#but i wanted to draw devo a bit more so hes there instead

[nonbinary-catboy]

I love this funny little french fish man <3

[sillymovietrailer]

Island of Lost Souls

1930s American film horror, especially that from Universal Studios, for the most part has this reputation of being almost kid friendly, with its focus on monsters and more fantastical matters, along with a lack of visceral gore or other factors.  However, that was mainly on account of the Hay’s Code, the major censorship scheme that was first instituted in 1930, but properly began being enforced in 1934.  In that gap of time, there were quite a few horrors, made by the big studios no less, that definitely were pushing the envelope.  Sometime on here I probably will have a talk about the infamous 1932 Freaks, but today, starting off a little linked week of articles, I’m going to talk about a Paramount Studios production, 1931′s Island of Lost Souls, the first official film version of H.G. Wells’ novel The Island of Dr. Moreau.  (Apparently there is a very obscure, long thought lost German film from about a decade earlier which borrowed liberally from the book).

Now this starts an ongoing theme of adaptations of Wells’ writings; namely that it makes some changes that Wells really didn’t approve of.  Specifically, the novel was another one of those cases of Wells getting on his soapbox about his utopian ideals.  Man, he was a major mover and shaker in the world of SF- sorry, “Scientific Romances”, but boy I hate to think what he’d have come out with if Twitter had existed back then.  This film version instead focuses very firmly on the horror aspect, and in fact draws out one element of the narrative only vaguely touched upon in the book.  Namely, there is a strong element of bestiality running through this.  In this version, Moreau (played wonderfully by Charles Laughton, giving us a very haughty and superior character) wants to see if mating between his raised to humanoid form animals and actual humans is possible.  A lot of screen time is given to leads Richard Arlen and Kathleen Burke (credited just as The Panther Woman), and a “will they, won’t they” element.  Later, the “good” female lead Leila Hyams is essentially threatened with rape from the beast-men too.  This is powerful stuff, which gets more disturbing, when you consider that this is more than likely a full on metaphor for miscegenation, given the time.  Yeah, the whole “anywhere foreign is deeply scary and full of weird looking not-really-people” element has dated this one rather badly (in fact, it’s often been thought that this film coined the saying “the natives are restless tonight”).

As icky as the whole sexual/racial elements are today, that wasn’t was what got this one into trouble back in the day (disappointingly).  What really got the censors bothered was the element of vivisection.  We only get a few brief scenes in Moreau’s “House of Pain”, but they are vividly done, and some of the make-ups on the beast men tell a vivid story of what was done to them.  On top of that, there is a very strong theme of Moreau literally playing God in the film, including giving the Law to the people he has created in his image from on high. (I’d have thought that a criticism of religion like this would have really endured the film to Wells tbh.)  This is why the BBFC, who have had a very odd relationship with the horror genre for many years, banned it three times, only giving it a certificate after being heavily cut in 1958.  It’s actually now available on blu ray over here, fully uncut as a PG.  I do think that’s a bit generous though, as again, thematically this is pretty damn dark.

So it’s a film I have a tricky relationship with.  As I mentioned, when you notice a lot of the sexual and racial angles at work, it’s a very awkward watch.  However, there is a lot of fascinating stuff in here.  Honestly, just as a showcase of make-up effects from the time it’s worth a watch, some of the beast men look fantastic.  There’s some fun stuff with Bela Lugosi as the Sayer of the Law, including him repeatedly saying one line memorably re-claimed by DEVO.  And of course, Charles Laughton is one of the all time great screen mad scientists.  So, definitely a mixed bag, it has a lot of good elements, but it has aged less than gracefully.  Still, it’s an important title to look at in terms of the history of horror and SF.

Here’s a fun fact to end with. I briefly mentioned Universal Horrors at the start; the director of this one, Erle C. Kenton (who did a very good job here), later did three of the later Universals.  His were The Ghost of Frankenstein, House of Frankenstein, and House of Dracula.  I’ll say right now that those were far from the best of the series, but they did have pretty energetic direction, for the B-Movies that they were.

[theseventhhex]

Viagra Boys Interview

Viagra Boys

Photo by Renan Peron

Grimey, acid highway full throttle; Viagra Boys twisted dark punk album ‘Street Worms’ is an interesting ride as vocalist Sebastian Murphy lets you ride shotgun while this trip takes you blazing to the top of a mountain before speeding right back down to the basement again. The bass line ferociously drives the car and the drums make sure you stay on the road - this is one of those trips where you sporadically wake up and find yourself in strange situations, wondering how the hell you got there. This is an album about illusions of realness, the absurdum of existence and the joke on humanity. ‘Street Worms’ is Viagra Boys debut studio album, a debut that instantly let them occupy their absolute own space in music history… We talk to Sebastian Murphy about the band dynamic, downtime and dog food…

TSH: Talk us through how karaoke was at the heart of starting this band...

Sebastian: Yeah, ha! So I knew our bassist from getting drunk at bars and stuff like that. Anyhow, we were at a birthday party once and just constantly talked about starting up a punk band. Soon enough our bassist saw me sing a karaoke song and was like was ‘ok we need to do this’!

TSH: With your debut album, ‘Street Worms’, what sort of discussions was the band initially having?

Sebastian: Well, when it comes to subject matter I’m the only one that has responsibility over that. The rest of the band focuses on what kind of sound we want to have and which instruments work. We mostly talked about older bands that we like and how to get certain qualities from those bands into our songs. In a way we were aiming for a certain feeling of darkness.

TSH: The groove is also an essential feature for Viagra Boys?

Sebastian: Definitely. We certainly want things to sound quite groovy and that mostly comes from the monotone simplicity in everything we do. We tend to have a repetitiveness that you might hear more in electronic music than you do in rock music. Normally rock music has more breakdowns and changeovers, but we tried to steer clear of that shit and instead tried to keep it as simple as possible.

TSH: What’s the band dynamic like with so many members?

Sebastian: It’s so easy being in this band. We actually don’t normally all meet up together to write songs. Usually a song is written by the bassist or the drummer, and then the guitarist will join in and work on a riff, which then leads to recording demos. Afterwards we just add saxophone, percussion and synths on top - if they are needed as extras.

TSH: What sort of intentions did you have in mind as you formed ‘Slow Learner’?

Sebastian: We wanted this track to be a classic rock n’ roll song - it’s a bit inspired by Devo as well. I was listening to a lot of classic rock at the time of making this song, but I don’t really remember how it came together. I feel like it just happened, haha! Those songs are the best ones - when they just come out of you.

TSH: Speaking of Devo, they would be your dream collaboration...

