#but also the idea that sonic kept the picture. maybe not in the frame. but he kept it
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lowpolyshadow · 1 year ago
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surprise! sonamy (based on the new tailstube)
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sirtommyholland · 4 years ago
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Soo... We built a TARDIS! || tom holland x female!reader
A/N: Inspiration strikes from weird places. For me it was a random video that showed up in my recommendations. I can’t put the link here since it messes up the tags apparently, but I’ll put it in the comments!
This takes place a few months into quarantine so they can actually have 3 months to build a whole actual TARDIS.
Summary: You and Tom get bored in quarantine and decide to build a TARDIS, because, why not?
Warning: A brief mention of ‘being stuck at home’. I added the warning thinking there might be some people having a hard time with this whole isolation thing and not wanting to read about it. 
Word Count: 1.8k
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*tomholland2013 just started a live stream. Watch it before it ends!*
“Hi guys!” we see Tom sitting on a couch in his living room, in a loose t-shirt and hair messy.  He makes small talk for a while as he waits for more people to join, then he gets up and starts walking towards the garden door. “Soo it’s a beautiful summer day outside, sun is shining, and I wanted to take you on a little tour of our garden.” He flips the camera around after fumbling for a bit, and the view turns to his garden. “So over here you see our chicken coop. Predator is chillin’ in there, the other two are wandering around. And over here we have some pretty flowers that my even prettier girlfriend planted. And then - OH MY GOD GUYS! WHAT IS THAT?!” He suddenly turns his phone towards the other side of the garden in a quick motion, and comes into view… a life sized TARDIS?
“Woaahh!” he says feigning shock. “T- T- The TARDIS??!” He starts walking towards the blue police box, narrating at the same time. “Guys this is crazy there’s a TARDIS in my garden!” As he gets closer to the box, the door suddenly opens to reveal a young woman, sticking her arm outside and pointing a sonic screwdriver towars the camera.
“Don’t you dare come any closer you-“ she starts with a harsh tone “you- youuu…” she stumbles, not being able to find a word, and starts laughing, we can hear Tom laughing behind the camera too as he also breaks character.
“Sooo..” he starts, flipping the camera to front view and walking towards his girlfriend, wrapping an arm around her shoulders to bring her into frame, both of them smiling at the camera, the police box in the background. “We built a TARDIS!”
3 months earlier
You and Tom were cuddling on your shared bed, catching up on some Doctor Who. While being stuck at home wasn’t ideal, you were trying to make the best of it by spending at least a couple of hours a day together, just the two of you, making up for the times he was away for shooting. After dinner you had a few beers with the guys downstairs, then went back to your room for TV, cuddles, and more beer. You were on your third episode when Tom suddenly lifted his head from the pillows to look at you.
“We should build our own TARDIS.” He stated.
“Yeah, definetely.” You answered in a plain voice, thinking he was joking.
“No, I’m serious.” He continued. “We are stuck at home with nothing to do, I know some carpentry, and the guys would help. It would be fun for all of us.”
Maybe it was because you were both a little beyond tipsy, bit it seemed more and more a like a good idea as he kept on talking.
“Yeah, you are right.” You said after he finished talking and looked at you expectantly. “We should definetely build a TARDIS.”
———-
The next morning , when you were having breakfast with Tom, he lifted his head from his plate and looked at you.
“Can you believe we actually decided to build a TARDIS last night? We get crazy when we’re drunk.” He said, laughing a bit.
“I know right?” you said immediately. “Like, did we really think we could actually build a real, life sized TARDIS on our own? And for what, just to stand in some corner of the garden with no real purpose?”
You both laughed a little nervously with your heads down, then stopped when you looked at each other.
“We should do it.” You both said at the same time.
“Oh thank God!” he started laughing. “I was afraid you actually didn’t want to do it!”
“How could I not when it’s the best idea we’ve ever had!” you exclaimed, laughing along with him as you high fived.
It was gonna be a long few months.
———-
You ordered lots of wood to begin with, watching lots and lots of tutorials and videos when you waited for them to arrive. Apparently, a lot of people had the wonderful idea of building a TARDIS.  While Tom sat at the living room table with a bunch of papers, making calculations for measurements, you were documenting the whole thing with your camera.
“So Tommy the carpenter is here double checking the measurements” you explained off view as the camera showed Tom leaning over the papers, making him lift his his head to see the camera and give a huge smile with a wave.
“You know this would go faster if you helped too, right?” he teased.
“I could help, but you look really attractive right now, doing calculations and stuff, and I wanna enjoy the view longer.” You replied cheekily, making him smile.
“Well, why don’t you come over here and enjoy it closer?” he said, pushing his chair back and patting his legs.
You comply and sit on his lap sideways, wrapping an arm around his shoulders to be more comfortable, the other hand still holding the camera. You make a move to stop recording and put it on the table but Tom stops you, instead holding the camera towards the two of you and flipping the screen so you could see yourselves.
“What are we doing?” you ask him as you lean your cheek against his, looking at yourself at the tiny screen.
“Admiring the view.” He answers, smiling. He doesn’t look away from the camera as he slightly turns his head to kiss you on your cheek, making you smile. He tears his eyes from the camera as he fully turns to you, kissing you repeteadly on your face, moving his lips slightly with every kiss, making you close your eyes in bliss. He has arrived to the corner of your lips and placed a few kisses there when you turn your head and meet his lips. He kisses you slowly, gently, with no rush, making you feel the tingles all the way to your toes.
You pull away after a minute, resting your forehead against his after a final little peck.
“So are gonna put this in the video?” you ask, still smiling.
“Nope.” He answers, as he kisses the corner of your lips again. “This goes into our own archive.”
———-
It was a long and tiring process after the supplies arrived, but also the most fun you had with the boys. Harrison and Tuwaine were mostly observing and making comments as they watched you from the comfort of their chairs, and recording everything as you were helping Tom.
Tom was handling the most of the things, planning what goes where and marking the boards for the places to cut. And you and Harry helped with the cutting after he made the marks. Also, if you had to add, Tom was very shirtless at this point, and you had been staring at him for so long that you almost cut yourself with the mini electric saw you were holding.
“Hey Y/N!” Harrison yelled from his seat, holding the camera. “Stop ogling your boyfriend before you lose a few fingers! Or a hand!”
“I can ogle my boyfriend as long as I want to, Osterfield!” You yelled back, making Tom lean over to give you a little kiss, and making Harry mutter an “ew” under his breath.
———-
When the cutting process was over, you started the painting. Tom was currently recording you as you were painting one of the panels that was leaning against the fence.
“Soo we’re doing the painting right now as you can see.” He narrated. “Harrison decided to get off his arse and actually help for once.” He continued talking, pointing the camera towards his best friend.
“I have been cooking for you for weeks since you guys are so tired all the time!” 
———-
After the paints were dry and you were satisfied with the tone, all that was left to was assembling the whole thing. You decided to build it in a way that you could disassemble it and carry it anywhere in the house. So after assembling and hanging up the police box signs, and turning on the light, it was finally done! Your own TARDIS that had no other purpose other than sitting in your garden and looking pretty. Three months well spent, you would say.
“I’m gonna post this on Instagram.” Tom said as you stood next to each other in the garden, admiring the result of your work.
“You should post it on every website available.” You said, still in awe that you currently had an actual, life sized TARDIS sitting in your garden.
“Okay, I have an idea.” Tom said turning to you. “I’ll start a live stream, you’ll be hiding inside, I’ll just come out to the garden showing them the flowers or something. And then I’ll turn around and go like ‘Oh my God guys there is a TARDIS in my garden what the fuck?!’ and then you’ll jump out saying ‘SURPRISEEE!’ ”
“Ooor,” you said, thinking about the sonic screwdriver toy you had in your room. “I could be the Doctor.”
“You would be hot as the Doctor.” He says, leaning in to kiss you, making you wrap your arms around his neck as you kiss him back.
———-
“We built a TARDIS!” you said at the same time, you giving a thumbs up at the camera. The comments were rolling so fast that you couldn’t read any of them.
“I think you just broke the internet again.” You said, making him laugh. He flips the camera around to walk around the TARDIS, showing some details and saying that he was gonna post a video of the whole process later.
“So should we give a tour of the inside, m’love?” he says, turning at you.
“Of course.” You answer, and go over the door to open it with a flourish. “Ta-daaa!” you exclaim, holding out an arm as if you were welcoming him inside.
“Aaand that’s it.” He says as he shows the inside of the box, which is, for a fact, not bigger on the inside but just a tiny space.
“We’re thinking of covering all the walls with pictures and kinda turn this into a memory box.” You explain.
“Yeah, and we’ll sometimes put it in random places in the house, so like one of the guys could walk into his room and suddenly find a TARDIS in the middle of it.” Tom continues, making you gape at him, still not having a filter after everything he’s done for years.
“Tom, stop spoiling our pranks!”  
A/N: Sorry for the weird ending, just didn’t know how to wrap it up. Please give it a like/reblog if you enjoyed it! Also, the GIF isn’t mine.
MASTERLIST
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sonisis · 7 years ago
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.:Finding Amy Rose:.
[Very minor spoilers/ minor sonamy] After the Infinite incident a lot of the gang hasn't felt exactly the same, all though everyone seemed to manage just fine, Amy seemed to have silently suffered the most. Also can be read at Fanfiction.net
Amy normally could handle anything Eggman threw at her, Robots chasing her? Her hammer could smash them. Being held hostage as live bait for Sonic? She’ll find a way to escape. Metal claws gripping her to death? Meh, honestly she was almost used to it, but this last Eggman attack just really wrecked her nerves. During the whole Infinite incident, as the history books were putting it, she rarely slept not only because she was worrying if Sonic was still alive or not but also the anxiety she felt at any noise made because of the fear that that noise might lead to an attack. The Infinite situation dragged her sanity to the ledge and because of that something clicked in her mind.
