#even though speaking from a technical perspective she dominated i have to consider the performance holistically

[mobiused]

if u aren't busy could u share your thoughts on the r2 stages . ik you shared some but i like reading your opinions ^^

wjsn - well the singing did not really sound like that. like people mentioned before trying to do a dark edgy version of navillera made no sense and i think the gaybaiting intro where they made a big fuss of it on bubble or weverse or whatever about their lips maybe touching was kind of cheap LOL. the dance was kinda mid pretty unremarkable. (the audacity to say loona was unmemorable when i literally forgot every single aspect of their performance a week later. ok.) uh i should think of something nice to say... it gave me this reaction shot of hyeju so thanks wjsn!

loona - my little theatre kids… their most entertaining performance ever it was like a real show, something a little aggravating was the fact the mix aired on the show nerfed their vocals, a lot of comments about their weak vocals but they were WAY better at projecting in the zoom version than the broadcast version so it felt a little anticlimactic especially since there was no cheering when there was a ton on the zoom version so its like uhhh… anyway i love it and im biased idc and if you haven't go listesn to the digital version

BG - really good mix though i kind of hate when momentum is killed in songs but its ok. something that aggravates me about BG is like. they are very very competent singers and yet they're always yelling into mics. you dont need to do that. thats what a mic is for it will make you loud you dont need to shout. please think of the poor sound engineers. better vocalists than a lot of other girls so ill forgive them. love a performance with a narrative too (also how did hyeju predict it was about thievery from like 2 seconds in she's crazy) also i really really like mvsk so i really liked it actually

viviz - the mix was also really good!! unnatural is a well structured song so it was a good pick but eunha hardcarried. it feels like they're not creative enough to overcome their deficiency in talent, and also not talented enough to overcome their deficiency in creativity. that sounds really mean sorry. umji's cane dance was literally laughable if you could call it a dance. at least it was visually impressive (red is cool) and ok to listen to, but performance wise i was left ambivalent… like they are not dancers. damn. did you know all 3 of them are younger than haseul i think thats crazy.

kep1er - the intro was nutty i loved it so much. and then the song was just… how am i meant to listen to that as a single. stop stopping. im trying to listen. of course it was superduper cute but like their other performance it was so chaotic and disjointed that i was left bewildered rather than entertained. the mashup was good though though and hikaru literally devoured shes so cool hyeju why can't you make friends with her instead. at times it was hard to tell them apart from the bg dancers which is not so good… and i really wasn't a fan of the bar dancing like hold on didn't you say you didn't want to do certain BG songs because they were too mature and you have kids in your group…? and yet…? okay sure i guess. and despite how chaotic it was it was pretty low energy at the same time which i guess is maybe impressive in and of itself

hyolyn - how is she so cool…. now this is an ARTIST. i love her clear vision and effort made to interpret the song as its originally intended as well as make it her own. hoop work was more visually impressive than technical but still such a badass intro. her vocals put everyone in the entire show to shame. its amazing how she dominates the stage on her own… but the mix was surprisingly sparse, i dont think i could listen to it as a single, maybe because i'm used to the cracked out original so in that regard i was a little underwhelmed, and i guess the dance after the hoop intro was a little unremarkable but her singing more than makes up for it (and her bg dancer team did great)

final verdict: loona > BG > hyolyn (are you surprised?) > viviz > kep1er > wjsn

[masterweaverx]

Ilia Amitola has captured the mind and heart of certain parts of the internet. She certainly seems well suited for adventure, given her storied backstory and her usage with the White Fang. But if we’re going to set her Dungeoning and Dragoning, we’ve got to come up with a good series of goals for her.

Fortunately for us, while Ilia may be a complicated character emotionally she’s relatively simple from a mechanical perspective. Sneakery and agility is our primary objective with this young lady, accompanied and abetted by her crafty skinshifting. Oh, and there’s the whip--an electric stunning swordywhip thing that needs to be able to zap and stop. Personally I’d also say she needs to dominate the dance floor--not anything strictly canon, but just a headcanon of mine. All that said, let’s get to it.

Point arrays are standard for good reasons, so we’ll take the standard option and put a 15 in Dexterity--very good at the hopping and the hiding. Wisdom will be next with 14 points, Ilia has a very good internal compass even if she supresses it sometimes. Intelligence and Charisma are at 13 and 12 respectively--she’s had an education, and she can be a good speaker when she doesn’t get emotionally tongue-tied. Constitution has ten points, because she looks pretty healthy all things considered, but strength is at eight--Ilia’s kind of small, which is good for sneaking but bad for lobbing boulders at peeps.

For any 5E aficionado, you’re probably thinking we’re going to make Ilia a Changeling. And... you’d be right! This gives her +2 to her Charisma (upping it to 14) and +1 to her Dexterity (upping it to 16). She also gets two skill proficiencies out of a list of four; I picked Insight and Persuasion, since she’s not really that good at Intimidating people and she’ll be getting Deception from somewhere else. Changelings are good at language, automatically knowing Common and two other languages of their choice; I’m guess that stint in Atlas taught Ilia the esoteric languages of Legalese and Technobabble. And then there’s the big reason we picked Changeling...

Okay, quick side note here: When I construct these things, I look for ‘closest fit,’ not ‘one-hundred percent exact.’ Ilia Amitola can change her skin color, hair color, and eye color. Changelings are full-on shapeshifters--sex, size, apparent species, if they see you they can mimic you to a hundred percent. Doesn’t affect clothes, mind, but the point is D&D Ilia is going to be a touch more potent than RWBY Ilia, if you decide to use her that way. This is a role-playing game, not a rule-playing game. Mmkay? Mmkay.

