the weak away from the idea known as Slipknot. I only want people that understand, because after they take it all in, they’re teachers. And they’ll go out and start molding the future. I’ve kind of made this DVD like, ‘Look, if you’re not this good, why don’t you quit now and do us all a favor?’ That’s how angry I am at the music scene. I understand music has to move, but I’ve never felt so sorry for people listening to music right now, ‘cause it’s fucking crap! Nu Metal? Garbage! It’s garbage, dude! It is! If you know you’re a nu metal band, you’re fucking garbage, end of story. This DVD is about real music, real players—there’s not one musical overdub in the whole thing. What you hear is what happened that night. The only thing that was done, I believe, was in the beginning of “Purity,” because the pyro blew up a couple of the mics. I don’t know any bands that can go through an hour-and-a-half of intensive, dead-on musicianship as we do. I pride myself very, very much to be honored in a band in such good company, ‘cause we’re all incredible musicians, and we make it fly.

ME: So it’s fair to say that this DVD is a challenge to any other band out there right now? If you can’t live up to this… SC: …If you can’t live up to this, why are you even bullshitting? I’ve been on tour with bands that suck. And I’m looking at 'em like, ‘You got a record deal? You’re getting a chance to change the world? Who signed you, some fuckin’ dork? Some idiot over at some big company that knows the formula?’ Man, they’re all losers, dude. Record people get a formula of something that works—Just take Slipknot, for example. Look at all the little fashion statements that have been started, because a band like Slipknot works. Most of the idiots that sign bands because of us are people that said no to Slipknot. I could call four people out from every label. The industry’s a fuckin’ joke, dude! I’m in rock ‘n’ roll, and I’ve never been so embarrassed to be a part of something in my entire life. But it doesn’t matter, dude, ‘cause Slipknot’s there. That’s what we stand for, and that’s what we break down.

ME: Isn’t that a cue, then, with your band being a leader within the rock genre, to throw a monkey wrench into it and make a total left turn? SC: I think so. I never sit here and intend to break the rules. I go, ‘This is the band I’m in.’ The whole time I was editing the DVD, I said, ‘Oh my God, I’m in that band! Yeah, I’m getting to design this, and the whole idea of the DVD is mine, but holy fuck, that’s me in the band! I’m in this band!’

ME: It’s a little surreal, isn’t it? SC: Oh, it’s completely surreal, man! I am so honored to be in the company of eight dudes that fuckin’ throw down. We throw down, man, and I’m proud of it. And I’m not gonna sit back like other people in the band—Everybody would be humble. I don’t care anymore! If your band isn’t this good, then you suck! I’m tired of all the political bullshit, all the bands making fun of us, talking shit. Well, guess what? All your bands suck. None of you could do what we do. I’ve watched all of you, and it doesn’t happen. You come short.

ME: It’s like the early days of KISS, when they would be ridiculed, and then blow other bands off the stage. Nobody would be laughing afterward. SC: We’re actually now managed by KISS’ manager. And we’ve talked a couple stories, ‘cause I play music because of KISS. That was my introduction to music. In the early stages, no one knew what they looked like, and people used to flip out. And I was thinking, goddamn, that sounds a lot like Slipknot!

ME: Watching Disasterpieces, everybody’s faces have been carefully obscured to preserve that mystique. But is the marketing necessity of Murderdolls and Stone Sour detrimental to Slipknot? Joey, Corey and Jim have all been unmasked. SC: I don’t know how to answer that, man. I love Joey, Corey and Jim—As I love everybody in the band. However, things have changed now, and they’re the only ones that have to live with that. And they’re the ones that have to be responsible for that. It is what it is, man, but I don’t think it matters. Joey and Corey and Jim have found another extension of themselves, okay, and I want to clear it up. Corey is a genius. He writes all the time, all day long. I got notebooks that he’s just left laying around, full of conceptual pieces. Some belong to Slipknot, some belong to Corey Taylor. There’s things he won’t even bring to Slipknot, because it’s not the ‘Knot. And no one knows that better than Corey. Think about what he did, man. I mean, he takes the mask off—You know how hard that was? And he did it, and he’s succeeding. And I say, good for him, because that’s what Slipknot stands for. Recently, I said we’re the biggest punk band in the world. I didn’t mean like we’re a punk band, [but] I mean we live the punk feeling. We’re the biggest metal band in the world, and I got three dudes trouncing around the world without masks, succeeding, okay? That’s exactly what Slipknot is.