When she was finally able to return to her apartment in Station Square she walked into her room she saw a huge hole where her window view used to be, her freshly new designer rug imported from overseas was halfway burnt, and the morning tea she made the morning before the attack had evaporated into thin air. Amy dropped to her knees, she couldn’t do this, if Eggman was going to keep doing this over and over again she- she just can’t, this is just too much for one girl to handle alone. At that instant her mind went blank, she gathered important documents and few clothes that were undamaged and left her ruined apartment. Before leaving she left an envelope with her remaining lease total enclosed along with a note that read. “I’m sorry but I need to go. I’m sorry that I left a mess but you’re free to do whatever you like with the stuff inside”.  She ran outside after that, unsure where she was going or what she was really doing, she just...Left.
------
Tails hadn’t heard from Amy in 3 days, it made him very nervous because Amy tried to call at least once a day to ask if he had any idea where Sonic was. Tails almost lost his best friend, he didn’t want to feel that guilt and uncertainty again, so he quickly flew over to Amy’s apartment. Arriving there wasn’t easy since there was a lot of cleanup and reconstruction going on in such a huge area, he did the polite thing and just flew into the giant gaping hole that was located where Amy’s room was.
“Hey Amy are you here?” He called out but he heard no answer. It didn’t help that her room still looked like a mess, many people have already started cleaning up. Tails tried to stay optimistic and thought maybe she just went to find supplies to clean up, and just to confirm his theory he went up to the landlord to ask if he’d seen Amy.
“Sorry I don’t think she’s coming back. She left this envelope with the remaining costs to her lease along with a note. You can keep the note.”
Tails immediately took the note and began to read it over and over. He was at disbelief. He quickly flew back up to her room to search for any hints of Amy but he couldn’t find anything. She left almost everything back here. Her scrap books, picture frames, expensive clothing. One thing Tails noticed was that he couldn’t find any of her sensitive documents, to this Tails felt a slight sigh of relief that Amy might be clinging onto hope, but he didn’t want to risk anything, he called Sonic immediately.
---------------
 Sonic didn’t take the news too well, he was pretty good at keeping his emotions cool and under control but all those months of constant torture in the Death Egg have made that a bit difficult. Sonic quickly ran to all parts of the continent. Most airports haven’t returned to normal routines since they’re using the air ways to transport supplies, so Amy shouldn’t have gone too far. He checked all of Amy’s usual spots, the Mystic ruins where there was beautiful flowers overlooking the ocean, the beach where she often took relaxing evening walks, he even went asking around some of her neighbors to see if they’ve seen her the day she left, but unfortunately, there was no hint of Amy.
 This really nerved him, he wasn’t sure what to do next. He couldn’t find her, where could she have possibly gone? The panicking brought Sonic back to the horrible memories of his torture, getting beaten up to a bloody pulp by Zavok, Chaos repeatedly suffocating him with water until he passed out, Shadow and Metal poking him with painful sharp daggers by either Shadow’s Chaos spear or Metal’s cold mechanical hands. The only thing that kept him sane were thoughts of Amy, no matter what, somehow she was always able to calm him down in a strange way. Seeing her excited to see him made him know that there was peace in the world, there was nothing to worry about and that’s why she wanted to cling onto me, because she was happy. Memories of her throwing herself at him kept him hopeful that once he got out he would be embraced by Amy again and she would bring a picnic basket so that the two could share once she found him in the middle of Green hill zone.
“I’ve always silently depended on Amy, but I…. I just failed in making damm sure she could depend on me.” Sonic quietly sobbed, he really hoped Amy would jump out from the bushes and tackled him right about now.
------------
It had almost been about 4 years since Amy up and left, Sonic asked Rouge to inform him if there was any word about Amy, any. Meanwhile he was able to suppress the memory that was the Death egg and Tails had regained his nerves by writing a program to detect any news that spoke about Amy through the internet but even with everyone’s combined efforts they haven’t had much luck with clues. Since then there had been a couple attacks by Eggman, but just petty ones, he was trying to bring back his pride since the COLOSSAL failure that was the Infinite incident, but aside from that everything was relatively calm.
Across the vast land Casinopolis was getting ready to host their first Fashion show since the Infinite events and the city was as lively as ever. In a luxurious hotel room was Amy Rose who rented the room under the pen name “Juliette”. Amy was looking out the window relaxing with a cup of tea that was freshly brought up by Hotel service. Her quills had grown long past her shoulders and she was getting ready to attend the fashion show later the evening. Since her vanishment she found herself roaming the land, each time finding herself in a new boutique helping with sewing up clothes for her boss’ clients. Amy always loved fashion and style, it was something that helped her relax.  
About a year ago Amy had begun working under a famous designer known as “Pier La’foux”, she was an amazing designer who unfortunately lost 2 of her fingers on her dominant hand during the Infinite incident, and because of this it was hard for her to finish her projects with the exact and precise details she was most known for. Pier heard about “Juliet” when she was visiting a friend’s newly opened boutique where Amy was working at the time. Pier’s friend had told her that her new assistant was very good at those intricate details and recommended Pier to consider “Juliet” as her assistant. The moment Pier saw Amy’s work she was astonished at how well she embroidered beautiful golden roses on a long black evening gown, Pier immediately took Amy under her wing to assist with continuing Pier’s work. It wasn’t until after a year that Pier realized that “Juliet” wasn’t Amy’s real name and asked her why she would leave her old life? At that point Amy had enough trust with Pier that she just broke down in tears.
“I was under so much stress and anxiety that I just left. It was a flight response that hit me so suddenly that I wasn’t able to think much, I just ran and ran and ran until I found myself at the beach across the other side of the continent. I found a boat that had washed on shore and I just paddled, at that point I didn’t care if I reached land, I just wanted to escape. I think I kept running for so long that I later realized a year had passed and I found out that Sonic and Tails and everyone else was worried about me, but at that point… I just felt guilt. I felt too guilty to come back. I felt like I left a lot of my closest, my only, friends down. I made them worry so much about me that I didn’t feel like it was ok to just jump back into their lives when they had already stressed out so much, not only because of Infinite, but because of me. I didn’t-I didn’t want to face that.” Amy cried and cried, she tried to stop sobbing but all the pain, all the stress, all the anxiety, all the panic and frustration just kept pouring out of her.
Pier looked at Amy and held her tightly for support. To Pier her dear friend had been bottling up so much negative emotions over the years that finally the bottle overflowed and broke. To comfort Amy she told her that she would keep her secret for as long as she needed, but Pier also promised Amy that she would help her find the courage to let her friends know that she was ok. This soothed Amy, not only the crying, but the encouragement and support from a friend.
Amy took a sip from her tea cup and thought to herself. If only Sonic or Tails or anyone was with me on the day I went back to my apartment, maybe then they could’ve comfort me or stopped me and I wouldn’t have ran away. Amy then looked at the clock and saw that it was 1 hour before she had to meet up with Pier backstage at the fashion show to help with the models. She placed her tea cup on top of the coffee table and quickly readied herself with large sunglasses and a big beautifully decorated hat that carefully hid her quills and distracted from her face.
------
Tails was having his morning coffee as he watched the morning news as he did every other morning. There was a segment on the Fashion show that happened in Casinopolis last night after the commercial break, but he wasn’t too enthusiastic about it so he was debating on turning the tv off after he finished the last sip of his coffee. Before he could come to a decision he got a message from his communicator, it was from Rouge.
The message read “Watch the Fashion show interview with Pier La’foux and tell me if the girl to her right looks familiar. <3 Rouge”
Tails quickly turned his head back to the tv as the last commercial was playing, he began to pay attention to the faces and names on the screen, then there was a quick interview with the person Rouge named. To the right of the fashion designer was a girl in a huge white hat with huge red roses layered onto the hat. The hat was so huge it was hard to tell if there was even a head underneath it, but just then, during the whole loud activity behind the two girls came a woman who looked a bit like Rouge and “accidentally” bumped into the girl on the right causing the hat, to fall off and her sunglasses to distort itself onto her face. Tails quickly paused the screen. The whole activity was happening so fast that the screen was a bit blurry on the girl, but it was no doubt, the girl on the right look exactly like Amy. He quickly messaged Sonic to come to his house where after a long 14.34 seconds Sonic arrived to confirm that the girl on the screen was in fact Amy.
The boys quickly contacted Rouge regarding her intel. She specified she had her suspicions when she was looking at a fashion magazine while she got her hair done, one of the articles on the magazine was an interview with a famous designer along with a picture of her and her assistant, her face and hair was covered up pretty well with decorated jewelry and glasses, the fact that she was pink and was only quoted by the name of “Juliette” made Rouge suspicious. Rouge also said that currently the best way to actually confirm if it was Amy is if they left at that moment to catch one of the many flights from the Casinopolis airport and see if Amy boards one of them. Sonic quickly got everyone he could to meet at the airport last minute and wait and go through different terminals just to make sure they didn’t miss the chance.
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Amy made sure that all of her belongings were in her luggage case before double checking that her disguise was intact. Compared to the elegant outfit she wore the night before she in contrast wore a baggy grey hoodie with some long black yoga pants and sneakers, she also made sure to wear sunglasses of course but just an outfit wasn’t enough to go through a security check. Amy made sure her Wig was on properly so that she could keep it on through the process. With her double and  triple checking she was ready to head out to airport unknowing that Sonic and the others were waiting there to see her.