Sebastian: Oh, yes! Devo are amazing and I love them. Their sound is so influential to me personally. Also, just watching a lot of their live shows was so inspiring to me growing up.

TSH: Does the track ‘Worms’ entail a very personal undertone for you?

Sebastian: Kind of. I think for me it’s just a song about death and a way for me to talk about death. I guess death was on my mind subconsciously when I penned this track because my grandma was dying at the time. Unfortunately, she passed away recently. You know, there was a lot of stuff heavy stuff on my mind during this time - I didn’t feel healthy when we were recording and maybe my own fear of death is also coming into play.

TSH: Do you find that you have to overcome certain blocks and restrictions during the crafting process?

Sebastian: It’s a tough one. I’m usually quite unprepared when I get into the studio. Sometimes I think that I am prepared, but I’m not, and things turn to shit. A song like ‘Worms’ is one that was written on the spot. We came up with the riff on the spot and because the word worm was in my head I decided to include it. I guess this is one of my songwriting methods; I find a word or topic that I like and take it from there.

TSH: Do you tend to get out of your comfort zone to find new perspectives?

Sebastian: I think so. But you know what; I think everything feels like I’m out of my comfort zone for me, haha! I don’t really enjoy writing songs or playing shows, until afterwards. I often feel thrilled and like I’ve had fun once a show is finished. Also, once a song is written I’ll feel satisfied, but during the process it’s nothing I enjoy. I guess I don’t really have a comfortable zone, I think.

TSH: What does the band bond over most during touring?

Sebastian: We are normally each in our own world and spaced out. Sometimes someone will be watching Netflix, listening to music or reading a book. Sleep is also valued big-time.

TSH: Tell us what lead to your Instagram recently stating that Frolic dog food is great food...

Sebastian: Man, our social media can be nuts, haha! A few of our members log in and do whatever they want. So yeah, that would be the mind of our drummer, Thor. He likes dogs and really likes the concept of dog food. I can’t explain it much more, but he has my approval.

TSH: How do you keep your mindset fresh outside of music?

Sebastian: I love nature. Also, I do some fly-fishing. You know, everyone in the band has different hobbies and interests. Our bassist likes working out, our drummer hangs with his kid and I enjoy painting, drawing and hanging out with friends. I hate sports, but I’ve recently been playing some badminton with my friends just because I need to take care of my body. You need to do something physical; you can’t just sit around on your couch all day.

TSH: What’s the philosophy of the band regarding future plans?

Sebastian: Our philosophy is all about honesty with our expressions and being a voice for the outsiders.

Viagra Boys - “Sports”

Street Worms

[dustedmagazine]

Listed: The Goon Sax

Brisbane’s The Goon Sax formed when its three members—Riley Jones, Louis Forster, and James Harrison—were still in high school, enamored of C86 romanticism and post-punk aggression. They made a splash in the U.S. with 2018’s We’re Not Talking, a brash and spike-y charmer that channelled DIY energy. The follow-up, Mirror II, expands on the band’s sound, adding dense synth play and Spector-esque pop atmospheres to their sound. It also showcases all three band member’s songwriting, including the fey, off-kilter psychedelia of James Harrison, who, unsurprisingly, includes Syd Barrett on the Listed he wrote for us.

Inspiration has undeniably come from my band friends foremost, as well as my non bandmate friends’ suggestions. Here are the things which have struck lyrical and musical obsession for me over the last few years, it’s nice to indulge with you.

The Pastels — Up for A Bit

This might be my favourite album of the last few years. I think it’s so hopeful and fun. The melodies like “Crawl Baby” are ones which I sing sometimes to warm up my voice. Stephen sings in such a naïve cute voice; he is so vulnerable. Baby Honey “If you wish upon a star, Take me just the way I am”. Twee gold throughout.

Blank Realm — Illegals in Heaven

From Brisbane, I love this album and listened to it a lot personally while recording Mirror II. Blank Realm forever of course!

Don Cherry — Brown Rice

I love the serene quality of this record, sometimes I don’t even know where Don’s trumpet is coming from. To me, it reminds me of a desert. A couple of years ago I drew a drawing of a man in a desert, but the man was so small in the environment whilst listening to this album. This album conjures mostly images for me.

Sibylle Baier — Colour Green

“Sadness is beautiful” — is this idea displayed when we indulge in other peoples and our own sadness instead of trying to feel better? Is this music so pretty that you enjoy depression? Fulfilling the prophecy that you are sad, because perhaps some part of you wants to be sad or thoughtful when you are indulging and listening to Baier? (These are at least my questions to myself, but I’m not going to revolt against what feels right). This album sure makes sense to my mood often anyway. I have listened to this whilst in different modes of sadness: whether directed for others’ feelings, or my own: all her lyrics are so dramatic, her guitar playing is beautiful. My favourite song lately is “Says Elliott”. Also “William” has pretty guitar, “The End” is devo and always has to be mentioned.

The Residents — Meet the Residents

I used to love this band loads and took loads of inspiration from them. They’re always just hitting things to my ears and making pretty sounds. It was a very freeing album for me to get into. Also I took some shit from the melodic “My Favorite Things” by John Coltrane.

Drunk Elk — “Quintessence”

Drunk Elk LP by Drunk Elk

This song is one I took inspiration from for my own songwriting; the awareness of environment, love as a supernatural force. The music is so extremely divine which I think I have related to at the ethereal fleeting moments of my life.

Anne Carson — Autobiography Of Red

This author is great, the story is very non-linear and strange and frequently rushes into sections of deep lovely prose. The main character is a dragon and is immediately misunderstood by those around him. Must read more of her work.

Syd Barrett

Syd is an individual that you can delve so far deep into, he is one we all vibed with at different times in the Goon Sax. His music began to accompany me through my life for a while. But for me it’s not only music — insights into his personality are so readily available. You can admire all his artwork online, even his letters to lovers are available to view. I realized I find his descent into isolation was pretty sad, he didn’t just give up being a songwriter, it was taken away from him due to his lifestyle and perhaps his ego. But I love his paintings too, which he kept making.

Noname — “Shadow Man”

Badass sad girl/boy shit, she’s swag but also has a huge soul and great flow, (“Bye Bye Baby”). I love when she talks about her tennis shoes in the club. This kind of music made me excited to wear white sneakers and bright baggy clothes.

H.D. (Poet)

https://www.poetryfoundation.org/poets/h-d

I like her writing for a couple of reasons - the colour and flora she uses constantly in her poems illustrates her experience beautifully. It’s cool to read someone whose writing is so entrenched in this kind of metaphor.