For Background, I dug around a bit and found the Secret Identity background from the Adventurer’s League. And frankly it’s practically built for Ilia: pretending to be an Ordinary Human in the land of Racist Humans Who Hate Nonhumans. She gets proficiency with Deception, Stealth, Forgery Kits, and Disguise Kits, as well as the feature ‘Secret Identity.’ Meet Aili Alotima, a definitely totally normal human who does not, we assure you, have any skill at forging legal documents she has seen before, and has a totally real history you can absolutely check if you’re curious. (And if you believed that sentence, Ilia is going to be wondering exactly why she needed to go to the effort to trick the laws in the first place.)

And now we get to classes. I’m sure you were all expecting twelve levels in Thief Rogue, but I’m pretty certain you’ll all be surprised by the eight levels in Kensei Monk. Well, most of you, anyway. Some of you? Look, Monks are a pretty agile class, and Kensei monks specifically come with a few things that will be crucial to Ilia’s build.

But before we get to that, we have to get to Ilia’s Ability Score Improvements. Twelve Rogue levels and eight Monk levels give her a total of six. Every ASI can be used to either get two ability points or burned to get a feat; we’ll be using half of them to add two points to Wisdom and three to Intelligence (upping them both to sixteen) and one to Dexterity (making it 17--don’t worry, that’ll get patched soon). The remaining three points will be burned for feats--Acrobat, Skulker, and Magic Initiate.

Acrobats gain proficiency in the Acrobatic skill, and +1 to their Dexterity--so now Ilia has a full Dexterity of 18. And, as a bonus action, she can make a DC 15 acrobatics check to ignore difficult terrain till the end of the turn. Skulkers are extra good at sneaking, being able to hide when lightly obscured, suffer no sight penalties in dim light, and their location isn’t revealed even when they miss with a ranged weapon. Not that Ilia uses a gun, mind, but she’s pretty good at the whole shadow-hopping thing, so that’s nifty.

Magic initiates, though, choose a caster class and pick two cantrips and a first level spell from their list. They can only cast the spell once per long rest, but we’re really only here for the cantrips (which can be cast at any time and scale based on total character level). Lightning Lure drags a target from fifteen feet away up to ten feet closer and does some shocking damage if they wind up within five feet--perfect for some zappery dragging. And Sword Burst is great if you want to knock back enemies right up next to you--they have to roll a Dexterity save or take a hit from Ilia twirling a sharp metal rope around herself. As to the first-level spell... well, Longstrider increases a target’s speed by ten feet for an hour, and it can be cast on self. Ilia is really, really mobile, so...

Rogues get proficiencies with Dexterity and Intelligence saving throws, Thieves’ Tools, Light Armor, Simple Weapons, Hand Crossbows, Rapiers, Short Swords, and Long Swords. They also get four skill proficiencies--Athletics, Perception, Performance, and Sleight of Hand fit Ilia the most. And with twelve levels of Rogue, she’s really benefiting from a life of skullduggery--Expertise in four skills (Acrobatics, Deception, Persuasion, and Stealth), Reliable Talent in every other skill she’s trained in, and Thieves’ Cant for reading and writing secret messages to those who don’t want to be seen. And of course Sneak Attack, which means she deals an extra 6d6 damage on ranged or finesse attacks, as long as she either has advantage or her target is being flanked.

And then there’s all the mobility options being a Rogue, and a Thief Rogue specifically, gives Ilia. Uncanny Dodge to half damage on an incoming attack as a reaction, Evasion to possibly neutralize damage from any Dexterity-Save based attack, Second-Story work that makes her climb speed equal to her land speed (as well as adding her Dex bonus to her jump distance), and Supreme Sneak gives advantage on Stealth checks if she moves only half her speed (which, with her Monk levels, is going to be pretty fast).

And of course, there’s Cunning Action. As a bonus action, Ilia can Dash (take an extra movement action), Disengage (avoid attacks of opportunity for the round), Hide (make a stealth check to, well, hide), and Aim (give herself advantage on her next attack if she hasn’t moved this turn). Being a Thief Rogue gives her Fast Hands, which means she can also use her cunning action to Use An Object, use her Thieves’ tools, or make a Sleight of Hand check. Mobile and able to exploit that mobility? It’s no surprise the Belladonna’s need better security.

But all that is defensive mobility and sneakery. If we want to talk about Ilia’s attack capability, we need to talk about her eight levels in Kensei Monk. Sure, being a Monk in general does give her some bonus mobility--her Unarmored Defense means her AC is ten plus her Dexterity and Wisdom modifiers while not wearing armor (so 17), her Unarmored movement gives her a bonus to her base speed while not wearing armor (+15 at level 8), her Slow Fall allows her to reduce falling damage by a total of five times her monk level as a reaction (that’d be 40 points), and her Evasion... is actually exactly the same as her evasion she’d get as a rogue, so that doesn’t stack.

Martial Arts gives Ilia a few benefits: she can choose to use Dexterity instead of Strength for unarmed attacks or attacks with monk weapons, the attacks do 1d6 base damage instead of their standard form, and if she takes an attack action she can make one unarmed attack as a bonus action. Speaking of which, Extra Attack lets her make two attacks per attack action, Ki-Empowered Strikes mean her unarmed attacks count as magical for the purposes of overcoming resistance and immunity to nonmagic damage, and Stillness of mind allows her to use an action to shake off being Charmed or Frightened.  And that’s all before we talk about Ki features or anything regarding Kensei Monks specifically.