The plan was now in motion, there was 7 terminals in the Casinopolis airport and there was at least 1 member of the Sonic team at each one. Tails in 1, Knuckles in 2, Sonic in 3, Rouge in 4, Vector in 5, Espio in 6 and Rookie in 7, they were all ready and alert to find any hint of Amy.
Amy arrived in a shuttle to terminal 3, she planned to go on a separate flight from Pier. While Pier was going back to her studio Amy was going to Holoska for some special Holoskan textiles for Pier. She checked into her flight and dropped off her luggage then waited at the security check without any problems of her removing her wig, she then headed towards her gate, a she turned the corner that’s when she saw him, Sonic. Why was Sonic flying in a commercial Airline? Tails could give him a free flight at any time! Oh gosh, did they see the footage where her hat fell off? She knew she should’ve dyed her quills that day, ugg! All these “should haves” were meaningless, now it was time for action, now it was time to...run. Amy went to the womens restroom where she waited there until her plane began to board. Once Amy boarded the plane and headed to her coach seat the color from her face dropped… Sonic was sitting, right next, to her seat, sitting next to the isle, keeping her trapped, in her window seat. Amy quickly hailed a Flight attendant to ask if it was possible to change her seat but to continue her bad luck rolling, this was a book flight. Amy was stuck on a 3 hour flight, with Sonic. Normally she would be jumping with joy for just one second with Sonic, but right now she couldn’t, she felt too much shame and guilt to show her excitement.
“Hey! Are you my seat buddy? It’s not everyday you get to sit next to hero now is it?” Sonic got up to let the unknown passenger sit at their seat. “So where ya’ heade-”
Amy quickly sat down and visibly put on her earbuds and connected them to the tiny tv screen and put on the first movie that came up. Internally Amy was still screaming. It was a very long and boring 3 hours for the two hedgehogs.
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The exact moment the plane landed at the gate and opened it’s doors Sonic was the first one out, he just couldn’t wait another second inside that cramped airplane. Right now they were in Metropolis city, after this Amy would stay the night at a nearby hotel and then take a small plane to Holoska the next morning.
Sonic was about to head out the airport doors before he remembered to pick up his luggage, even though this was a small trip he thought about bringing a luggage case just to fill it up with jars of a special chili made only at one restaurant in the city. He impatiently kept stomping his foot as he waited by the luggage conveyor belt, honestly, how slow can a team of people be? Wasn’t there at least 4 of them? Something caught Sonic’s eye as the luggage started coming in, it was a bright pink case, it reminded him of Amy, just then he caught a quick glimpse at the name tag, “Juliette” written on the name tag.
“I got her now” Sonic thought, he stood by the side and waited to see who claimed the luggage case.
Amy was last to leave the plane, she was hoping Sonic would be long gone by now but she made sure to take, a bit, or extra precautions, she stopped by the bathroom and later looked at all the overpriced nik-naks at the airport store just to buy a sandwich from one of the many chain coffee shops located at the same terminal. She had to have taken at least an hour but maybe she didn’t waste enough time because when she arrived at the conveyor belt she saw her luggage still going around, and a blue hedgehog standing by the courtesy hotel phones. Amy hid behind a giant ad pillar away from Sonic’s sight and began to debate whether to leave the luggage behind, but she knew she couldn’t do that because she had one of Pier’s prototype’s designs neatly folded in there and she knew Pier would kill her if she lost it. She lost the feeling to her legs and she dropped to her knees.
“Why me, why today, I’m just not ready.” Amy sighed but she jumped when someone tapped her on the shoulder.
“Hey there seat buddy! You doing ok?” Sonic teased his seat buddy. “Listen I was wondering, do you have a spare bed I can use?
Amy wanted to die. Sonic was here and she still couldn’t face him with good conscience, She can’t. She wasn’t ready. But she had to. Amy tried her best to disguise her voice, only to sound like some strange dying whale. “Why don’t you use the courtesy phones over there?”
“I did but they’re all booked. Besides I was hoping to meet a friend here but I don’t think that’s going to happen.”
My gosh. Does he know? No he doesn’t...does he? Amy looked back at her luggage to see a staff member take it to the lost and found. NOOOOOOOOOOOOOO.
“Ack! They’re going to take that? Did someone miss their flight?” Sonic sighed and drooped down and looked at the floor. He really had his hopes up that he would find Amy here, but he just traveled 3 hours for a flight that he could’ve easily outran by 5 minutes.
Amy felt bad, at that moment she really wanted to tell him but she was interrupted by her phone, it was the airport calling about her unclaimed luggage. She stepped off the the side to answer, she accidentally pressed the speaker button upon answering and her phone blasts the message.
“Hi! This is the lost and found for Metropolitan airlines, am I speaking with Juliette?”
“Umm… can I call back?” Amy said with the meekest of voiced.
“Ok just to let you know we can only keep your luggage here no longer than 24 hours, after that we will have to dispose of it. Thank you and have a great day!”
The clerk hung up. Amy slowly looked behind her. It was too late, Sonic was already right behind her.
“A-Amy?” Sonic stared deeply through Amy’s thick sunglasses “Are you really here?”
At some point Amy had to come to terms with her mistakes, but she was hoping she was ready for it and right now she was not ready. “C-can I just get my luggage right now.”
Sonic tightly embraced Amy, tears were running down both of their faces. “Where were you? Why did you leave? Why didn’t you come to me if you had any problems? I was worried sick that,that someone took you, or even worse!”
Amy broke down at that point, she was bawling her eyes out and crying loudly “I’m-I’m-I’m SO-SORRY!” the two were making a scene, but Amy was at a point of no return with her tears. Her gut was hurting so much after being found out, but her heart had felt relieved to have finally talked to Sonic again after these past couple of years.
“Here, let’s go someplace more secluded, I think the paparazzi might be headed their way.” Sonic lifted  Amy off her feet to make sure she never ran again.
“W-wait! I need my luggage case!” Amy adjusted her sunglasses to hide her puffed up eyes, Sonic let her back down and she started walking to the Help desk where they had the unclaimed luggage.
------
Amy took Sonic to her hotel room, she ordered some tea through room service along with some tiny pastries. She had asked Sonic not to ask any questions, it was hard enough on her to leave, it was even harder trying to come back, he understood this and sat down at the chair closest to the window.
“I-I couldn’t handle it anymore” Amy couldn’t handle the awkward silence anymore. “The whole thing with Infinite just broke me. I-I wasn’t thinking much when I left honestly. I just needed to get away from it all.”
“Then why didn’t you come to me or Tails or anyone else?” Sonic looked away hiding his slightly tipped off face.
“Like I said I wasn’t thinking. Seeing my home in shambles, it was like the final nail in the coffin. I know I could usually handle myself for the first time, I was just under constant stress every single day.”
Sonic looked at Amy “I guess… I can understand that. Infinite wasn’t easy, none of us really got out of it the same way.”
Amy was glad he understood her “Yeah… I think what I really needed was to talk to someone, but at that moment it was hard to think about that. I’m really sorry for not talking with anyone, I just kept trying to escape the situation that I lost track of time, I felt too ashamed to go back, I made you guys worry too much and to me I thought you guys didn’t need to see me again and relive those feelings.” Amy started to cry again, she cried to much today she didn’t think she could cry anymore.
“Well I can’t blame you for wanting to change your life up, I gotta ask though...are you planning on being a designer or whatever for the rest of your life?”
“I really enjoy fashion and design, but to be completely honest I really miss the adventures of running around and saving people. But at this point I wonder if it’s even possible to go back. I haven’t touched my hammer in years” Amy laughed to reduce the tension in the air.
Sonic stayed quiet for a moment to put his next words carefully. “I won’t lie but, I hope you can join us in adventures again, I kinda miss having you in them.”
Amy’s face grew red like her name, she was blushing madly, did she hear him correctly? She hopes she did. “I-I uhhh I miss the adventures too, maybe after this trip I’ll try to pick up my hammer again.”
Sonic’s ears perked up, but tried to hide his enthusiasm “G-great! Just any time let me know when you need help with that, I’ll help you train again if you need it!”
Amy giggled, she hadn’t felt this great in years. All of her worries and anxieties almost vanished at that instant. If she had talked to any of her friends sooner she could’ve avoided year's worth of sleepless nights.
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sailorrrvenus · 6 years ago
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Shooting Dreams and Nightmares: An Interview with the Bragdon Brothers
Great photography tells a compelling story. Weaving narrative into photos and photo series is a challenging task — the storyteller cannot simply make the world conform to their imagination as the author or painter can. Photographers only have one frame to convey meaning — motion and action have to be paraphrased and the moment of transformation captured.
The limitations of physical reality and framing a decisive moment to tell a tale are what makes being a good photographic storyteller so hard. You need to think laterally, as your story relies heavily on the imagination and subconscious mind of the audience, much like infiltrating someone’s dreams.
Gareth (above, at left) and Gavin (above, at right) Bragdon are two street photographers who do this artfully. It’s unusual to find someone who performs this effectively, let alone two brother’s whose work compliments each other in a style that blends dreams with nightmares, emphasizing the surreal aspects of the everyday. There is a meaning in here, but just like in a dream the meaning is unclear and muddled- strange things are illuminated people become alien lifeforms, and life the world becomes a surreal and scary place.
I interviewed them to divine some understanding of these surreal images they create.
James Cater (to Gavin): On your old blog you wrote that “I can easily see commonalities between my handwriting, photography, music, drawing and so on…for example, I tend to favor delay/reverb which to me would be the sonic equivalents to photography’s slow shutter speeds, multiple exposures, blur and the like.” This is an interesting way for an artist to find their element in photo taking — by looking outside the photographic art to find their ‘punctum’ as you called it. Things have definitely developed since this, but what kind of art outside of photography continues to influence your style?