[aenariasbookshelf]

Stream of consciousness babble re: Thor Ragnarok

So.  Thor: Ragnarok.  I have feels.  Let me tell you them.

First off...and I feel bad saying this considering my great love for Darcy Lewis and Jane Foster...but out of the three Thor films, this one is kind of the best of them.  It also provides a cap on a satisfying and full character arc for Thor over all three movies (more so than what we saw in CA:CW, but don’t get me started on that because I am still bitter over Avengers 2.5 or Iron Man 4, take your pick of description - imho, of course.  If you feel differently that’s cool too).  Needless to say, I enjoyed the movie immensely and do recommend it.

Okay, more spoilery thoughts after the cut…

If we want to go Shakespearean with it, I almost feel like I have to compare Thor’s character arc to Prince Hal, from the do-nothing Prince to King Henry V, who comes into his own and leads his people.  And by the end of the movie, Thor is the leader of Asgard, though the definition of Asgard is...interesting at that point.  Thor also loses his safety blanket of Mjolnir, but the twist of Mjolnir being just a tool and not the ultimate source of the God of Thunder’s power is a nice one.  There’s also kind of the idea that you can’t go home again, that sometimes you have to sacrifice the land of that home to create a new home somewhere else.  In any case, I actually like that they pretty much blew Asgard to dust at the end of the movie.  

Hela.  Marvel has finally given us our female villain and holy hell, she is impressive.  She also seems like one of the most powerful that they’ve given us thus far, which makes her worth it to me.  It’s interesting that they make a point of constantly referring to her as the Goddess of Death, if only because of what that means for Thanos.  In the comics, Thanos is very in love with the personification of Death and is trying to court her by bringing the universe to her feet, if I recall correctly.  Of course, if I also recall correctly his main rival for her affections is Deadpool, so do with that what you will.  That said, I do feel like they kind of rushed things with Hela a bit - I have so many questions about her background and her history with Odin and Asgard (i.e. is Frigga her mother?  What sort of magic did Odin do to bind her away?  If Asgardians are as old as they say they are, why does no one else remember Hela and has ever mentioned to Thor and Loki that oops, yeah, Odin had another child and she’s bugfuck crazy, which is why we don’t talk about her any more).  I want the answers to these questions and I didn’t quite get them, which kind of lends to the rushed feeling of the movie.

Bruce.  THE DURAN DURAN T-SHIRT IS TONY’S BRB LAUGHING FOREVER AT THAT.  And I mean that with all the affection possible - I love Duran Duran.  Poor Bruce needs therapy after this incident, I think, considering that he spent over two years as the Hulk and didn’t remember a bit of it.  That’s...not a good sign.  That said I now need all the fics of Bruce and Thor being intergalactic best buds, because reasons.  Mark Ruffalo is always awesome as Bruce, so really, his presence here was well needed, especially considering how they treated many of the other recurring characters in this movie.

Which definitely falls under the category of a giant, stinking CON for this movie - they did their recurring characters dirty.  The Warriors Three were sent out in rather undignified fashions mostly (Hogun tried, but Hela’s beating everyone’s ass in at that point) after being on screen for maybe 30 seconds a piece, Sif didn’t even get a mention that I heard (If they mentioned something please tell me, I probably missed it), and Jane dumped Thor’s ass in between movies.  At least Jane threw him over, which is probably the right move if your boyfriend’s been on an interplanetary business trip for the past two years with barely any contact in between.  At least they left her alive.  I can do good things to her in fic instead.  No mention of Darcy either, which is probably a blessing because again, fic.  

Okay, back to some positives - Valkyrie.  She is awesome and I will not hear anyone say otherwise.  Her first scene is impressive, and from one fellow lush to another I raise my glass to her.  There’s the question of her age though, which is looped in with Hela’s sparse background story - how old exactly is she if she was the only survivor of Hela’s first attempt at taking over the universe that neither Loki nor Thor ever heard of??  Are all Asgardians that long lived?  Or was there a collective memory wipe, or something like that.  I will say that the Asgardians, even the civilians, are damn badass, which I love.  Especially Heimdall, who is really the heart and soul of Asgard.

Loki - who the hell did your makeup for this movie?  Because damn, I could see the pancake makeup clear through the screen.  Okay, more seriously, Loki definitely comes off as more of the Trickster God here rather than the evil bastard of his first two appearances, even though it was his actions of banishing Odin to earth that pretty much kicked off the twilight of the gods.  And I find it interesting that they do almost seem to be heading to a Loki redemption tale, as he really was ultimately on the side of the heroes here instead of the villains, and mostly acted for the betterment of the Asgardians at the end.  Mostly.  Look, we all know that fucker swiped the Tesseract after that glance he gave it in the last scene when he went to wake Surtur up, and dollars to donuts that’s going to be one of the things that draws Thanos’ attention straight to earth.  But I do have to say, I like Trickster!Loki a hell of a lot more than Villain!Loki.

Also, Loki and Valkyrie.  I kinda ship them.  If feels a bit wrong, but it could be oh-so-good.

Finally, I have to mention the music.

*turns up the Zeppelin and howls along*  Ahhhhhh-Ah-ahhhhhhhh-AH!

*clears throat*  Anyway.  Look, Thor and his crew kicking ass to Immigrant Song is one of the highlights of the entire MCU up until this point.  And while it almost seems like an obvious choice, I have to give Taika Waititi credit for actually bringing it to life.  I think he’s got a talent for matching up music to scenes and making it relevant to what’s on the screen (for further proof, see his movie Boy, which uses the music of Michael Jackson to great effect in there also) and you can’t get better than ‘I come from the land of the ice and snow...’.  Between the music choices (they got one of the guys from Devo to compose the other music, which impressed me) and the candy-colored 80s backgrounds, this movie actually visually felt like a comic book also, which was thrilling.  Well, it felt like that for me at least, especially as I’m a fan of Jack Kirby’s kind of insane multicolored panels from back in the day.  Look, while I love the Cap movies more than anything else, I’ll admit that they’re kind of visually grim.  And then here comes Thor with neon and rainbow bifrosts and sparkles and just...YES.

TL:DR, in conclusion, while Thor: Ragnarok isn’t a perfect movie, it is an entertaining one and a good one, and a worthy conclusion to Thor’s trilogy of movies.