Monks get Ki points equal to their monk level, which regenerate on a short or long rest, and can be spent for various actions. Options are added as the Monk levels up, both from standard sources and from their path; Flurry of Blows allows a Monk to make two unarmed attacks as a bonus action immediately after an attack, Patient Defense lets them take the Dodge action as a bonus action, and Step of the Wind doubles Jump distance and allows the monk to take the Dash or Disengage action as a bonus action. Then there’s Deflect Missiles--technically a free reaction to any incoming ranged attack that reduces the damage by 1d10+Dexterity Modifier+Monk Level (so 1d10+12 for Ilia), but if that reduces the damage to zero, a monk can spend a ki point to throw the projectile back as a ranged attack immediately. Stunning Strike can be used to try to Stun a character with a melee weapon attack, which lasts to the end of the next turn, and Deft Strike (the only Kensei-related Ki skill we’re getting) allows a monk to add an additional 1d6 damage to an attack with a weapon.

Which leads us to the whole reason I picked Kensei monk. See, Monk Weapons are specifically shortswords and any simple melee weapons that don't have the two-handed or heavy property. Which doesn’t include whips. But Kensei Monks have, as the foundation of the whole class, the choice to pick other weapons as Monk Weapons--as long as they lack the Heavy or Special properties. At eight levels, Kensei Monks have a total of three Kensei weapons--one melee, one ranged, and one that can be either. So going for Whip and Scimitar for Ilia’s weapon, and Hand Crossbow to satisfy requirements, is a pretty good option.

Of course that’s not the only benefit. Agile Parry gives Ilia +2 AC if she makes an unarmed strike as part of her Attack action, Kensei’s Shot means she can take a bonus action to make her Hand Crossbow deal an additional 1d4 worth of damage, and Magic Kensei Weapons mean her weapons count as magical for purposes of overcoming resistances and immunities to nonmagical damage. And of course there’s Way Of The Brush, which gives Ilia proficiency in Calligrapher’s supplies--perfect for planting secret messages, forging documents, or writing hidden notes in her diary about how hot various ladies around her are... although that last one isn’t strictly canon, but you know, shippers gonna ship.

If we tally all this up, we have a woman with a base 45 running and climbing speed that can jump 12 feet forward and 7 feet up without effort, with Acrobatics and Slow Fall meaning she’s able to handle unusual terrain, and she can up that to 55 speed for an hour once a day with longstrider, as well as double the jump distance up to eight times before needing a rest. That makes Ilia fast, and she’s also hard to hit--unarmored defense gives her an AC of 17, plus 2 with Agile Parry, she can Dash or Disengage or Dodge at will, and even if you get past all that she’s got Uncanny Dodge, Evasion, and Deflecting Missles to reduce damage. Of course that’s assuming you spot her at all--Supreme Sneak lets her remain hidden at 22 feet speed--27 if she’s got Long Strider up--Skulker means she can hide when lightly obscured, such as by shadow, and combining her expertise in stealth with her shapeshifting ability means Ilia can slip in and out of scenes unnoticed.

And for those of you that want some damage, allow me to direct your attention to this combinatorial explosion: Martial Arts Whip, Extra Attack, Deft Strike, Flurry of Blows. That’s 1d6+7d6+1d4+4, then 1d6+4 , then 1d6+4 , then 1d6+4 , for a cost of two ki points. Even without Deft Strike and Flurry of Blows Ilia can hypothetically pull 1d6+7d6+4, then 1d6+4 , then 1d6+4, per round--or sacrifice that last 1d6+4 for a different bonus action. And Ilia can give herself advantage either with Aim or Stunning Strike; Aim only lasts for the current turn, but Stunning Strike lasts till her next turn and renders a target stunned for her allies to deal with. Throw in Lightning Lure for 4d8 damage to any target she draws to herself, Sword Burst for 4d6 damage to ALL targets surrounding her, and the fact the whip has the Reach property, and we wind up with a fighter built to manuver and manipulate her opponents around the battlefield.

So yeah, that’s Ilia.

[dweemeister]

Movie Odyssey Retrospective

Mary Poppins (1964)

After the animators’ strike in 1941 saw many of his talented artists depart for cross-Hollywood rivals or create their own studios, Walt Disney bristled with bitterness. Disney – an artistic visionary, an anti-unionist, and fervent anti-communist (he believed the strike was ignited by communist agitators) – had felt betrayed by the striking animators he considered his family, and would no longer be as emotionally or personally involved in any of the studio’s post-Bambi (1942) animated features. His attention turned to supporting America’s World War II efforts; the studio’s entrance into live-action films in the 1950s; television; and the construction of Disneyland in Anaheim, California. As one of the most honored individuals in Hollywood, one accolade eluded him: a nomination for the Academy Award for Best Picture. His best chance by that point came with Snow White and the Seven Dwarfs (1937) – which was instead honored with a novel honorary Oscar presented to him by Shirley Temple. Disney had poured his soul into the innovative Snow White and, privately, he was perturbed by the Academy’s (and the public’s) belief that animation was subordinate to live-action cinema.