Gavin: I would definitely say movies/TV…in fact, maybe more so than other photography itself. Books as well. My favorite genre for all of those tends to be science fiction as well horror if it’s well done, you know focuses more on the eerie, uncanny, surreal, atmosphere and so on. And at least nowadays, consciously or subconsciously those are the sort of things I try to capture.
And I think it reflects the real world at the moment. We are living in a sort of sci-fi/horror. Everything seems off-kilter, unwinding, surreal, not quite real, this twilight zone. You got Donald Trump, of course, Britain is committing suicide with Brexit because it’s collectively lost its mind, you got other similar movements popping up in other countries. There’s also the effects of climate change becoming more and more tangible. We’re in a very weird and dark place right now.
(To Gavin) Many of your photos look like they are from stills the X-Files. How are you influenced by the paranormal or surrealism?
Gavin: As far as the former goes, when my brother and I were kids we spent a lot of time reading about the paranormal- ghosts, UFOs, cryptids and so on. I suppose that came from the fact that unlike many other kids our age, we never were able to watch say Friday the 13th or the Freddy Kruger movies. I think all kids have something of a need for horror and scares of some kinds, so for us, the books and shows about the paranormal supplemented that. The only difference was that, supposedly, what we were into was non-fiction. And there is something very surreal about the paranormal versus Hollywood horror.
Incidentally, we were/are planning to do a documentary project on “paranormal culture” if you will, in Scotland, you know tagging along with ghost hunters, UFO watchers and the like. Because of circumstances involving my brother’s illness, its been shelved for the time being but as soon as he’s in a better state its something I really look forward to jumping into.
(To Gavin) Do you have any experiences with extra-terrestrial life forms, or do you have any beliefs that some may consider ‘fringe’ or conspiratorial?
Gavin: I tend to be agnostic about the paranormal/unexplained. I tend to think there is “something” that happens, like what we think of as ghosts or alien spacecraft are things that are real in a way – that something is happening, and not just a bunch of lies or sightings of Venus/swamp gas (some of the skeptical explanations are just as ridiculous and far-fetched as the explanations of some of the most out there “believers”). But of course, yeah, there is a lot of bullshit out there.
Ghosts and UFOs and so on seem almost like glitches in the Matrix…they don’t belong in our rational, scientific natural world and yet there they are. What are they? Are they what they seem at face value? I mean even if none of it is real, I still find fascinating to think that maybe there is a thin membrane between our natural/rational world and others that leaks over sometimes. If it is all a modern form of mythology, then it’s a fascinating one.
I can say I have a short handful of what would be considered paranormal experiences, things that I can’t explain otherwise. And believe me, I wrack my brain for alternatives because I don’t want to go around believing I had an “experience” for the sake of it. I have seen what I believe was UFO once, its small fry stuff, but it’s one I really can’t explain. Basically, it looked a bit like a star flying around in erratic patterns around a larger and brighter star before the former seemed to disappear into the latter, which then just stayed there like a star or planet would. It’s a weird one and doesn’t even quite make sense as an alien spacecraft much less anything natural.
(To Gavin) How did you shoot this? Was it come across by accident with no explanation? What is the back story to this pic?
Gavin: I did indeed come across this by accident, as to what is really going on…I feel in this case it is best to say a magician never reveals his secrets. In some cases, I think the photo is best served by keeping the back story to one’s self, to keep the mystery. This is the kind of shot I really really actually hope to find every time I go out and shoot. A scene that, when framed correctly, is truly surreal and creates its own bizarre reality as a photograph separate from what really transpired in life. I really wish I would come across stuff like this more often!
(To Gavin) How did you light this? Who is this person in the photo?
Gavin: This is actually a staged shot. Back in college, I was working a project about, incidentally, the paranormal and I was trying to create photos that sort of resembled allegedly real photos you find in books on the subject. This is my brother on a rooftop in Malta. I put the flash behind him and put the camera in P-mode on a high ISO. The camera exposes for the ambient light, so doesn’t know the flash is there so thus things the flash hit end up being overexposed and seem to glow. The eyes are just basic “light-dots” I added in Photoshop. My PS skills are quite basic actually.
(To Gavin) Is this lit with a flash? Or just natural light? How did you achieve this hyper-realistic look?
Gavin: Natural light. Very straight ahead shot, point and click. I didn’t do very much with it in post-processing so I figure the hyper-real look is just from the layers in the scene.
(To Gareth) From an except I read on your bio from Forward Thinking Museum, you mentioned that you were learning photography in the hope of becoming a photojournalist, I read also in a 121clicks article recently that you have been struggling with a diagnosis of Lyme disease. How has this impacted your aspirations?
Gareth: It’s honestly a bit painful and unimaginable at this point to think I once such aspirations. The interview with Forward Thinking Museum was done back in 2013. My symptoms had suddenly started in February of 2012. I was having hundreds of skipping heart beats a day, breathlessness, random dizziness attacks. All the doctors assured me these symptoms where simply being caused by “anxiety” and “panic attacks.” I constantly felt like I was one missed heartbeat away from death. Despite this, my fascination with photography was only growing and my will power was stronger than my fears. When I look back at my old B&W pictures I can really see that weird mixture of passion and physical discomfort of the time reflecting off the pictures themselves. Living like that was hell and I still have no idea how I managed to capture those pictures, study photography, work or be in a relationship well dealing with that shit. I was sick but I was also healthy enough to still dream. What I did not expect is how much worse I was going to get over the coming years. By 2015 I started having daily headaches and migraines and by 2017 I was deathly sick having memory problems and crippling fatigue. It was not till the eleventh hour that my invisible illness that made my body into a torture chamber was finally exposed and diagnosed. Right now I’m undergoing treatment, but it’s been very difficult and is a slow process. For right now all of my dreams aspirations are being kept in a metaphorical shoe box until I’m better.
(To Gareth) When I read the quote, “I think the streets will prepare me for future battlefields,” it made me thought of a Bruce Gilden video, where he is walking around NYC and talking about the really dangerous place is ‘right here’. In any disaster area, working as a journo, you have a press pass that gives you permission to take photos. But being just a shmuck with a camera means anyone can do what they want to you. With your in your face style of photography, what are some of the most interesting reactions you have inspired from an uninvited flash to the face?
Gareth: Shooting this way, of course you’re not invisible but most of the time the reactions are fine. Sometimes people laugh or say thank you if you compliment them, sometimes it elicits a conversation. Bizarrely enough, there are quite a few people who don’t seem to notice it. However and inevitably you will get the odd bad reaction. One time I shot this guy smoking a pipe. He literally punches the camera into my face and starts having this big go at me, saying he’s a lawyer, he’ll sue me blah blah blah.
I stood my ground saying what I was doing was not illegal but physically assaulting someone was, which is what he just did to me. Usually when you get a bad reaction or whatever I try to be apologetic or defuse the situation not always “stand my ground”, but when someone acts like that and starts getting physical over their photo being taken, then no. Anyway, I was later informed that this guy was a lawyer — in fact, an infamous one well-known for his hard unionist and anti-Catholic leanings. He’s been caught out singing sectarian songs and jokes. He’s a bigot. After learning that, I did not feel bad in the least for ruining his day.
(To Gareth) In your series ��Breathing Mannequins” you bring a high fashion style to the streets. It seems with this series that the intention is to make photographs that contrast human skin to the unnatural covering of clothing. What inspired you to look at people this way and how did you learn to shoot in this way?
Gareth: When I was first exposed to street photography I was attracted to its unpredictability and the unforgiving nature. I remember trying to find the “decisive moment” when I first started shooting the streets and completely failing to capture anything compelling. It was not until a Halloween night when I decided to use the pop-up flash on my camera that I discovered the potential of the flash. Soon afterward I purchased a flash gun and a set of flash triggers.
Much of my inspiration to capture subjects up close and off guard came from looking at the work of a local street photographer and friend Paul Cruickshank. I was drawn in by the feeling of energy and intimacy in his pictures. Armed with my flash gun and lots of courage I began getting closer to subjects. The black and white lighting storms soon led to interesting results and further pursuit of that aesthetic.
When I was shooting in black and white I was thinking in black & white and looked for people and things that would fit the dark and eerie look. It was not till I reluctantly switched over to color that I begin to see the visual potential of the subjects that peacocked their way down Edinburgh’s busy high street. I was also simultaneously being inspired by the surrealistic color work of Guy Bourdin. I believe his work had an even greater impact on me than most of the well-known street photographers.
(To Gareth) Do you yourself wear clothing that draws attention to yourself, that sacrifice practicality for fashion?
Gareth: No, not deliberately unless my clothes are falling apart. I used to wear this leather jacket where the sleeve was torn to shreds, but I was too skint to replace it for ages. One of my friends said it looked like I’d been run over by a car. That’s as flashy as I get with my fashion.
(To Gareth) How much warning did you get to take this- did the umbrella reverse itself just as you hit the shutter?
Gareth: Not very much warning. I was crossing the street and the umbrella reversed itself right in front of me and it was thanks to fast reflexes that I was able to catch this at the drop of a hat.
(To Gareth) Did you know this guy before you took the photo? It looks as if you were just having a drink with him?
Gareth: This was in Monmarte in Paris. There was a camera crew around this guy and I just jumped into the middle of this crowd and took the photo. Had no idea who he was but was later told he is something like a famous owner of cabaret clubs or something like that. Some celebrity anyway.
(To Gareth) What is the story behind this wretched creature?
Gareth: I caught this just as its owner was about to pick it up into a taxi cab. It’s some sort of particular breed. No idea which.
(To Gareth) How was this lit? How did the copper react to you flashing his horse?