[hanjesungs]

that i miss you

characters: gabriel vasquez, sara sufrón, gillian devoe, gavin morales, @leiaskywclker‘s andy vega, tabitha smalls, and lindsey walton, and @fcclycooly‘s clara sufrón word count: 3682 IM SORRY summary: sara surprises gabe for his birthday warnings: alcohol, but the rest is fairly innocent

Sara felt like she was going to vibrate straight out of her skin on Gabe’s birthday. It took more time than she thought it would to get Gavin to give her an exact date, his lips twisting in a fine line in a way that said he knew that Gabe wouldn’t be happy he disclosed the information to a resident. Sara knew she ought to feel a little bit guilty about getting him to tell her, but how else was she supposed to find out? It’s not that Gabe ever talked about anything but work and while she could respect that, this man needed to loosen up a little bit. And that’s where she came in. She’d spent all week convincing him to even come out for a drink, and it took him three days to get over the fact that she was trying to celebrate his birthday. And once he did it was no easy task to get him to agree to go to a bar. She didn’t even know if he drank! Not for certain at least, but everyone she knew drank so it was a good bet.

She was flitting around the bar from person to person making sure they knew the routine before Gabe arrived. Out of the three people Sara told him was going to be there, she counted between ten and fifteen. Gavin was up at the bar with the NICU nurse, Lindsey, trying to lay on a thick cover of charm and alcohol, she was sure. Poor girl sipped her drink in relative silence when she shot desperate looks at Sara’s sister, Clara, who only offered a shrug in response. Andy and Tabitha were sitting at a table nearby, nursing their drinks as they chatted with everyone’s favorite barista, Gillian (who wasn’t actually old enough to be in there, but Sara pulled some strings with the bouncer on the agreement that she wouldn’t drink).

It felt like making rounds at the hospital when Sara finally threw herself into a chair between Tabitha and Gillian. She didn’t feel tired yet, though, and her eyes kept wandering towards the door at the front while she nursed her vodka cranberry. It was nearly nine already and while she knew from her days of endless partying, it was still early, she couldn’t help the knot of anxiety that was starting to form in her stomach. She couldn’t even begin to explain why it was there, but once she acknowledged it, it seemed to double in size.

“Earth to Sara-tonin.”

Andy’s voice snapped Sara out of her daze, and she almost visibly shook her head to clear her thoughts. This is a bad idea, she wanted to say, very uncharacteristically. Instead Sara managed a sigh before she looked at the three of them. “Unless you’re confessing your undying love, I don’t wanna hear it,” she quipped, using her free hand to mime zipping her lips shut. Out of the corner of her eyes, she saw Tabitha give her an exaggerated eye roll before defiantly take a sip of her own drink.

“Only if Tinkerbell says it first,” he hmphed, before slumping off to the bar to grab another drink. Tabitha visibly paled this time (if that was possible with how white she already was) and shook her head.

Gillian laughed into her clear soda, and looked between them as though she were amazed. “And here I thought the passion was reserved for muffins,” she offered, her laughter only growing when Tabitha threw her a withering look.

“Why the hell am I friends with any of you,” she grumbled, hunching further over her drink.

“Because we all know the truth, even if you’re not willing to say it,” Andy answered upon his return to the table, sliding an extra drink towards Gillian. “Try it Coffee Bean. I won’t even tattle on you.”

Sara’s phone buzzed in her back pocket, and she swore she never moved so fast to check it, relieved when Gabe’s name flashed across the screen, I’m here. “Get ready everyone,” she called over the low thrum of chatter. “He’s coming.” The noise died down slower than she would have liked, but it all worked out in the end.

When the door opened to reveal Gabe, the collar of his dark peacoat turned up against the wind, everyone chimed out in unison: “Surprise!” And he certainly looked surprised, his eyes scanning the small crowd before landing on Sara, who was already getting up from the table to go greet him.

“Happy birthday!”

“I thought you said three people.”

He shook his head and Sara let his words roll over her tongue for a second trying to make sure she heard him right since they spoke at the same time. Gabe shrugged out of his coat before waving the bartender over and ordering a whiskey sour. She hadn’t really pegged him as a whiskey man, but she supposed she hadn’t really not pegged him as a whiskey man either. It just seemed so very stereotypical of someone of his age that she almost laughed at the thought. Truthfully Sara couldn’t drink whiskey. The smell of it was enough to make her stomach do nauseating flip flops as a leftover side effect from when she partied much more frequently than she did now. 

“I’m sorry,” she admitted. Her words falling between Gabe quickly downing half of his drink before all their friends and acquaintances sauntered over to tell him happy birthday and clap him on the shoulder or offer him a friendly hug. He tossed her an inquisitive look as everyone settled back into their small circles, and in the soft light she could take in the way his hair was windswept, all pushed towards one side of his face while the melting snowflakes glistened against the flecks of gray peppered throughout his hair. Under normal circumstances, she wouldn’t notice how his eyes were so dark his pupils and irises nearly blended together into one unreadable color. And she couldn’t comment on how his stubble was getting to a point that he had commented he openly hated, but she knew, thanks to Gavin, that he was coming off a graveyard shift cycle back to the land of the living. “I just wanted you to do something fun for your birthday,” she confessed, letting some of the real guilt she felt creep into the edges of her voice as she looked down towards her drink and stirred it around before downing the rest of it. Against her better judgement she hailed the bartender for another, and he did the same.

When she looked up, his face had softened and she felt a wave of relief wash over her as she took their drinks from the bartender and passed his over. “Sara, the last time I had a birthday party was when I turned thirty,” he said, eyes scanning the crowd. There really wasn’t more than ten people there for him, and Sara was quite proud of herself for organizing this last minute. “You don’t have to be sorry, I was just… surprised, I guess, for lack of a better word.” His light laughter made her drag her eyes back up to meet his, and honestly she was surprised to see a smile playing at the edge of his lips.

“Well,” she mused, drawing it out. “I’d hardly call this a party… But I hope you enjoy yourself tonight.” Sara found a grin spreading across her face as she pushed him forward, encouraging him to mingle and make conversation with his friends. He threw her a helpless look as Gavin waved him over to probably wingman for him, but Sara just stood there and let her grin be the answer to his question.

They spent most of the evening only getting brief chances to talk while he got pulled one way or another as the guest of honor. Sara was content when eleven thirty rolled around and people had already started to drift out of the bar, thanking Sara for inviting them and wishing Gabe one last happy birthday as he settled at the table across from her having already put several drinks down that night. She’d lost count of her own, but she wasn’t drunk yet, just blissfully tipsy, her body buzzing and tingling with all the things she could say with this kind of liquid courage. Andy and Tabitha lingered by the bar, probably bickering amongst themselves while he held her keys in a tight grasp. Gillian had called it early after barely tasting the drink that Andy bought her, claiming an early shift at the coffee shop they all loved dearly. Clara had managed to save Lindsey, having waited until Gavin left before they filed out. Clara did stop and tell Sara she’d see her at home later that night. And soon, there was no longer a birthday party at the bar and Gabe and Sara had spent an hour just talking more candidly than they had in the entire four years that she’s worked for him at the hospital. She talked about how her family moved from Puerto Rico when she was too young to remember, and how her brother and sister practically raised her. She talked about her best friend Sabine, who ran the party circuit with her in their undergrad years, Gabe’s teasing, “So you were one of those girls,” lingering in her ears. She’d puffed up, ready to argue, which seemed to be more humorous to him than just knowing she partied.