By the early 1960s, Disney was reflecting on Snow White, the then-critical (not commercial) disapproval of Song of the South (1946), and how his daughters in the late 1930s asked him to make a film about P.L. Travers’ Mary Poppins. After on-and-off negotiations with Travers beginning in 1938, Disney finally secured the rights to the Mary Poppins books, and Travers was brought on as a consultant on the film. Directed by Robert Stevenson, this would be the final film that Walt Disney truly felt passionate about. Though Travers instantly disliked (but made some peace with) this adaptation of Mary Poppins, the cinematic heavens broke loose. Mary Poppins is the greatest live-action Disney film ever made; there is, as of the publication of this write-up, no serious competition.

The film begins with a chimney sweep/one-man-band/screever named Bert (Dick Van Dyke) breaking the fourth wall to introduce a corner of London on the cusp of dramatic change. It's grand to be an Englishman in 1910; King Edward's on the throne and it's the age of men. At least that is what George Banks (David Tomlinson) thinks. George is married to the constantly out-of-the-house suffragette Winifred (Glynis Johns) and their children, Jane (Karen Dotrice) and Michael (Matthew Garber) have just driven out their latest nanny. George, a high-ranking banker, is consumed with work – making him emotionally distant from his children. One day, Mary Poppins (Julie Andrews) floats into 17 Cherry Tree Lane, essentially hires herself (to explain this in words to those who have not seen the movie will make little sense), and meets with Jane and Michael for the first time. With Mary Poppins, Jane and Michael and Bert – who is platonically familiar with Mary – have their share of fantastical adventures in London. Though it may appear at first Mary Poppins has arrived for the children, that is only the secondary reason for her arrival at the Banks household.

Mary Poppins also features the maid Ellen (Hermione Baddeley); next-door neighbors Admiral Boom (Reginald Owen) and first mate Mr. Binnacle (Don Barclay); the gleeful Uncle Albert (Ed Wynn); and Banks’ boss Mr. Dawes, Sr. There are also brief cameos for two of the best actresses of Old Hollywood: Elsa Lanchester (the title role in 1935′s Bride of Frankenstein, 1957′s Witness for the Prosecution) plays Katie Nanna and, in her final film appearance upon the personal request of Walt Disney, Jane Darwell (Ma Joad in 1940′s The Grapes of Wrath, 1943′s The Ox-Bow Incident) as the “Bird Woman”.

Upon her arrival at 17 Cherry Tree Lane, the Banks family is obviously dysfunctional. From the initial parental perspective, Jane and Michael are undisciplined, too often indulging in play, and not following the regimented lifestyle of their father. Through Mr. Banks, their childhoods are being wasted on trivial pursuits. Mrs. Banks is well-meaning, but absent – despite being the impassioned suffragette, she is reluctant to speak out against her husband (this is never explored, but is her activism a way to express herself outside a stifling household?). Jane and Michael’s parents are often unavailable, leaving their small gestures of compassion ignored or shrugged off. This is not a familial situation to be wished on anyone. Enter Mary Poppins. The idea that she arrives at the Banks household primarily to correct the behavior of the children has been resilient since the film’s initial release. While with the Banks family, she advocates for cleanliness and manners – something that Jane and Michael sometimes lack, yet their cases are not extraordinary compared to what one might expect from children. Mary Poppins, the character, almost never explains her intentions, does not explicitly attempt to “fix” the children, and will act in ways reminding Jane and Michael that their parents are important than she. Mary Poppins retains a mysterious, unknowable distance from most everyone in the film – a feature respectful of Travers’ literary characterization of the flying nanny, and fully dependent on a magnificent performance from Julie Andrews.

Mary Poppins is ostensibly about the title character or her attempts to “save” the children. Mary, Jane, and Michael are the concentration for most of the film. It is when we see the less visible source of the Banks’ troubles that the film shifts its focus to its inner heart. Mary Poppins, through the children, reminds their father of what being a caring, supportive parent means. Mr. Banks – as Bert tells the children late in the film (“they makes cages from all sizes and shapes, you know – bank-shaped some of them, carpets and all”) – has no one to look after him at the Fidelity Fiduciary Bank. Mr. Banks’ cutthroat working environment is predicated on making as much money as possible. His workplace is impersonal, without regard to any of the employees’ unspoken desolation. When Mr. Banks comes home, he is unable to unwind, to appreciate his children enjoying their childhood – a lot of earned praised comes Dick Van Dyke’s way, but save a thought for David Tomlinson, who delivers a heartrending performance as the film finally centers on his character in its final act. He does not talk about the previous day, proceeding to chastise Jane and Michael for not being as uptight as him. Mr. Banks nor the bank are antagonists; this is a rare Disney live-action film without a villain. In their cloistered, specific culture, Banks’ fellow bankers have eroded his ability to remember what is important – that kindness and mindfulness for their own sake are never for naught. Life is too fleeting for anything else.

Jane and Michael learn that the difficulty of their father’s work impacts how he acts around them. More subtly, they also learn how to care for him. This is not easy for children watching for the first or even the tenth time to fully comprehend. Mary Poppins may seem – to those who have not seen it recently or at all – to be a sugary children’s musical. It is anything but. The Walt Disney Studios filmography, as far back as Snow White, is too often painted with such generalizations.

Despite being a bit overlong and Robert Stevenson’s typical uninspired direction, this is a film of incredible technical achievement. With Song of the South’s echoes still reverberating in Disney’s imagination, there is a lengthy animation sequence melded with live-action – the first Disney film to do so since So Dear to My Heart (1948). And like Song of the South, Mary Poppins’ animation/live-action segment has a showstopping musical number based on a fictional word. The seamless use of animation – opposed by Travers – is mostly thanks to animator/special effects technician Ub Iwerks (who had worked with Disney since the silent era) adjusting the Technicolor camera and process that were previously used for So Dear to My Heart. Even with the advent of computerized animation today, Mary Poppins’ animation – steeped in the post-One Hundred and One Dalmatians (1961) limited animation aesthetic that would dominate Disney animation for the next few decades – is as flawlessly integrated as it appeared on its premiere.