Gareth: Lit with an off-camera flash from under the horse’s snout. It was years ago I took this, but I don’t recall the cop really reacting. I guess sometimes you have to be careful with horses. Horses can scare the shit out of me sometimes.
(To Gareth) When putting together your portfolio or an exhibition, what do you look for? What are the themes or feelings that speak to you to create a series like Under Grey Skies?
Gareth: When we put together things like that, I suppose not only are we trying to pick strong individual photos, but also have a sort of consistency to them. Not necessarily something literal, or something you can express with words, but the sort of thing you can see coming together when you’re actually in the act of putting it all together. I suppose the same can often be said of when we have series like the one you mentioned. Like when those photos are taken, we’re usually just out to take photos, not necessarily with a particular theme in mind, not consciously anyway. It’s later on that you notice when you have enough of these pictures does the “theme” become apparent.
(To Both) What is a vivid dream that you can pull from recent memory?
Gareth: I had this really vivid dream recently that involved a really strange lighting storm with these sort of UFOs in the sky and everyone looking up at them and then this apparition of a girl appearing in the hallway. It was really eerie and a bit omen-y. Then the dream moved on to going to the theater with my brother and parents and having a bad feeling about it and getting us to leave in a taxi, only for it to bring us back to the theater which then gets attacked by these guys with samurai swords. One of those dreams where you end up feeling really weird when you wake up.
Gavin: I had a dream where I found out Karen O died from meningitis or something. I was proper tore up about it.
(To Both) Lastly, this wouldn’t be a photographer interview without a gear shot, so show me what you shoot with!
About the author: James Cater is a digital and analog photographer, film lab operator, and model. The opinions expressed in this article are solely those of the author. You can find more of Cater’s work on his website and Instagram. This article was also published here.
source https://petapixel.com/2019/04/01/shooting-dreams-and-nightmares-an-interview-with-the-bragdon-brothers/
0 notes
pauldeckerus · 6 years ago
Text
Shooting Dreams and Nightmares: An Interview with the Bragdon Brothers
Great photography tells a compelling story. Weaving narrative into photos and photo series is a challenging task — the storyteller cannot simply make the world conform to their imagination as the author or painter can. Photographers only have one frame to convey meaning — motion and action have to be paraphrased and the moment of transformation captured.
The limitations of physical reality and framing a decisive moment to tell a tale are what makes being a good photographic storyteller so hard. You need to think laterally, as your story relies heavily on the imagination and subconscious mind of the audience, much like infiltrating someone’s dreams.
Gareth (above, at left) and Gavin (above, at right) Bragdon are two street photographers who do this artfully. It’s unusual to find someone who performs this effectively, let alone two brother’s whose work compliments each other in a style that blends dreams with nightmares, emphasizing the surreal aspects of the everyday. There is a meaning in here, but just like in a dream the meaning is unclear and muddled- strange things are illuminated people become alien lifeforms, and life the world becomes a surreal and scary place.
I interviewed them to divine some understanding of these surreal images they create.
James Cater (to Gavin): On your old blog you wrote that “I can easily see commonalities between my handwriting, photography, music, drawing and so on…for example, I tend to favor delay/reverb which to me would be the sonic equivalents to photography’s slow shutter speeds, multiple exposures, blur and the like.” This is an interesting way for an artist to find their element in photo taking — by looking outside the photographic art to find their ‘punctum’ as you called it. Things have definitely developed since this, but what kind of art outside of photography continues to influence your style?
Gavin: I would definitely say movies/TV…in fact, maybe more so than other photography itself. Books as well. My favorite genre for all of those tends to be science fiction as well horror if it’s well done, you know focuses more on the eerie, uncanny, surreal, atmosphere and so on. And at least nowadays, consciously or subconsciously those are the sort of things I try to capture.
And I think it reflects the real world at the moment. We are living in a sort of sci-fi/horror. Everything seems off-kilter, unwinding, surreal, not quite real, this twilight zone. You got Donald Trump, of course, Britain is committing suicide with Brexit because it’s collectively lost its mind, you got other similar movements popping up in other countries. There’s also the effects of climate change becoming more and more tangible. We’re in a very weird and dark place right now.
(To Gavin) Many of your photos look like they are from stills the X-Files. How are you influenced by the paranormal or surrealism?
Gavin: As far as the former goes, when my brother and I were kids we spent a lot of time reading about the paranormal- ghosts, UFOs, cryptids and so on. I suppose that came from the fact that unlike many other kids our age, we never were able to watch say Friday the 13th or the Freddy Kruger movies. I think all kids have something of a need for horror and scares of some kinds, so for us, the books and shows about the paranormal supplemented that. The only difference was that, supposedly, what we were into was non-fiction. And there is something very surreal about the paranormal versus Hollywood horror.
Incidentally, we were/are planning to do a documentary project on “paranormal culture” if you will, in Scotland, you know tagging along with ghost hunters, UFO watchers and the like. Because of circumstances involving my brother’s illness, its been shelved for the time being but as soon as he’s in a better state its something I really look forward to jumping into.
(To Gavin) Do you have any experiences with extra-terrestrial life forms, or do you have any beliefs that some may consider ‘fringe’ or conspiratorial?
Gavin: I tend to be agnostic about the paranormal/unexplained. I tend to think there is “something” that happens, like what we think of as ghosts or alien spacecraft are things that are real in a way – that something is happening, and not just a bunch of lies or sightings of Venus/swamp gas (some of the skeptical explanations are just as ridiculous and far-fetched as the explanations of some of the most out there “believers”). But of course, yeah, there is a lot of bullshit out there.
Ghosts and UFOs and so on seem almost like glitches in the Matrix…they don’t belong in our rational, scientific natural world and yet there they are. What are they? Are they what they seem at face value? I mean even if none of it is real, I still find fascinating to think that maybe there is a thin membrane between our natural/rational world and others that leaks over sometimes. If it is all a modern form of mythology, then it’s a fascinating one.
I can say I have a short handful of what would be considered paranormal experiences, things that I can’t explain otherwise. And believe me, I wrack my brain for alternatives because I don’t want to go around believing I had an “experience” for the sake of it. I have seen what I believe was UFO once, its small fry stuff, but it’s one I really can’t explain. Basically, it looked a bit like a star flying around in erratic patterns around a larger and brighter star before the former seemed to disappear into the latter, which then just stayed there like a star or planet would. It’s a weird one and doesn’t even quite make sense as an alien spacecraft much less anything natural.
(To Gavin) How did you shoot this? Was it come across by accident with no explanation? What is the back story to this pic?
Gavin: I did indeed come across this by accident, as to what is really going on…I feel in this case it is best to say a magician never reveals his secrets. In some cases, I think the photo is best served by keeping the back story to one’s self, to keep the mystery. This is the kind of shot I really really actually hope to find every time I go out and shoot. A scene that, when framed correctly, is truly surreal and creates its own bizarre reality as a photograph separate from what really transpired in life. I really wish I would come across stuff like this more often!
(To Gavin) How did you light this? Who is this person in the photo?
Gavin: This is actually a staged shot. Back in college, I was working a project about, incidentally, the paranormal and I was trying to create photos that sort of resembled allegedly real photos you find in books on the subject. This is my brother on a rooftop in Malta. I put the flash behind him and put the camera in P-mode on a high ISO. The camera exposes for the ambient light, so doesn’t know the flash is there so thus things the flash hit end up being overexposed and seem to glow. The eyes are just basic “light-dots” I added in Photoshop. My PS skills are quite basic actually.
(To Gavin) Is this lit with a flash? Or just natural light? How did you achieve this hyper-realistic look?
Gavin: Natural light. Very straight ahead shot, point and click. I didn’t do very much with it in post-processing so I figure the hyper-real look is just from the layers in the scene.
(To Gareth) From an except I read on your bio from Forward Thinking Museum, you mentioned that you were learning photography in the hope of becoming a photojournalist, I read also in a 121clicks article recently that you have been struggling with a diagnosis of Lyme disease. How has this impacted your aspirations?
Gareth: It’s honestly a bit painful and unimaginable at this point to think I once such aspirations. The interview with Forward Thinking Museum was done back in 2013. My symptoms had suddenly started in February of 2012. I was having hundreds of skipping heart beats a day, breathlessness, random dizziness attacks. All the doctors assured me these symptoms where simply being caused by “anxiety” and “panic attacks.” I constantly felt like I was one missed heartbeat away from death. Despite this, my fascination with photography was only growing and my will power was stronger than my fears. When I look back at my old B&W pictures I can really see that weird mixture of passion and physical discomfort of the time reflecting off the pictures themselves. Living like that was hell and I still have no idea how I managed to capture those pictures, study photography, work or be in a relationship well dealing with that shit. I was sick but I was also healthy enough to still dream. What I did not expect is how much worse I was going to get over the coming years. By 2015 I started having daily headaches and migraines and by 2017 I was deathly sick having memory problems and crippling fatigue. It was not till the eleventh hour that my invisible illness that made my body into a torture chamber was finally exposed and diagnosed. Right now I’m undergoing treatment, but it’s been very difficult and is a slow process. For right now all of my dreams aspirations are being kept in a metaphorical shoe box until I’m better.
(To Gareth) When I read the quote, “I think the streets will prepare me for future battlefields,” it made me thought of a Bruce Gilden video, where he is walking around NYC and talking about the really dangerous place is ‘right here’. In any disaster area, working as a journo, you have a press pass that gives you permission to take photos. But being just a shmuck with a camera means anyone can do what they want to you. With your in your face style of photography, what are some of the most interesting reactions you have inspired from an uninvited flash to the face?