He told her about how his parents lived in Guatemala, and how he did his undergrad in Germany, earned his masters in Switzerland, and did his own residency here in New York. Gabe talked about the first time he ever tried a party drug, in some alley in Helsinki before heading into a friend of a friend of a friend’s basement concert. He talked about meeting Gavin during his residency there at New York Presbyterian, and how strange it was that he seemed to embody all the qualities of a horny teenager from an American sitcom. As the night turned into the wee hours of the morning, he even admitted to Sara about his ex, and how he thought he might marry her, and how he found out that she cheated on him. His laughter was more subdued when she countered, “So you were one of those boys.”

They continued to talk, swapping embarrassing childhood stories back and forth long after Tabitha conceded to whatever point Andy was trying to make and left the bar. Gabe was still telling her about how he didn’t get around to visiting his parents nearly as much as he’d like when the bartender called last call. And Sara admitted that she couldn’t even remember her father’s face as they ventured outside into the cold, turning their collars up at the lingering snowfall that threatened to cover the sidewalks with slush. 

After a few beats of silence, Gabe looked down at Sara and tilted his head to the side, as if asking himself a question that she wouldn’t be privy to. “Let me walk you home,” he offered.

She chewed on the inside of her lip for a moment, thinking about Clara sleeping, curled tightly in a ball on the couch of her tiny apartment that they shared for now across the bridge. “It’s not close,” she finally laughed, looking past him to try to find a taxi.

He followed her gaze and when a taxi didn’t magically appear, he dipped his head to try to save his neck against the wind. “I live close,” he started, shoving his hands deep in the pockets of his coat. “I can call you a car and you can wait inside, away from the cold, if you want.”

“Are you asking me for a nightcap, Dr. Vasquez?”

His soft laughter filled the space between them as he looked down and shuffled his feet around. If she hadn’t been studying the planes of his face in the streetlight, Sara wouldn’t have noticed the flush creep up around his cheeks. “Yeah,” he relinquished. “Yeah, I guess I am.”

“Well, how can a girl say no to that.” 

He stole a glance at her, the slightly tipsy smirk plastered across her lips before he shook his head and set off in the direction of what she guessed was his home. Sara fell into stride just behind him easily, a comfortable silence falling over them for once that night. She took that moment to study him while he wasn’t offering to look at her. She wouldn’t normally make a mental note about how his coat sat perfectly on his shoulders like it was tailored for him. And until then she hadn’t even noticed he was still wearing the slacks that looked like they were sewn just for his body. She might have felt a little guilty for wondering was was underneath, but then he stopped and glanced back at her. Sara hurriedly snapped her gaze back up to meet his dark and inscrutable eyes. She followed the line of his now extended arm as he held open the gate for her.

Her eyes followed the line of the stoop up the side of the very plain brick building, before the laughter bubbled up and out of her throat. “I should have guessed that you live in a brownstone on the Upper West Side.” She supposed it might have been the alcohol, but she kept giggling while he unlocked the door and pushed inside, turning a hallway light on and shedding his coat and shoes. Sara followed suit, albeit slower, as she drank in the sight of Gabe’s home. The stairs were off to the right as the honey colored hardwood stretched off into eternity, which in this case culminated in the faint glow of moonlight dancing across what looked like a tile floor at the end of the hallway. The walls were painted an inviting dove-gray and were complimented by the cool tones in the Persian runner that muffled the sounds of his footfalls as he beckoned her forward.

Gabe hovered in the hallway for a moment before pressing on into eternity. “Do you like beer?”

It was strange, Sara noted, how heavy his eyes on her face felt, when at the bar it had been weightless. It was strange how the whir of his fridge in the corner of what looked like a kitchen straight off of HGTV was the only noise buffering the silence that had risen up between them since she hadn’t answered his question. “Yes,” she finally answered. She hadn’t had a beer in a handful of years, but it had been a go to in her party days.

When he moved away from her, Sara ran her fingertips over the cool marbled surface of the island she was standing next to. She looked up and watched as he fished out two bottles of imported beer she couldn’t pronounce the names of, the drinks sloshing around in their brown bottles as he fished around in a nearby drawer until he pulled out a bottle opener and popped the tops off of them. He passed her one as he walked back around the island and settled against the side of the counter next to where she now leaned one hip on the marble. 

“Why does it feel like you picked your home out of a magazine?”

He let out a low laugh as he threw back a swig of the beer, seemingly turning introspective before he looked at her sheepishly. “I bought it turn-key,” he confessed, his words hanging in the air for a moment before he looked between Sara and her untouched beer. 

After another silence fell between them and Gabe kept looking at her expectantly, Sara finally sat her beer off to the side and pushed a hand through her hair. When she spoke, her voice was subdued, “Why doesn’t this feel real right now?” Truthfully, she’d really meant to keep that to her inner monologue, but when Gabe sat his own beer off to the side and turned to face her, Sara’s pulsed jumped up to her throat and she couldn’t really explain why. 

“I could… pinch you,” he teased, reaching out with his thumb and index finger, “to see if you’re dreaming, of course.”

She laughed, turning her body to splay her palms flat on the counter behind her before hoisting herself up to sit with her legs dangling over the edge. “Of course,” she intoned.

Gabe’s hip pressed up against the side of Sara’s knee and if he realized, he didn’t show any inclination to move away immediately. Instead, he reached for his beer again, taking another large swig, and somehow ending up standing in front her knees, only a short breath of distance between them. In the dimmed light from the hallway, Sara studied the edge of his chin, and the stubble that shadowed his face. She studied the way his bottom lip went from one end of his mouth to the other in a soft curve, and how his breath spilled out in short burst when he noticed where she was looking. She memorized the way his eyes continued to swirl in the darkness as he watched her, until she could no longer see a difference between his pupils and irises. And Sara had never been shy, but now she hesitated, her eyes flitting between his lips and his own eyes, that were staring back at her.