The Sherman Brothers – Richard M. Sherman and the late Robert B. Sherman – wrote more film musical scores than any other duo. Robert was the melancholic half who mostly did the lyrics; Richard remains the jocular one who usually composed melodies (their duties were interchangeable, so it is rare to delineate each Sherman brother’s contributions). Near the start of their songwriting careers, they became staff composers at Walt Disney Studios after charting with a single sung by Mouseketeer Judy Harriet and, later, her fellow Mouseketeer Annette Funicello. 1964 would be a banner year for the Shermans, beginning with “It’s a Small World (After All)” for the 1964 New York World’s Fair (the attraction from the World’s Fair would reopen at Disneyland in 1966, where it remains). Their score and soundtrack to Mary Poppins came next. The final product is in the conversation for the strongest collection of original songs composed for a movie musical.

Those who have never seen Mary Poppins should skip the next four paragraphs and the two lyrical passages that follow.

Two of the early songs will be reprised multiple times during the film: “Chim Chim Cher-ee” and “The Life I Lead”. The former is Bert’s primary song, like a working-class waltz, with the verses changing depending on when the reprise appears in the narrative.  It is meant to expedite exposition, revealing plot points and locations through the only character who breaks the fourth wall. “The Life I Lead” will be used as George Banks’ primary song and leitmotif in the score – reprised and retitled as “A British Bank” and “A Man Has Dreams” (this latter reprise is sung with Bert, who sends Mr. Banks into deep thought without confrontation or humiliation) – and is composed like a march. With a set of lyrics like these, Mr. Banks’ character is outlined in a brisk couple of minutes:

A British bank is run with precision A British home requires nothing less! Tradition, discipline, and rules must be the tools Without them – Disorder! Catastrophe! Anarchy! – In short, we have a ghastly mess!

Moving into the middle third of the score, one encounters musical numbers that are known even to those who have never seen a clip of Mary Poppins: “A Spoonful of Sugar” and “Supercalifragilisticexpialidocious”. “A Spoonful of Sugar” will be Mary Poppins’ motif in the film’s score and is used to teach Jane and Michael to see busy work through a different lens: that, with the correct attitude, it can be productive and fun. Mary Poppins does not remark on Jane and Michael’s cleanliness much, but recall this is not the foremost problem that the children face, and this is largely resolved through this song. “Supercalifragilisticexpialidocious” is the greatest song with a fourteen-syllable word title ever composed – a lyricists’ nightmare to craft, yet impeccably performed and constructed. Both songs’ reputations are earned, but the best is yet to come.

Not all songs can be stunners, as seen with the nevertheless-incredible “Stay Awake”, “I Love to Laugh” (an entertaining diversion and nothing more), “Fidelity Fiduciary Bank” (its humor underrated), and “Step in Time” (which I admire for its choreography, not the music). “Let’s Go Fly a Kite” is a valedictory musical hurrah basking in unbridled joy. The song’s lyrics may seem simple, but given that it appears in the final minutes and considering what has just occurred, it is a musical and contextual triumph. Mary Poppins’ most resonant song is the one that does not trumpet uptempo energy. “Feed the Birds” is a masterpiece musically and thematically. The lyrics, shifting from E minor to G Major, on paper, do not initially appear singable. But the melody is perfect (the score’s best cue is “Mr. Banks is Discharged”, which combines “Feed the Birds” with “The Life I Lead”), allowing lyrics like these to appeal to the audience’s hearts:

All around the cathedral, the saints and apostles Look down as she sells her wares. Although you can't see it, you know they are smiling Each time someone shows that he cares.

To see the world through another’s eyes – especially those most in need (in which “need” is relative and appearing in various forms) – is worthwhile. It lessens the suffering of others, inspiring them to act in goodwill when they can. "Feed the Birds” and “Stay Awake” would be the only two songs that P.L. Travers approved of. The former encapsulates what Mary Poppins has to say.

The Shermans never wrote a better musical. Their work on Mary Poppins flows with the plot, incorporating the film’s central ideas without being pedantic or repetitive. Just a glance at what films they composed for afterwards will inspire awe: the Winnie the Pooh films (1966-2018), The Jungle Book (1967), Chitty Chitty Bang Bang (1968), The Slipper and the Rose (1976), and beyond. This is not even diving into their works for the Disney parks!

Originally not invited to the film premiere because of her outspoken opposition to many of the cinematic decisions, P.L. Travers shamed a Disney executive into letting her attend. Travers appreciated Mary Poppins as a film, but not as an adaptation of her books – forbidding anyone involved in the Disney adaptation except Julie Andrews from starring in any other Mary Poppins-related adaptations (Travers specifically singled out the Sherman Brothers by name). Disney’s intransigence, recalling his conduct during the animator’s strike, strained relations between Travers and the studio. Recently, Saving Mr. Banks (2013) told the story of the making of Mary Poppins from Travers’ perspective, taking numerous historical liberties. Travers’ estate approved the production of Mary Poppins Returns (2018) – a sequel to this film.