Gareth: Shooting this way, of course you’re not invisible but most of the time the reactions are fine. Sometimes people laugh or say thank you if you compliment them, sometimes it elicits a conversation. Bizarrely enough, there are quite a few people who don’t seem to notice it. However and inevitably you will get the odd bad reaction. One time I shot this guy smoking a pipe. He literally punches the camera into my face and starts having this big go at me, saying he’s a lawyer, he’ll sue me blah blah blah.
I stood my ground saying what I was doing was not illegal but physically assaulting someone was, which is what he just did to me. Usually when you get a bad reaction or whatever I try to be apologetic or defuse the situation not always “stand my ground”, but when someone acts like that and starts getting physical over their photo being taken, then no. Anyway, I was later informed that this guy was a lawyer — in fact, an infamous one well-known for his hard unionist and anti-Catholic leanings. He’s been caught out singing sectarian songs and jokes. He’s a bigot. After learning that, I did not feel bad in the least for ruining his day.
(To Gareth) In your series “Breathing Mannequins” you bring a high fashion style to the streets. It seems with this series that the intention is to make photographs that contrast human skin to the unnatural covering of clothing. What inspired you to look at people this way and how did you learn to shoot in this way?
Gareth: When I was first exposed to street photography I was attracted to its unpredictability and the unforgiving nature. I remember trying to find the “decisive moment” when I first started shooting the streets and completely failing to capture anything compelling. It was not until a Halloween night when I decided to use the pop-up flash on my camera that I discovered the potential of the flash. Soon afterward I purchased a flash gun and a set of flash triggers.
Much of my inspiration to capture subjects up close and off guard came from looking at the work of a local street photographer and friend Paul Cruickshank. I was drawn in by the feeling of energy and intimacy in his pictures. Armed with my flash gun and lots of courage I began getting closer to subjects. The black and white lighting storms soon led to interesting results and further pursuit of that aesthetic.
When I was shooting in black and white I was thinking in black & white and looked for people and things that would fit the dark and eerie look. It was not till I reluctantly switched over to color that I begin to see the visual potential of the subjects that peacocked their way down Edinburgh’s busy high street. I was also simultaneously being inspired by the surrealistic color work of Guy Bourdin. I believe his work had an even greater impact on me than most of the well-known street photographers.
(To Gareth) Do you yourself wear clothing that draws attention to yourself, that sacrifice practicality for fashion?
Gareth: No, not deliberately unless my clothes are falling apart. I used to wear this leather jacket where the sleeve was torn to shreds, but I was too skint to replace it for ages. One of my friends said it looked like I’d been run over by a car. That’s as flashy as I get with my fashion.
(To Gareth) How much warning did you get to take this- did the umbrella reverse itself just as you hit the shutter?
Gareth: Not very much warning. I was crossing the street and the umbrella reversed itself right in front of me and it was thanks to fast reflexes that I was able to catch this at the drop of a hat.
(To Gareth) Did you know this guy before you took the photo? It looks as if you were just having a drink with him?
Gareth: This was in Monmarte in Paris. There was a camera crew around this guy and I just jumped into the middle of this crowd and took the photo. Had no idea who he was but was later told he is something like a famous owner of cabaret clubs or something like that. Some celebrity anyway.
(To Gareth) What is the story behind this wretched creature?
Gareth: I caught this just as its owner was about to pick it up into a taxi cab. It’s some sort of particular breed. No idea which.
(To Gareth) How was this lit? How did the copper react to you flashing his horse?
Gareth: Lit with an off-camera flash from under the horse’s snout. It was years ago I took this, but I don’t recall the cop really reacting. I guess sometimes you have to be careful with horses. Horses can scare the shit out of me sometimes.
(To Gareth) When putting together your portfolio or an exhibition, what do you look for? What are the themes or feelings that speak to you to create a series like Under Grey Skies?
Gareth: When we put together things like that, I suppose not only are we trying to pick strong individual photos, but also have a sort of consistency to them. Not necessarily something literal, or something you can express with words, but the sort of thing you can see coming together when you’re actually in the act of putting it all together. I suppose the same can often be said of when we have series like the one you mentioned. Like when those photos are taken, we’re usually just out to take photos, not necessarily with a particular theme in mind, not consciously anyway. It’s later on that you notice when you have enough of these pictures does the “theme” become apparent.
(To Both) What is a vivid dream that you can pull from recent memory?
Gareth: I had this really vivid dream recently that involved a really strange lighting storm with these sort of UFOs in the sky and everyone looking up at them and then this apparition of a girl appearing in the hallway. It was really eerie and a bit omen-y. Then the dream moved on to going to the theater with my brother and parents and having a bad feeling about it and getting us to leave in a taxi, only for it to bring us back to the theater which then gets attacked by these guys with samurai swords. One of those dreams where you end up feeling really weird when you wake up.
Gavin: I had a dream where I found out Karen O died from meningitis or something. I was proper tore up about it.
(To Both) Lastly, this wouldn’t be a photographer interview without a gear shot, so show me what you shoot with!
About the author: James Cater is a digital and analog photographer, film lab operator, and model. The opinions expressed in this article are solely those of the author. You can find more of Cater’s work on his website and Instagram. This article was also published here.
from Photography News https://petapixel.com/2019/04/01/shooting-dreams-and-nightmares-an-interview-with-the-bragdon-brothers/
0 notes
lewishamledger · 6 years ago
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The path to Nirvana
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Words by Nikki Spencer
Back in the early 1980s when Tony Barratt arrived to work on the now defunct Melody Maker magazine, fresh from his photography degree at Harrow College, he remembers a fellow photographer called Tom Sheehan telling him “rock photography isn’t all glamorous you know, most of the time it’s making a silk purse from a sow’s ear”.“Those words always stuck with me so when I decided to put on an exhibition of my work calling it, A Silk Purse From a Sow’s Ear seemed the obvious choice”, explains Tony who lives in Hither Green and now works as Head of Design and Technology at a prep school in Kent.
A Silk Purse from a Sow’s Ear consists of 21 portraits, which were on show recently at Park Fever craft beer and chocolate shop in Hither Green.
For years Tony had been thinking about putting on an exhibition of work from his days working as a freelance music photographer and when the bar opened on his doorstep last year he felt it was the obvious place to do it.“ When Adrian Varley opened Park Fever it seemed the ideal place to exhibit; local, friendly and decent beer! I'd been part of group shows in the past, but I thought it would be interesting to share some of the photos I took of iconic 80s & 90s bands and musicians.”
And the response from Park Fever customers has been enthusiastic.“The exhibition was a great conversation starter. People love to talk about all the bands and their memories of them”, says Adrian. “ It’s also been popular on social media with people tweeting that they are in a Park Fever with Jools Holland etc.!”
After working for Melody Maker for a couple of years, mainly doing concert photos, Tony moved on to the “far cooler and more influential NME” and many of photos in the exhibition are cover shots commissioned by the music magazine.
For ten years he travelled all around the world taking pictures in musician’s homes, hotel rooms, dressing rooms and out on the streets. Alongside every image in the exhibition is a short anecdote about how Tony got that photo and what the person was like, which provide a unique behind-the-scenes insight into the world of rock music photography.“ The pressure was always on to get a shot that was different from what had been seen before and make an impact, especially at NME”, he explains. “ Musicians can be prima donnas at times and with bands there’s that extra pressure of trying to keep them all happy. Drink and drugs inevitably played a part too so you had to tread carefully.”
When Tony took the photo of Kurt Cobain and Nirvana he recalls Cobain being in the “ grips of narcolepsy and constantly swigging cough medicine”.Tony has just become a father for the first time when he got the commission and he recalls dissing them as just “another crap indie band”.
“ My daughter had just been born and I was so sleep deprived I didn’t know what day it was. I’d never heard of this band I had to go and take a photo of, but the next week they released Nevermind and they became the biggest band on the planet!”. Tony’s photo was reprinted as an NME cover in 2011 to celebrate the 20th anniversary of Nevermind.
One particularly memorable shoot was during the 1992 LA riots. Tony had flown out to take pictures of British rock band The Cult but just as they were finishing taking photographs in a still burning building, who should walk past but Lemmy from Motorhead.“ It was all quite surreal” Tony recalls. “ We ended up going back to his tiny apartment where he kept the curtains closed all day and drank copious amounts of Jack Daniels”.
Tony would always try and have an idea of what he could get his subject to do ahead of the shoot and would sometimes bring along props.
When Sonic Youth did a photo shoot to coincide with their sixth album “Goo” in 1990 he took along some pots of Goo, the kid’s slime.“ Initially the band weren’t that enamoured with the idea but warmed to it as we started shooting. A friend who was on the shoot still has one of those half full pots as a memento!”
When Tony was booked to take a photos of former Sex Pistol Malcolm McLaren he decided to bring along a picture frame as he thought it would provide an interesting focal point.“ I was quite surprised when Malcolm said he thought it was a good idea and was happy to pose with it, but by this time he was less the punk agent provocateur and more the LA-based businessman.”
Other musicians suggested ideas themselves, and then some changed their minds.“ Sinead O’Connor said she wanted to do something pared back and without make up for an NME cover. I love the striking simplicity of the photo but then she apparently hated it because she” had no make-up on!”
While some subjects would be disappear straight afterward the photoshoot, others were in no rush to leave.“ Despite being distracted by calls from his wife - who was about to give birth - Tom Waits whipped my backside at pool in the Palladium Club which is in the background of the photo.”, remembers Tony.
Over the years Tony got to meet many of his heroes including Leonard Cohen. “ It can be disappointing when you meet a hero but Cohen was absolutely wonderful; kind patient and a lovely rascal of a gentleman”.