She never considered her religious, but in a sharp inhale, she thought to herself, God, please don’t get me fired, before she steeled her resolve. Or drug up the rest of her liquid courage (who knows which at this point). In one fluid motion, she straightened up so they were at eye level now, grabbed two fistfuls of his button up shirt, and let her eyes fall shut as his lips found hers in the dark. She could tell she surprised him, at first, because he was rigid. And she thought, oh, here I’ve done it, in the split second before he relaxed into her, one kiss turning into two, into three, turning into a string of soft pecks before Gabe let his hands rest on the counter on either side of her waist. She let one hand wander up the starched fabric of his shirt to cup the side of his face as their kiss depened and she pulled him closer to her body. One of his hands shifted to the hem of her top, his fingers dancing around the skin above the waistband of her jeans before he wrapped his hand around the curve of her waist, fingers just shy of digging in until they weren’t. 

He pulled away from her then, his breath coming in airy pants as he licked his lips, already shiny from their transgressions. “I can’t,” he murmured, his hand pulling out from under her shirt and resting on the fabric above. He didn’t make any move to walk away, or excuse himself from between her legs and she wondered, as her heart continued to beat wildly in the cage of her chest, if she misread the signs she thought he was giving her in between the vodka cranberries and easy laughter. When his breathing returned to a somewhat normal rate, he shook his head that was still hanging so she couldn’t read his features. “I can’t,” he reiterated. “Not like this.”

“I’m--”

“Please,” he puffed, “don’t apologize.”

She snapped her mouth shut and withdrew her arms from him, thinking about how ironic it was that where he’d touched her only moments before felt cold. When he didn’t say anything else immediately, Sara squirmed uncomfortably there on the counter. “Did I--” Clearing her throat and crossing her arms defensively across her chest, she continued, “I got the vibe the last half of the night that this is what you wanted…” Her tone was guarded, but she internally cursed herself when he stepped away from her, to lean against the opposite counter, his beer having suddenly appeared in his hand.

Silence.

He finished off the bottle in a single swig before setting it down in the large sink behind him while he used the silence to study the features of her face. What he hoped to find, she couldn’t discern. Sara let her brows knit together the longer he stayed quiet, her anxiety from earlier in the evening making a dramatic comeback as it dawned on her why she cared in the first place if he even had wanted to kiss her. She liked him. Sara Sufrón was harboring a crush on her boss that was less than innocent, and he pulled away from kissing her. What a slap in the face.

She slid off the counter and tried to make her way back to the front door, but Gabe’s hand on her arm immobilized her. She tried, “I should go--”

“I’m sorry.”

She crossed her arms back over her chest and shifted her weight to her other foot so that he would drop his arm. He didn’t offer to speak up immediately, the silence again greeting them like a lover while she watched his eyes drift lazily from the top of her head, to the curve of her shoulder. “Okay, I’ll bite. What for?”

He stepped forward enough so that she was forced to look up at him. He wasn’t that much taller than her, the only thing separating them was a good pair of heels, but now she felt small and exposed. Gabe reached up, his hand hovering beside her face as he hesitated, his eyes staring holes into hers. She shifted her weight again before shoving her anxiety into the furthest depths of her gut and leaning into his hand. It was warm as he moved it up and through her hair, finding home at the nape of her neck where he gathered up a loose fistful of hair. “For this,” he murmured, just before he kissed her again. And again.

[gwynnew]

‘Thor: Ragnarok’ composer Mark Mothersbaugh on breaking out his Devo keyboards for Marvel

Thor: Ragnarok composer Mark Mothersbaugh. (Photo by Rachel Murray/Getty Images for Guild of Music Supervisors)

Last year, a 13-minute video essay criticizing the music in Marvel movies got more than 5 million views on YouTube. Two of those sets of eyeballs belonged to didrector Taika Waititi and composer Mark Mothersbaugh, who took it as a challenge: Could they make the score for Thor: Ragnarok feel as fresh as Waititi’s zany, colorful take on the characters?

For Mothersbaugh, a prolific musician and artist who has scored hundreds of films and TV shows (but never a superhero movie), the process was a delight. To guarantee that Thor: Ragnarok wouldn’t sound exactly like any previous Marvel movie, Mothersbaugh employed a 50-piece synth band on top of a standard symphony orchestra, even dragging synthesizers out of his basement from his days as a founding member of the postpunk band Devo.

Mothersbaugh spoke with Yahoo Entertainment about bringing electronic music to the Marvel universe, appealing to Led Zeppelin for “Immigrant Song,” and collaborating with fellow comic book geeks. (And true to his reputation for artistic multitasking, he revealed at the end of the interview that he’d been drawing the whole time.)

Yahoo Entertainment: So this is a little different from any film you’ve scored before. How did you end up involved in Thor: Ragnarok? Mark Mothersbaugh: They decided they wanted to use this interesting director from New Zealand named Taika Waititi, and lucky for me, instead of picking somebody off the list of people they’ve already gone with, he gave them my name. I was a fan of Taika’s already, so it made me really curious about working on this.

What did you talk about before you started, in terms of what he wanted from the score? Well, he did not let me down in the least. He really wanted to find some new territory, and we had both seen online disparaging remarks about the lack of creativity in Marvel scores. [Laughs] We’d both been reading that, so we thought, “Let’s take the challenge, see if we can up the ante a little bit.”  And it was pleasant. It was all great. It was my first project with Marvel, even though I think it was movie 201 [that I’ve scored], counting feature films and TV shows and things. But I’d never worked with them. It turned out to be a great experience.

How was it different than you expected? The attention to what was going on, and the hands-on concern about everything, and knowledgeable concern from talented people within the company. And it kind of started at the top. Kevin [Feige, President of Marvel Studios] was a fan before he was head of the company, and you really felt that when he came to meetings. He was very invested in the film in an artistic way. Usually the executives are just all about dollars and cents, they know nothing about making a film. And he was very knowledgeable. And then their music department was excellent, and it was a surprise to find out that the lowly music editor that was working with me on the film also is pretty much the head of the music department. He was very supportive and contributed aesthetically in a really positive way to getting it done. So there were no let downs at all. It was really better than expected.

Listen to the ‘Thor: Ragnarok’ soundtrack:

Did you have a take on the characters going in, any ideas of things you wanted to bring out? Well you know, I’m a comic book reader since I was a little kid, so I was curious to see how the characters were going to get treated. The first thing Taika said was, “Think of it as a road show for Thor and Hulk.” And I just imagined some big Cadillac driving down the Pacific Highway with Thor and Hulk sitting in the front seat. That’s not in the film, but it just got me very excited from the beginning about what the project was going to be. I started in December of last year, and to watch it take form through the months was really interesting. I just had a good time on it. You can’t say that about every film. There’s a lot of films where, as soon as they’re done, you’re really ready to pull the plug on the bathtub and move on to the next thing. But this was one where I felt everybody was putting in the right kind of energy at the right time, and they made something better than expected.