Disney received that Academy Award nomination for Best Picture – the nomination itself was the validation he wanted from his Hollywood colleagues. In the years after the film’s release, years of heavy smoking were catching up with Disney. With no close friends at the studio, he told almost no one about his health. After Mary Poppins’ release, Disney would request the Shermans to come into his office on Fridays to talk about the workweek, and ask the Shermans to play “Feed the Birds” at the meeting’s end. "Feed the Birds” became Walt Disney’s favorite song from any film he ever made. According to Richard M. Sherman, following one meeting, with the final notes of “Feed the Birds” fading to silence, he remarked, “That’s what it’s all about, everything we do at Disney.”

Mary Poppins debuted to an America and a world soon to plunge into turmoil – most of which Disney himself would never see. Traditional, big-budget musicals like Mary Poppins, My Fair Lady (1964), and The Sound of Music (1965) became cinematic refuges. Those three films had dominated American filmmaking in a two-year span and the major studios – taking a page from Fidelity Fiduciary Bank – wanted to make head-spinning profits. Many of these post-Sound of Music musicals could not match the standards set by those three musicals, and the widely-covered failures of these musicals would make the genre anathema to Hollywood by the next decade. Maybe it is because of this timing that Mary Poppins is so often described as a children’s movie. However one describes Mary Poppins, it is one of the final statements by a Walt Disney Studios still helmed by its namesake. Its production was turbulent in an era where changing tastes should have worked against it, but Mary Poppins rivals the best Hollywood musical movies.

My rating: 10/10

^ Based on my personal imdb rating. Mary Poppins was upgraded from an initial score of 9/10. Mary Poppins is the one hundred and forty-eighth feature-length or short film I have rated a ten on imdb (this write-up was expedited before the write-ups on the films that will be the 149th and 150th).

This is the thirteenth Movie Odyssey Retrospective. Movie Odyssey Retrospectives are write-ups on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include Mr. Smith Goes to Washington (1939), Dumbo (1941), and Godzilla (1954, Japan)

[hyosubteam]

[PAPER MAGAZINE] DJ HYO: Girl of the EDM Generation by By Bradley Stern | 23 April 2018

Her name is Hyoyeon, but call her DJ HYO.

As a member of Girls' Generation — one of the defining girl groups of modern pop, considered "The Nation's Girl Group" at the height of their fame in South Korea — the 28-year-old singer and dancer has already experienced international success over the past decade to a degree most of her fellow K-pop idols could only dream of achieving.

Now, with each of the members of the group focusing on individual endeavors following their 10 year anniversary celebration in 2017, HYO's opted to pave a musical path of her own, but with a slight twist — record scratch! — she's a DJ now, too.

While the career shift might generate some skepticism, rest assured, this is far from a pop star putting on a pair of headphones and pretending to twist the knobs behind the booth: HYO's been putting in the work training on turntables and learning the technical ins and outs to prepare for her official debut as a DJ for years. With this month's release of her tropical House reintroduction, "Sober," a collaboration with Dutch DJ Ummet Ozcan released in both Korean and English, DJ HYO confronts the expectations she's up against — both as an established pop superstar and as a woman — by making it clear that she's not looking to be tied down... by any one genre or person. When it comes to doing things in her own way, HYO is just getting started

Q: The music industry is very different from the days of your debut with Girls' Generation, from the introduction of streaming services to the type of music that's popular on the radio. How do you feel it has most changed, from your perspective as an artist?

HYO: Over the years with Girls' Generation, we focused on powerful performances and exciting visuals. Video streaming became very popular during the middle of our activities, which is why Girls' Generation videos garnered millions of viewsthroughout the world. Since then, different types of streaming services and influential platforms have emerged, so the quality of the music has to be even more detailed and top-notch. As I have more control over my solo projects, I do my best to create something I love by working simultaneously as an artist, DJ and producer.

Q: You appeared on Mash Up in 2015, a DJ competition. How was that experience? Did it inspire your solo transformation?

HYO: As a performing artist, I was always interested in mixing songs and worked on it during my own time. Mash Up helped me to build a solid foundation which was very important, and I was able to learn skills like scratching, mixing, and splicing from numerous DJs on the show, which gave me a huge boost.

Q: What inspired the decision to record "Sober" in Korean and English?

HYO: I strongly suggested to my company that I wanted to do an English version. My fans are all over the world, and I wanted to reach out to them in any way I can — and music is the best way to reach them. My native language isn't English, but I wanted to make sure that I understood everything I was communicating to my fans, so I took more time to really understand what I was expressing though the lyrics.

Q: Can you describe the meaning behind the music video?

HYO: The music video is about liberating girls who feel trapped, and tired of the norm. I wanted to express that they can get out there, rebel against social norms and show everyone who they're really meant to be.

Q: You worked with Ummet Ozcan on "Sober." How did you two meet, and what was the experience of collaborating like?

HYO: There was a big festival in Korea, and I had a chance to meet Ummet. When I met him, I was able to play him a song that I made and we started to discuss a collaboration from that point. The funny part is — obviously Ummet doesn't speak Korean, and I don't speak English! — so it was kind of fun just to work in two different languages. It was definitely interesting, and somehow we were able to get each other's thoughts in order and come out with "Sober."

How is preparing for an EDM debut different from preparing for a pop comeback? Or is it the same?

I'm a performing artist, so when I was doing pop songs, it was important to focus on the choreography, performances and visuals. With EDM, I have to channel my focus and energy in different ways to connect with my audiences. Many people think it's my first time trying out this genre, but I've been studying a lot over the years. I've been on Mash Up and I've put a lot of time and investment into learning all the details of DJing and how to engage through various types of music.

Q: What is the most difficult thing about DJing?