In addition to the photo in the exhibition, where Cohen is sitting cross-legged on a hotel room bed, Tony also took a photo with Cohen holding his daughter Lucca, which featured as a photo story in The Guardian a few years ago.“ My wife was working and we didn't have childcare so I took Lucca, who was then about two, along with me to the shoot. Leonard had this reputation as a bit of a whisky drinking ladies man so I thought it would be good to photograph him with her. He hung her upside down which she loved and it made a great photo. My daughter now works in the music business so it's quite a cool thing for her to be able to show the photo to her colleagues and go “that’s me! ”.
The exhibition is just a snap shot of Tony’s work. The walls of his family home, just around the corner from Park Fever, are covered with dozens more striking images. So could there be a follow on exhibition, with yet more rock’n’roll tales?“ Maybe”, Tony smiles as he shares one last story about the photo of Barry White that currently hangs in their kitchen. “It was taken at his home in Sherman Oaks in LA and the late 80s. He was lovely although his voice was so deep that I didn’t understand what he said when I arrived. It turned out that he was just asking if I wanted a cup of tea!”
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montamileikemc-blog · 7 years ago
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Montana shop project: Practise set design
For this task, over a number of sessions, we worked in groups of four. We had a backdrop in pink and also used a pink base.  All of the objects were pink too – we sprayed these a few days ago with the new matt Montana range (baby pink).  
We had these object to spray paint:
Radio
Retro type corded desk telephone
Glass perfume bottle
Small picture Frame without the glass
SLR Camera
Single CD
The teacher saved our work from capture one on his Hard Drive. Then we shoot straight to the teachers’ hard drive and there was no need to worry about a memory card (at a later date we saved our shots on our own hard drives).  Setting the objects up in a particular way.  We had to be creative in how we set them up.  Then my group took photos on our individual mobiles in different colours and set ups.  We looked at the composition to see what works best. The flash is so fast it won’t pick up light in the class. Be careful of base as the paint is flaking off and also be careful when placing items on it. Experiment with backdrops and base – pink base, pink backdrop. 2 shades of pink so get different tones.  It is up to us in groups how it is set up and what looks best.   Then we changed the colour of the backdrop to a teal blue that our teacher gave us from another class (group B). We took pictures again, Kept backdrop but changed base, kept pink objects.  Took pictures again.  Finally removed backdrop and changed it – pink backdrop with blue base and shot the items.  Lastly we wanted to see what it would be like with pink and blue backdrops, blue base and pink objects.  This will help us understand and visualise it prior to the real shot.  It all worked well.  We felt the nicest base was pink with the blue backdrop as we thought it would be ideal for an advert.  Using two different coloured back boards gives good balance (two blue boards and one pink with the pink objects).   The Blue and pink backdrops - yin and yang / harmonises the image. The base chipboard with lines slashed out of it doesn’t look right and it would be better to have a smooth board.  We could Photoshop this out though.  
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What photographs do you want to go forward with?
Best at eye level so you can see everything clearly.  Pink washed out, too much of the same.  Half and half worked well (equal amounts of the teal blue and baby pink objects) – most in favour of this. It is hard to choose. Pink base is good for the advert with the text/logos in black and white as a contrast.  Photoshop – Easy to select the exact same colours as the baby pink and teal blue for the lettering using the eye dropper tool.  We have creative reign on this.
Slogan – ‘Paint & Create’.  Some photos look better flat and lifted up.
Logo – white or pink? Maybe opposites would work better. I don’t like the double pink look.
Base pink/ backdrop blue – this works ok.  
Lighting down or across?
Landscape or portrait? Landscape better in a magazine (especially for a double page spread).  
Mix the two backdrops with objects in corner - Blue logo on pink.  In favour of portrait. Placement of objects spaced out or in corner?  
Idea - see if we can attach the frame to the board.  We could then put the logo within the frame.  
Now we will work as a group and take shots. Blue backdrop and base with pink items, we rearranged the objects to satisfy our team for the best display/shots.
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Set up camera:
Display of light.
Bare bulb reflectors.
Turn the camera off to sync with the computer – Capture One.
Switch the camera on.
Settings to see Composition – ‘Live New Mode’.
Adjust height of tripod. Has to be lower/ on a lower plain (eye level).
See it better in live view.
Check it is tethered up.
Change settings - F22, 1/125, ISO = 100, Manual focus. Need to check everything is bought into focus. It is ultra-sonic so can’t hear when it is in focus.  
Turn flash down to 3.5. Take the image.
How the scene is set-up – soft box on left and the umbrella is positioned on the right.
Tool bar loop – click and hold to give you 100%.
Flash at 3.5 didn’t work so change the flash to 4.
We then decided to change the composition.  We set up the same as above, however we used a pink and a blue backdrop next to one another and a blue base. The teacher brought in a few blue objects to replace some of the pink we removed. We continued shooting shots and rearranging the objects for each shot.
We removed the CD from the board and took out the frame and perfume bottle from the display. We felt there were too many objects at the front.  It looked too cluttered.  
It is too dark on one side so we need to even it out - 4.5. The reflector is on top so the light will bounce down.  
We will carry on experimenting until the image is right.  We removed the frame last, as we weren’t really happy with it, however we put it aside as a reserve as we had the idea to frame the logo in it as a possibility.
Contact sheet:
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edibleflowerseu · 8 years ago
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SOUNDS
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DIIV / Oshin (2012) [Captured Tracks]
“And at its best, Oshin can feel like an ingenious distillation of the sonorous instrumental passages that took Disintegration’s “Fascination Street” and “Pictures of You” toward arena-rock grandeur. The album is mostly parceled out in lines of three-to-five descending notes that become self-descriptive adjectives: “(Druun)” wordlessly projects resolution, confidence; “Past Lives”, wistful acceptance; “Oshin (Subsume)”, a kind of dead-eyed stoicism; “Doused”, white-knuckle tension. Oshin gives you hints and direction, but never tells you exactly how to feel” (—)
Diiv is a band that is so ~in~ it literally hurts. Or maybe, that’s how things felt from 2012 to 2016. I’ve attended a handful of parties and house shows sponsored by one particular pocket of artists here in Providence that is high-key obsessed with Diiv. I have a distinct memory of one of the dudes insisting I look exactly like the frontman (Zachary Cole Smith), and then we proceeded to drunkenly dance, arms locked and substituting gibberish fake guitar noises for the actual music of the band. Damn those dudes love Diiv.
And I think unless you are a self-styled hater, what’s not to love? What’s not fun about jumping around a room, pretending to be a guitar? Waving ur arms around? Is this album fun or is it transcendental? I hear the lead singer is a piece of shit. He’s as if not more famous than his music. Google image him and try not to smirk at his fashion sense. But all that really doesn’t deter me from music lately. Lead singers and their band being overhyped and shitty people is kinda what music is about. It comes with the territory, at least.
I have a good time listening to this and sometimes u can feel urself floating pleasantly downstream, or on top of air, or within the ocean. But only if u let urself feel that way.
Not sure what the consensus is on the new album, Is The Is Are. Pitchfork dude Ian Cohen digs it but thinks its a hair too self-indulgent and into its own sound and vibe, while Sam Goldner writes for Tiny Mix Tapes that the album:
“…is hopelessness disguised as chilling out, self-defeat disguised as complex darkness. I tried to find poetry in its sounds and found myself just wanting a way out. Even now as I write this, I feel stalled in my tracks, attempting to make sense of my malaise. Though it may promise comfort, Is the Is Are is a false sanctuary. For my own sake, I need to move on.” (—)
The same can be said about the band, if u choose to feel that way. Is being a slacker cool af or the dumbest shit ever? Diiv is def fake-deep but does everything u consume and feel some type of way about gotta be real-deep? deep diiv, vibes vibes.
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Preoccupations / Viet Cong (2015) [Jagjaguwar]
“Viet Cong are just a band that’s unusually obsessed with the mechanics and process of their given trade. While their ashen sonics and rigid demeanor is liable to have them labeled as post-punk, they’re also industrial in a literal sense. Flegel’s vocals are those of a foreman, authoritative, commanding and prodding. Guitars often sound dissolved in caustic chemicals; instruments contort themselves and interlock to achieve forward momentum. It’s music that works very, very hard to express a perverse hometown pride you often see used to sell spring water or thermal outerwear —you might not want to brave Calgary’s bleak winters, but the way Viet Cong captures its forbidding chill and placid, sprawling beauty sure make it seem like a good place to be a post-punk band.” (—)
___
“This is also a record of conflict and contrast, in particular, a winter war. The sensations of Viet Cong are specific to being bundled up in the arctic, where one’s body feels suffocating warmth and blistering cold all at once.” (—)
Another blog-hype band, but I think I like em more than Diiv. Blog hype ain’t the art-killer everyone hypes it up to be. I think shit I’m being told is good is good, and who gives a flying ole flip.
The difference between the band-formerly-known-as-Viet-Cong is they had bad hype that in many ways eclipsed the previous good hype with which they were showered.
Let’s talk music first tho. Sonically, I’m very into what this band is doing. Its intentional, textured, carefully positioned. It just sounds good. Anything remotely post-punk gets me going, and the quotes above that frame the band and their music in terms of the environment they come from gets me even more going. I love when art is described as a reflection of the land its made on. Calgary winters.
Politically might be where the band, as most post-punk bands, kinda weakens. The mood on the album is cold, paranoia, vaguely political. I’m into that. But, think its a bad place to mine for meaning as a listener. All bands and artists engage in some form of world-building: sonically, lyrically, emotionally, other-shit-ly. I think if u probe a band too forcefully on that level, ur bound to be disappointed. Like, this is a fun album to listen to but I’m not sure how much you can consistently get out of it in terms of your own life, if u get me.