What were some of your musical influences for this score? Taika has a real affection for ’70s-era synth. When he would play me things that he was listening to while he was working on the film, it was music from that era. So I thought, well, we got our hundred-piece symphony orchestra at Abbey Road, and we got a 35-piece choir, and so I put about a 50-piece synth band on top of it and pulled out old synthesizers from the Devo days that I had in the basement, and played them again.

And I wrote the music so that he could have a wide range of choices for any cue. You could almost take a dial and you could turn it one direction and it would be more traditional Marvel with the big heavy orchestra, and doing all the things that you want a superhero movie to do, or you could turn it the other direction and add in synthesizers and electronica that hadn’t been in any of the Marvel movies before. So my goal was to try and give him the best of both worlds and let him make the decisions for how far he wanted to go in each direction on each cue. And I really enjoyed it. And you know, by not working in superhero movies a lot, it was fun when I got to do things like the gladiator coliseum music.

Do you have a favorite sequence or scene? I don’t want to give away any movie things, but there’s scenes where Thor revisits Odin. Some of the music is very emotional and touching and I really liked that. But Alan Meyerson, my engineer, did an amazing job — I told him when we were recording the coliseum music that I really wanted the audience to feel like they were right in the middle of the ring there with Thor and Hulk. He did such a great job of mixing on the film and that particular scene stands out for me.

One thing that’s woven through the film is Led Zeppelin’s “Immigrant Song.” Did you know that was going to be a part of the score? Well, I helped them with some of the lyrics and I played some of the guitar parts — no. [laughs] Yeah, I mean, everybody loved it in the trailer, so we knew we were going to have to talk Jimmy Page into it. And he saw the movie and loved it, so that’s how come he was agreeable to letting it be in the film. And it seemed to really work well. I love that.

I remember when Led Zeppelin wouldn’t let anyone use their music in films. I guess the process is still the same, where you have to appeal to them personally for permission? Oh, yeah. You still do. You still do have to appeal to him personally.

Did they send you to do that? I would have sent you to Jimmy Page’s house. [laughs] We’ve had dinner together, Jimmy Page and I. But no, they have people that are that are professionals at licensing music. And so rather than me coming back and saying, “Hey, he’s great with the idea and it will only cost ten million dollars!” they needed somebody that can say, “He’s great with the idea and we can afford it.”

Tessa Thompson (Valkyrie) and director Taika Waititi on the set of Thor: Ragnarok (Photo: Marvel Studios)

What was your favorite day of working on Thor: Ragnarok? Well, I’ll tell you. I could go to something specific and say, “OK, here’s my favorite day of working with Kevin and Taika,” or “Here’s my favorite day of working with the electronics.” But to be honest, when you write a score that an orchestra is going to play, and especially a 100-piece orchestra, you know that the only time you’ll ever get to hear the orchestra play it is right there in that room that day. You may have worked on that piece of music for four months. It’s one of those things where you just wish you could have all your friends there for that one moment when you go, “OK, we’re doing the emotional scene with Odin,” or “We’re doing Hela and Thor battling,” or something. You get to hear it one time with a hundred people playing it. And then after that you’re hearing it on speakers. It’s electrified after that, it’s on your computer, it’s throwaway. So that to me is the best moment, being there in the room with the orchestra.

Had you ever worked with an orchestra and choir of that size? Yeah, yeah, lots. Because I work in animation a lot, and having humans in animation is really critical to bringing the movie to life. If you go watch animated films with only the dialogue and no music underneath it, it’s very plastic and very artificial. And music, especially a big orchestra like that, even though you’re listening to their instruments, there is this subtle addition of a hundred people whose hearts are all beating and they’re breathing while they’re performing the music, and synthesizers can’t do that. They can do other things that are totally different than what orchestras do, but that’s something that orchestras are so essential for, especially for animation. But in this film it’s the same thing. So I do get to work with big orchestras. I go to Abbey Road a couple times a year, usually. It’s just my studio of choice.

You’re a visual artist as well as a musician. When you’re working on a score, do those things inform one another? Does working on films appeal to that visual side of your brain? It all comes from the same place as far as I’m concerned. I don’t differentiate. I was a visual artist before Devo, I had gallery shows. And then we somehow got a record deal, and then after Devo started to slow down, I got offers to score some things and found out that I really enjoyed writing music for pictures. So I don’t know, to me it’s all part and parcel.

I find often when I’m watching something I enjoy, your name comes up as the person who scored it. I was sitting here drawing the whole time we’ve been talking. I had a museum show that just finished — the last museum it was in was in New York City — it was a retrospective, so it had artwork from the sixties all the way through Devo to the hundreds of art shows that I’ve done since then. I called it Myopia because my vision kind of inspired me to become an artist in the first place. I don’t want to go too far into the story. But I did this piece of artwork with an eye, and I’ve been drawing over top of them and making kind of like my own version of beatnik-devolved-poetry-graffiti. Does that make sense? So I just finished the 400th piece of art like that last night, and then I’m starting on piece 401 right as we’re talking. Every hundred of them go into a book, so there’s like four volumes of this book — it’s just called The Eye Book right now, it doesn’t have a better title yet. So if you see any of these and think of a better title, let me know.

Watch: How Mark Ruffalo gave Hulk a new voice in ‘Thor: Ragnarok’

Read more from Yahoo Entertainment:

Hulk’s got back! How ‘Thor: Ragnarok’ gave ginormous Avenger an incredible new butt

Your mighty guide to all the ‘Thor: Ragnarok’ Easter eggs, callbacks, and in-jokes

‘Thor Ragnarok’ costume designer explains the secrets of Hela’s antlers and Hulk’s too-tight pants

‘Thor: Ragnarok’: Behind the scenes of that shocking death (spoilers!)

‘Thor: Ragnarok’: Inside story on the blockbuster film’s improv, cut scenes, and that rumored 90-minute run time

[ramrodd]

(via https://www.youtube.com/watch?v=9aIQ-qAojjo)

COMMENTARY:

Bruce, you know I love you and there are areas of disconnect between you and I in regards to Jesus. If Mike Mulvaney didn't exist, this may not be as pertinent in your ministry as you should now. This is what the overwhealming majority of white Evangelicals voted for. In the mind of someone as intimately, and appropriately, linked to over a generation of white Christian high school students,. You and James White seem to share the same opinion of recent presidential history. James White avoided a principled stand either for Clinton or Trump, but went Independent, instead. This was morally insufficient. It was like Martin Luther King refusing to ride with the Freedom. 