HYO: Besides the technical part, I'm working on composing the songs with the MIDI keyboard, which I know is going to take some time. I make small mistakes here and there, and it's a fun experience. For now, I'm learning as I go, and I want to continually produce and DJ my own songs. Eventually, I would also like to produce, mix, and collaborate on songs by other artists.

Q: Are you planning to perform at any EDM festivals? What songs would be in the DJ HYO set?

HYO: If there was a given opportunity, I'd definitely want to show fans the new DJ HYO side. I believe I'm going to be at Spectrum Dance Music Festival in Seoul in September. As I grow in my experience, I want to build a brand and do a tour in the near future. DJ HYO's set would include a lot of Girls' Generation songs because there are so many songs both in Korean and Japanese, and this would be a good time to spotlight songs that didn't get highlighted.

Q: Any specific songs?

HYO: "Genie" and "The Boys." We were able to do a lot of different versions of "The Boys," and it was released worldwide in multiple languages. There's a Snoop Dogg remix of the song as well, and I want to remake it in my own style.

Q: You've already established yourself a pop star. Do you think it will be difficult to have success in EDM? Have you had any negative experiences while learning to DJ, or criticism about crossing over from pop to EDM?

HYO: When I initially started getting into DJing, I was a bit of worried about how fans would react to the transition — or just the public in general. Most people probably think that I don't have much experience in this field, but I've been dropping hints and posting photos and videos on social media to show this side of me. Now that "Sober" is out, I'm more confident about how I'm portrayed as a DJ, and I'm always full of energy so I'm hoping to share that with anyone who listens to my music.

Q: So many different DJs dominate the EDM scene. Who are some of your all-time favorites? And which other DJs and vocalists would you love to collaborate with on your music in the future?

HYO: I love Martin Jensen and DJ Snake. Those are two of my favorites right now. I find Martin Garrix very good looking, too. [Laughs] For vocalists, I'd want to collaborate with my fellow Girls' Generation member, Taeyeon. Besides her, I'd definitely love to work with Justin Bieber, Camila Cabello and my all-time favorite, Britney Spears.

Q: There are plenty of DJs doing residencies all over the world, like David Guetta'sresidency in Las Vegas and Paris Hilton's Foam & Diamonds party in Ibiza. Have you attended any residencies? Would you ever consider doing that?

HYO: I've gone to Vegas and seen a lot of DJs perform, but I haven't seen a lot of residencies. If there was an opportunity, I'd definitely want to try it out and experience it in the future. Until then, I'd love to do brand events and parties so I can build my experience as a DJ.

Q: Have you received any advice from other DJs?

HYO: There weren't any specific DJs who gave me advice, but on Mash Up, years back, they showed me the basics and I was able to build a strong foundation from it. Ummet was also a great producer and I couldn't have made "Sober" without him.

Q: Last year, we saw the return of Girls' Generation with Holiday Night. Can you speak to anything that's coming up with the group in the future?

HYO: Girls' Generation never disbanded, so we can always come back when the time is right. It could be an 11th anniversary, a 12th anniversary project... we're currently focusing on our individual solo projects, but one day, sometime soon, we'll definitely come back to our fans. Together.

Q: Have any of the girls reached out with feedback or advice about the DJ HYO debut?

HYO: The members don't really DJ, so they couldn't really give me advice. [Laughs] But when I posted "Sober" in our group chat, the response was explosive. We're all very encouraging, loving and supportive of each other.

Q: Do you have any advice for the girl groups coming up?

HYO: A lot of girl group trainees train for years, and once they debut, it's like a dream come true. But when they face reality, and see how hard the entertainment industry can be, they'll be hit with new types of obstacles that they wouldn't have imagined. I want to tell them to never lose faith and never lose sight of what your dream is. Just keep going through it, and just be strong.

Q: Knowing what you know how about the music industry, and success in general, would you give your younger self any advice?

HYO: When I first debuted, there was no time to think for myself. My schedule was set, and everything was so busy — it was basically a whirlwind. I would tell little Hyo to keep reading a lot of books on top of her dancing and singing practice. She should never compromise herself or her goals for anything, and always stay centered in challenging situations.

Q: What should we expect from DJ HYO in 2018?

HYO"Sober" was a great start. I want to keep up the energy and get a few more songs out as well, and then go to festivals. I'd also like to do a tour, or at least visit other countries, so that I can share my music with the fans I love.

Original source: https://www.papermag.com/dj-hyo-2562629361.html?rebelltitem=11#rebelltitem11

[writtenandrecorded]

Subjects that Propel Modeling

cinematography

photography (photograph locations & people/do self portraiture)

acting/improv

dance (body awareness & choreography & posing)

non-verbal communication (body language & facial expressions)

principles of design  

the history of

fashion figure illustration

Self video (third person perspective awareness)

OTHER:

study of statues mannequins & portraiture art

People-watch Observe rooms full of personalities Exaggerate them create their stories

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52 Weeks Challenge: How do our ideas for the photo shoots come about?

1. Title: sometimes the idea comes simply as words for the title: like- “Try Hard” “Mockery” or “You Seem Disinterested” (<– coming soon) ..phrases I can’t get out of my head until I fabricate the visual components to them. Then, picking the outfit & location that best matches the perceived vision/action comes next.

2. Story: sometimes the idea develops from the desire to express a themed story, like our halloween shoot- “Photojournalist Discovers Escaped Mental Patient” *These shoots happen the least often, and require the most preparation, but turn out the BEST ..because my best modeling style is actual acting- playing a character role.