ME: Meaning that Slipknot is at the point where it can fly in the face of convention and do whatever it likes. SC: I think what we’ve always preached, if we’ve preached anything, is to thyself be true. Don’t ever judge me, just let me do my fucking thing. We’re Slipknot. We stand up and teach kids to stand up! Fight for who you are! Be who you are, don’t worry about it. And now, my own members are like, ‘I gotta do this.’ They go up against all odds and break down all the fuckin’ walls. And they look everybody in the face with their real face, after relying on rubber masks for fucking years? People need to shut up. Fucking ignorance, man! I don’t care what any of ‘em say, we do what we want.

ME: Isn’t that the fundamental basis of being in rock ‘n’ roll to begin with? SC: Yeah! You got Slipknot, now you got the Murderdolls, you got Stone Sour—I will bet my left testicle, there will be other things. Who knows? Every member of the band might have its own entity, and then get together as Slipknot. Oh, some might suck, some might be good. But the point is, what do you do with your life? Most people that have an opinion, aren’t you just cattle being programmed with the imprint? I’m ready for this whole thing to change, man. I’m ready for the pictures in your magazine to change color; I’m ready for people to start talking about things they want, instead of their editors. I’m ready for bands to start telling the truth and lift the veil of rock ‘n’ roll, instead of all this bullshit.

ME: Have you listened to either the Stone Sour or Murderdolls albums yet? SC: Oh, yeah. I listened to the Murderdolls by myself—Joey gave me the copy. When we’re on the road, we’re both very, very busy, and we don’t have a lot of Shawn and Joe time. But Corey, when we were in Europe last time, we both happened to be up very early in the morning, and we were on a long drive. I got to listen to the whole Stone Sour album with Corey. Sitting there with the creator of it, somehow I understood all of it and knew where he was going. I even told him what his next single after “Bother” would be.

ME: Their exploration of musical direction will be invigorating when working on a new Slipknot album. That’s going to be the most positive effect on what the band comes up with, creatively. SC: Yeah. I would have used to have told you that I’d have my people take your head off with that explanation, but I agree with you now. I mean, dude, we’ve been going for four fucking years. Only now can I say thank you to the rest of the guys for allowing ourselves to be home and figure it out. And let me tell you, the three years before being signed—Pure hell. You want to see the evolvement of Slipknot? It took fuckin’ years. I used to wear a Barney outfit. One weekend, I’d be Barney, the next, I’d be a priest. Mick would be Little Bo Peep—Look at Mick, almost seven foot tall, in a Little Bo Peep outfit, slamming with a bonnet on.

ME: But that makes sense, because it wouldn’t have worked if it was something formulated. SC: No! I’ll be honest, man, I hurt some feelings when those guys did that. I hurt some serious feelings. I think people are still angry at me, ya’ know? And that’s cool. I don’t give a fuck. So what? [Laughing] But I take the responsibility of Slipknot hardcore, man. We gave these kids with nothing, something. They were the ones that were so far gone, they were like, I’m outta here, I’m gonna kill myself. Boom—Slipknot comes alone. I’ve had kids wear Slipknot shirts—you know how they are when they wear Slipknot shirts—it’s like a fucking army. They’ll wash it every day, to wear it every day. It lets other kids now (sic) what kind of kid they are. It’s a mentality. That kid is basically telling us where he’s at, by wearing that statement. That’s why I get so nuts, [and] why people are mad at me. Slipknot’s come to a point where—we know we’re a band, dude—but we’ve become icons of responsibility in the world we live in. I try to live my words, man. I try to be really, really responsible.