I just want to make myself clear. I owe you a great deal, just in providing the intellectual rock against which to clarify my thinking with or without Mike Mulvaney in the mix. What I realized just this last week from one of your lectures was that I employ process theology, but not like anything you understand as "PROCESS theology", if you get my point. For me, Epitemology IS PROCESS theology" as Kurt Lewin defines "PROCESS". If you don't agree with his definition, or don't understand it, or refuse to accept it as the definition I employ when I say "PROCESS theology", communication pretty well fails.

 "PROCESS theology" is natural law.  Wicca is almost entirely natural law and the only thing missing is what Jesus does. How does that work? What is the content He brings to the table that focuses SOMETHING SPIRITUAL outside Himself and His patient/target. The Holy Spirit is one SOMETHING SPIRITUAL, but it appears from something I learned from N.T.Wright's course on Romans was that Paul believe EVIL was SOMETHING PHYSICAL. I think Paul is correct about there being SOMETHING PHYSICAL and I think Jesus uses that in His miracle work and the pericopes in Mark about the two step miracle with the blind man who saw trees and the man who never could hear and needed oral surgery to repair his palate in some way, What He does with all the spitting and clapping and what not is setting up the "PROCESS theology, not unlike putting the paddles on before commanding "CLEAR!" and then "WHAM" something happens, Well, I think He pulls the trigger somehow on a jolt of this SOMETHING PHYSICAL, which I associate with the Spirit of God that God unleashed to create an ecology perfect for sustaining life in various ways until The ONE finally stumbled upon Homo Sapien, where The ONE completes the CREATION STORY with the Cross and it is now up to us. 

The difference between PROCESS and CONTENT is the difference with the actual chewing motion and whatever is being chewed, The Bible is intellectual chewing gun in the process of reading.  The Gospel of Mark captures all the PROCESS Jesus uses to squirt a little Spirit of God. This is the LIVING SPIRIT I thing Paul observes as evil. The LIVING SPIRIT is blood thirsty and undomesticated. It was the LIVING SPIRIT sent to kill Moses. It shows up everywhere blood is connected with malevolent ritual, that being rituals carried out to envoke a collective emotional response. However, the Spirit of God also comes to Messiah sing-alongs and probably the Muslim ritual, praying as a renewable resource. All prayers and meditation is a renewable resource. It is PROCESS theology for method and hope. Hope is not a Method, but METHOD without Hope tends to generate Idolotry and Fascism.   

 And this is possibly the biggest difference between Mark and the other Synoptics, but the most in common with John, Their processes. In terms of PROCESS, Romans and Luke/Acts need to be understood in brace: they are pulling the same load. Matthew is written for a larger process associated with Islam and 19, but is based on the PROCESS in Mark which surfaced the CONTENT that Matthew connects with contemporary Jewish theology cited in both Hewbrew and Greek texts. 

 One of the things I have been fascinated since 1990 is the PROCESS employed to put Mark together from a Roman centurion's point of view.  If the Gospel of Mark was missing Mark 16:9 - 20, it would be the final report from Cornelius, a centurion in Caesarea during the reign of Caligula, "Little Boots" as you are wont to say, beating it into your student's conscousness in a gentle way that engages an exemplary model of classroom teaching in any educational system currently employed. This looks like a nice, white Christian charter school in Seattle. I didn't understand teachers or education until I got into college, so I look back at my high school teachers in a bit of wonder, because, in spite of being an ESTP, I now have a Masters in Organization Development and have a sketch book for a Ph.D. dissertation that I'll email you. 

 Kurt Lewin is very important to me. Reading his Kriegslandshaft the first time was like being back, sitting on a muddy trail in the Central Highlands in Vietnam. He is writting with the authority of experience which I share with him and virtually all combat vets. It's a been there, done that kind of thing. We weren't just sharing a walk with someone you know and like in a National Park somewhere. 

We were walking throught the Valley of the Shadow of Death in response to Romans 11:22 in a military manner and it's an eternal experience: it’s a justification by compliance. The centurion in Matthew, Luke and Acts 10 recognized that in response to authority in Jesus and didn't need an operational manual to do His magic. And he, that centurion, described it in Mark and when both the odd ending of Mark and somewhere in John it is mentioned that there were many more pericopes they could have added from their intelligence dossier on Jesus, but they winnowed out the sort of repition you get in the Hadiths and then  narrowed it down to essentials beginning with the Cross and working backwards and now we have the report to the Praetorium Guard and, when John Mark added the last editors note, it became the Gospel we now call Mark. Dan Wallace says somewhere that we have Christian manuscripts that reach almost a mile high. Look how tall a complete stack of the most reliable Hadith stands and that wasn't winnowed but it is narrowly focused on Mohammad, My guess is that the Q source was the original authograph and they had a stack of loose leaf spy reports from that period over a mile high to draw from, And they winnowen out and narrowed down to the Gospel of Mark. And sent it up the chain of command, 

That's where Matthew starts, but Matthew (and it is, in fact, the very same publican Levi from Mark) has a different mission, where his PROCESS is to arrange CONTENT to make sense to contemporary Jews. Judaizing isn't an issue: it's the point. 

But in terms of process THEOLOGY, The One has another PROCESS beginnig to flower around an unexpected PROPHET, Malala Yousafzai, It has to do with Sura 74:30 "Above it is 19" and Sura Maryham 19:1 - 33 aimed directly at Mary, Mother of Jesus as Co-Redemptrix. This is part of The One's SPIRITUAL process, that has been Khadiji's legacy for Muslim women unrealized until recently and the message is Come to JESUS just the way you are and come through the Co-Redemptrix and throught the gates of the 19th Amendment and that's what process THEOLOGY has revealed to me. Jesus uses a SPIRITUAL process to accomplish His miracles and it's like "USE THE FORCE, LUKE". But a cost of this knowledge will be to reveal the total moral fraud of the so-called budget Mike Dulvaney is presenting.  

A place I part company with Besty DeVos is PROCESS: she believes her Creationist version of Jesus is the reason she is so rich, but it is the PROCESS of AmWay's networking marking that brings in the bucks. It is all natural law. 

How do I know? The bible told me so. 

 Let me say this: President Trump may actually be engaged in a historic civics lesson courtsey of Trump University but Mike Mulvaney just pushes it beyond the realm of possibilty. If, on his 100th day, President Trump announces his Making America Great Agin American First Infrastructure Restoration Act  and signs it for delivery to Congress, then gets up, goes to a barber chair in the middle of the Oval Office and gets his head shaved bald and promises keep it bald until America puts a Children's Hospital on the moon by 2025, and says "By the way, the last 99 days? it was all in quotation marks", then I'll become a believer.