3. Spontaneity: sometimes there’s no idea, it’s all spontaneous. We pick some outfits we’re feeling that day and drive around until we find a location that speaks to us & fits the outfit. *This method happens most, and requires the least amount of thought.. best displayed in “Cow’s Creek.”

4. Fashion: sometimes I get the desire to style a themed outfit series, like- “New West” & the sweater theme as seen in “Chandail.” Or, we get inspired by a particular item we picked up- like the top in “Contemporary Art,” the jacket in “Broken Arrow,” and the yellow coveralls in “Acid Rain.” Clothing inspirations bring right along with them the ideas (mood & scene) for which we’d like to see them photographed.  

5. Despisal: sometimes I don’t want to shoot at all. I haven’t eaten all day, had a lack of sleep, or I’m just in an out-of-it or bad place mentally <– BC modeling can be a very draining experience. (You lose yourself by constantly feeling the need to compare & compete, even if you started modeling as loving yourself just as you are, at one point or another, you WILL fall victim to the superficial games… and one can only handle so much superficialness.. and then you have to find yourself again). But, because of the 52 weeks challenge, the photo show must go on, and my efforts are forced- if any effort is given at all. These shoots just consist of me negatively existing- “The Silver Lining” and “Anything Goes.” In retrospect though, if I completely forget how I was feeling, the photos turned out beautiful, often the most “high fashion” looking. The important thing to remember–> EVERY SINGLE THING has a downside, and that’s normal. It isn’t called a challenge for no reason, now is it?

But, mostly it’s fun, satisfying, and an overall great experience to explore and push creativity.

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SuperModel

Balance trying and being

COMPETITIVE ADVANTAGE Feature Karlie/Cara eyebrows Coco posing Kate defined 90s grunge era Tyra smize Giselle the body

“She just HAS IT” What is and who defines “it?” How does one achieve greatness and success in this industry?

TOP 1%

Photographer- gives boost push believes in mentors gives model A CHANCE

Repetitive use MUSE to at least someone but most can see and agree

Something beyond simply doing the job- giving effort being pretty/having the look Through the eyes/emotion/movement More than a photo Can see/feel it instantly- that there’s SOMETHING MORE Inspire curiosity/interest

DOMINATES in relation to no matter the project no matter the task

DEPTH Bad dark troubled sexual passionate

ATTITUDE

Non-conforming deviant DIFFERENT stands out Can’t be visually silenced

INSPIRES creativity/curiosity/feeling through her obvious craving/passion for her job (modeling art photography fashion) Brings something (ideas) to the table

Ultra CONFIDENT Limitless fearless no-hesitation effort Self acceptance/genuine love

ACTRESS Performer

PERSISTENT Refusal to take no Too short? Make them see No one can stand in the way of self motivation/passion Be the first if need be Don’t take rejection personally keep going

Do whatever it takes Redefine your style Become loyal to maintaining proportions skin care exercise/diet- the LIFESTYLE

PROFESSIONAL- knowledgeable (of history/field/technical aspect) Know how to sit stand body awareness face angles how clothes move how light bounces off fabric etc Not difficult to work with never complain! Show up on time give it all you’ve got every time no matter what

SALESWOMAN- strong ability to sell clothes/accessories/products Kate Moss- “Put Kate on the cover she just sells”  

ENTREPRENEURIAL- understand the business and how to claim/improve your financial stake in it Understand the big picture and work towards achieving the overall goal Visionary Business woman Overwhelming desire for success

BRAND- work with only the best to be the best Protect self brand image/reputation Whatever your brand OWN it! Do your style better than anyone else can Run your self-image like a business

In relation to: EXCELLENCE is in relation to Who’s my competition What has the client been exposed to/consider great?

Ability to REINVENT stay relevant and interesting Innovative Positive outlook Perseverance Refusal to simply fade away

Photographer/model relationship- perfect SYNCHRONIZATION excellent understanding and communication Both give absolute all But if relationship is lacking or feels awkward a supermodel doesn’t allow that to be fabricated through the photos

SELF AWARENESS- competition only with self- have to know/appreciate myself better than I did yesterday Live experiment learn experience struggle grow succeed Have to acknowledge and call upon my good along with my bad (conflict/suffering/darkness) Synchronize with self

…then just be Just IMPERFECTLY EXIST You’ve had it in you the whole time simply become a self-exploitation master- a master communicator Use/call upon everything

Resist the desire to hide and impress Or I’ll waste too much energy “trying” Remember my MESSAGE: there’s beauty in ALL things Embrace Be true/loyal to me even to my worst sides Be loyal to the lens/produce great images Use available resources/sources- emotion mood insecurity/vulnerability

PERSONALITY celebrity popularity recognized known

REPRESENTative of current era generation time or trend setter- DEFINE

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WHAT DO YOU LOVE ABOUT MODELING? discovering myself through the photographer's lens How he captures my essence filtered through his own beautiful & unique perspective & getting into character

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"The DISCIPLINE of the muse: effort combined with inspiration That’s what the muse not only advocates but cultivates"

"ARTIST-MUSE relationships are made possible when they are truly collaborative; where the model is just as much the artistic contributor as the photographer is"

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Posing Practice:

SELF EXPRESSION/PERSONALITY DISCOVERY TEST #1

Goal: become aware of (discover) personality and natural expressions

Level 2- call upon personality manipulate those expressions to stay within the confines of what “looks good” for modeling  

Level 3- Switch from one emotion/expression to next in a snap Put soul into it and make it believable!  

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Model- personality attitude inspiration