But to the shit everyone talks about: the name. Naming ur band Viet Cong in what was then 2015 is a red flag of a bad idea for anyone with internet connection. After a shit ton of pressure from the alt music community, the band apologized changed their name from Viet Cong to Preoccupations. Whether or not the Vietnamese community as a whole felt personally disgusted or it was mostly white college kids, the point remains that it was the morally right move. But in a review of the first album released under the new Preoccupations name that I just found out existed like ten minutes ago, and in one of the most succinct call-outs I’ve read in a long ass while, Simon Chandler here points out, it was also in many ways an existentially dumb move:
“It’s bad because, with this apparent confirmation, the new album can’t help but appear within a frame of interpretation that casts it as shallow. It’s bad because, having let go of a name that self-avowedly meant very little to them, the Lovely Boys can’t help but come across as a band that means very little. It’s bad because, in bowing to umbrage and displeasure, they have effectively repositioned themselves less as an artistic enterprise and more as a commercial one. They strive to keep potential and actual customers happy, rather than striving to provoke them.
“This isn’t to say that the band were wrong to apologize for the hurt they caused and to change their name as part of their apology. Rather, it’s simply to say that the switch confirmed the original name’s emptiness and thereby highlighted the possibility that, contrary to appearances, their whole shtick was nothing more than an “edgy” posture. Given that this shtick involved evoking the kind of political paranoia and cynicism mined by no less a band than This Heat, it was therefore a bit of a letdown to learn that, in actual fact, the band weren’t trying to say anything important about today’s unstable world with their name (and perhaps also their music).
“It’s because they didn’t mean anything by their much-maligned former name that its replacement wasn’t actually a defeat for artistic expression, since there was no expression whatsoever that ended up being effaced in honor of offended parties (or the thought police, depending on your perspective). However, it nonetheless leaves us at a dead-end when it comes to unpacking the Lovely Boys’ sophomore record, in that it suggests that there isn’t all that much to unpack. Yes, there’s that familiarly vague sense of unease and disquiet, those serrated guitars, and those industrial-tinged synths and beats, yet everything seems less urgent and consequential, much to the album’s detriment.” (—)
Still like the band, tho.
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Joni Mitchell / Blue (1971) [Reprise]
“Joni Mitchell once called fame “a glamorous misunderstanding.” As America’s finest living Canadian songwriter (tied with Neil Young), few musicians have understood its nature so well. In the 1960s and 70s, Mitchell was Mary Magdalene to Dylan’s folk-rock messiah, making music that was bittersweet and relatable, carrying what Dylan begat even further. Her work helped birth a new idiom that was personal and poetic, creating a new space for songs that made artistic statements, unbound by cliché and tradition. Such was the strength of her music that Mitchell’s lyrics didn’t have to make sense. But they did, particularly to women.” (—)
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“1971’s Blue is possibly the most gutting break-up album ever made. After Mitchell’s relationship with Nash dissolved, she headed to Europe to lose the tether of her fame, eventually taking exile in a cave on the Greek island Crete. The trip would inspire the how-Joni-got-her-groove-back ditties “Carey” and “California”. The album is suffused with melancholy for all that is missing: her daughter (“Little Green”), innocence (“The Last Time I Saw Richard”), and connection (“All I Want”). Mitchell bleeds diffidence and highlights it with spare notes plucked out on her Appalachian dulcimer. While her pals Neil Young, Leonard Cohen, and Laura Nyro were also pushing the singer-songwriter genre forward, none of them managed to stride the distance that Mitchell did here in a single album.” (—)
Anyway, exiting the blogosphere, let’s talk about how Joni Mitchell is the single best singer-songwriter of the 1960s and 1970s. Period.
Yes, I love Neil Young. I love Leonard Cohen. I love Bob Dylan. But, likely because she’s a woman and woman are never allowed to stop thinking about how they will age, she has kept consistently growing and pushing herself personally and stylistically in ways none of her male contemporaries can match. Neil Young made a bunch of shitty genre albums, Bob Dylan got fucking ridiculous sounding, and Leonard Cohen actually aged hella well but he sorta has his own thing he rarely detours from so he DOESN’T COUNT.
And while she’s by no means perfect (we’ll do our best to ignore her brief infatuation with blackface), I don’t think anyone conveys the entire emotional landscape of relationships, from love to heartbreak to emptiness to smirking worthlessness as well as Mitchell. And what’s more, she doesn’t let herself dwell only in the genre of love and heartbreak, and some of her best songwriting comes later as she explores jazz and womanly life-after-30. An artists stubbornly following their muse can be frustrating for fans, and I’m sure those who fell in love with the Big Yellow Taxi hippie soft folk of early Mitchell have less-than-kind words to say about her sonic experiments with Brazilian music and songs about French people. But fuck it, if u want the same old shit over and over again then u a dang dumb chump.
As for Blue itself, the album fucking rules, is the exact right length, and brings you through all the steps, missteps, ups, downs, and emotional turns to make a satisfying journey. And the guitars sounds sick af.
I feel there are hella dudes who can’t relate to Joni Mitchell’s songs since they are so distinctly about the experiences of women. But fuck those dudes. Like, how can u not be touched by this? This is the realest shit and all u Mitchell-hating dudes are fake deep babies.
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James Cleveland w/ the Angelic Choir / I Stood on the Banks of the Jordan (1964) [Savoy]
And when I saw it, I said, Lord I got my ticket, please don’t leave me down here
You took my Father You came back and got my Mother, You took everything to me that was so dear
And all I can do, is stand there on the banks of Jordan. Mother was going home ‘to see the ship go sailing over.’”
Fell into a Youtube rabbit hole and ended up watching hella What’s In Your Bag clips. Found the one with James Blake (who I have barely listened to full disclosure) and he name-dropped James Cleveland as some good shit so I checked it out.
It is good shit. Like really good shit. I wanna listen to more gospel cause its one of those genres I never took seriously growing up, far removed was I a white child in New Hampshire. But dang can u feel the emotion running through this. And the dude has more albums! This is what I want, what I need.
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Nguzunguzu / Perfect Lullaby Mix (2011) [no label]
“To say that they are “party-starters” is both clichéd and not quite right—because the best time to hear Nguzu DJ is in the middle of the party, when their thick and luscious mixes add a level of sinuous intensity to the club.” (—)
I know Nguzunguzu primarily as producers, or remixers. They mix pop songs from the now and 90s with vaguely tropical sounds. Hang drums, African and Latin beats, “juicy synths”. It’s a lot of fun. I think this might be the first in a series of like 3 mixes? They also release other shit. Their sound when they first came out was super influential on outsider club and R&B, and like it might still be? I don’t really follow this shit tbh.
I thought it was one dude but its actually a dude and a woman.
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Skepta / Konnichiwa (2016) [Boy Better Know]
“Skepta’s flow and vocal delivery are a lot easier on the ears than most of his peers, rapping with a brash Brit urgency and chanting in a singsongy, catchy Jamaican patois reminiscent of dancehall greats. … Skepta’s groovy 10-ton bass lines, eerie open-ended synth lines, and hard-hitting snares crush anything Metro Boomin could come up with on FL Studio. This is grime suitable for both late night hooliganism with the gang and drunkenly stomping it out in the club.” (—)
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“Skepta’s album arrives as a breath of fresh air in the scene, finding the perfect balance in retaining the trademark grime sound and seemingly higher marketability across the Atlantic and elsewhere. Like the best, most colorful rappers in the States, Konnichiwa confidently struts and showcases the emcee’s vibrant, exciting personality traits perhaps more than pretty much anyone else in Britain, grime or otherwise.” (—)
I don’t know shit about grime. Its the UK answer to rap that’s been poised to blow up for like 13 years now? It’s a history and culture I’m trying to familiarize myself with more, and the journey is a quite a treat.
Ok so as far as I understand it, grime was a big underground thing that had the potential the blow up following Dizzee Rascal’s Boy in da Corner in 2003. It fuses the electronic music of UK garage and drum n’ bass with rowdy Brit-dialect rap. Dizzee made some noise across the pond but with the exception of maybe like Lady Sovereign and The Streets and Jamie T (who are all white and all are more coy British hip hop than grime proper), shit just didn’t stick. Meanwhile, names like Skepta and Wiley and a host of others kept on keeping on. And while it didn’t pick up as globally as it should have, that didn’t stop corporations in the UK from pushing it into the mainstream.
I dunno how effective the push was, but it seems to have become a watered down and sold out version of itself. Huge but not that huge? Skepta and others were groomed for mainstream success and sold the soul of grime. Now every grime MC is in their like early 30s and fed up with what they had to endure. As such, Skepta’s Konnichiwa is anti-corporate and anti-fake grime. He’s angry but he’s charming bout it.
There’s also stylistic differences between South London grime and East London grime. Tho Skepta is from North London and fuses both styles together. Also, it’s not an album-based genre, but one defined by “singles, loosies, hotly pressed riddims, and pirate radio broadcasts.”
Also Drake loves grime and Kanye’s into it to. Why it hasn’t blown up despite 10+ years of glorious existence is due in part to racism, I’m sure. Ya, the beats are abrasive and bassy, and the club culture in the US is nowhere near as intricate as that of the UK, but bros still loved dubstep for a long minute. Also, people love Doctor fucking Who and Sherlock. People love pip pip cheerio and hot British dudes and tea and the queen in the US. Anglophilia runs amok on Tumblr. So why can’t white people in the US fucking listen to grime? What’s wrong with u uncultured fucks?
Other shit:
Everly Brothers / Walk Right Back
Brood Ma / Daze
Kelela / CUT 4 ME
Max Richter / 24 Postcards in Full Colour
Beastie Boys / Paul’s Boutique (this might become one of my fav album)
Yasutaka Nakata / “Crazy Crazy” (ft. Charli XCX & Kyary Pamyu Pamyu)
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