#he and his videos have been a huge part of my life and artistic journey

[0mossymeep0]

Happy Birthday, Oli! 🎉

A true gamer with some of the most unique streams and editing styles around

[sydneylikesgd]

jud travel by fJud

fJud has been a creator I've been following for a little bit, he started creating relatively recently in the grand scheme of GD; I think only a year or two ago, and he's improved quickly in the short time he's been creating. This level, jud travel, is a huge landmark of his improvement. His style evolved from modern style; however, fJud's levels take the that style in an entirely new direction. His block design is always custom, often recreating real life scenes in a very appealing sort of cartoony way. The linelessness is I think one of the few indicators of his style's origins, and despite its vestigiality, it works very well in this context.

One thing that fJud has popularized is kinetic lyric text, and as per usual, he uses it here. This is always something I enjoy in GD levels, as it emphasizes the importance of music to the story and atmosphere of the level. Of course, I can't mention lyrics without mentioning the songs he chooses to use in his levels. Jud loves Good Kid. It's a little surprising seeing how his levels have inspired arguable "copycats". He has a lot of influence with this levels--largely because like, they're just really good. The use of Good Kid songs in GD levels has absolutely exploded upon fJud's rise in popularity, and I'm here for it.

A unique aspect of this level in regards to music is that it uses multiple songs, something that is only possible due to new tools in 2.2. Whenever a new update drops, creators have a hard time restraining themselves, and because of that, I haven't seen any level use multiple songs effectively except for this one--part of its effectiveness is that every song is by the same artist, but what's interesting about the choice to use multiple songs is how it relates to the level's name: jud travel. The title is playing on a trend that is much older than I thought it was now that I think about it. Travel levels were popular around late 2.0 and have occasionally made headway throughout 2.1. If you're not aware, they are just really long levels that bring the player on a journey. Lonely Travel was the inciting incident for this trend, created by legendary creator FunnyGame. The length of Lonely Travel, being over 5 minutes if I remember correctly, is what made it special, which is something many people wanted to replicate.

What's interesting is that through the use of multiple songs, jud travel feels like a travel level. It's only two minutes, not an incredibly long level, but it feels like a long journey because of all the unique songs--you are taken through many different places in a surprisingly short amount of time. However, this wouldn't be as effective as it is if each part of the level was not so cohesive yet distinct. Each part feels like it's a part of the same story, and each piece is wonderfully constructed. My favorite part is 36 to 51. It masterfully captures the exact vibes I have tried to capture in some of my own levels. I feel like I've just moved to a new city and I've ended up at a fun rooftop party on a beautiful summer night. There's a murmur of the guests talking, and I can feel the comforting cool breeze relieving me from the warm air. Every part of the level focuses on a different specific feeling, and yet they still manage to take you on a cohesive journey. It is a fantastic level and it's one of fJud's best.

8/10

Level ID: 107689580 Video: https://youtu.be/kROqcD71psg

[independentartistbuzz]

Indie 5-0: 5Q's with Animals In Denial

Introducing Animals In Denial, the visionary musical project led by Christian Imes. 

A talented songwriter, producer and performer, Imes’ journey began at 14 when he picked up a guitar for the first time. From there, he went on a relentless path of exploring music and creativity. His self-taught approach led him to master not only the guitar, but also synthesisers, drums, and bass guitar. 

In his personal studio, Imes is a musical powerhouse, crafting compositions that brim with emotion and authenticity. 

Occasionally collaborating with his wife, Jeanine, Imes adds depth and dimension to his already multifaceted work. With over a dozen singles and four full-length albums released in 2016 alone, Animals In Denial captivates audiences with its diverse and emotive sound.

We caught up with the dynamic Christian Imes himself to find out more about his dedication and passion for creative music: 

You've been dedicated to your music journey from a young age, starting with your first guitar at 14. How has your journey evolved from playing in local bands to creating your own music as Animals in Denial, and what drives your passion for music?

When I first started playing guitar, I had no ambitions to write anything. I simply wanted to be a  guitar player in a band. Not even the lead guitarist, just one of them. There were several local  bands not able to get out of the garage, or play more than a show or two without disintegrating. I  also ran into the problem where we weren’t writing any original material, but rather just playing  bad cover versions of songs. 

When I started down the path of wanting to write original music, I had no ambitions to write  anything on my own. I wanted to write as a band. All of the local bands that I played with,  seemed to only want to play covers on the weekends, in whatever local bar we could. I  remember trying to get everyone on board with saying “ok, that’s a cool beat, now let’s have the  bass do this, and I’ll do this other part with a guitar.” Trying to wrangle songs out of these  situations generally just got me standoffish attitudes, since I wasn’t a drummer, or bass player,  etc, yet, so who was I to say what part should be played. This was a process that I attempted  with three different local bands. The drummer in the last of those bands said he didn’t like being  told what to play, and the bass player agreed with him. They were brothers, but this had also  happened in the other bands I was in.

Not to be mean but we weren’t doing anything else, and I  wanted to do more. I was ultimately asked to leave these situations. So, I looked around and  thought of my heroes and said “well, if you claim to have so many ideas, then write them down.”  That is what lead me into figuring out how I could make recordings, which is what led me into  computers and synths. 

Of those previous experiences, I joined the last of those bands when I was 16 and that was  where I really got into synths. I responded to an add in the Mountain Express paper and met  with a guy. He was a bit older than me, but he grew up in the synth heyday in the 80’s and  exposed me to synthesizers and multitrack recording at home! 

He gave me a cracked copy of acid pro 4 and I was off to the races. That copy of Acid Pro 4  was a huge upgrade from Sound Recorder and a massive leap over my Tascam 4-track. The  first song I did was done in a car with a Gateway solo laptop. I remember being amazed at how  powerful I felt knowing I could get sounds for and from any style and meld it into something cool. I wanted to make big alternative rock records, with artists and producers who I considered to be  the greats, I wanted to make music videos, and take what inspired me and move the ball  forward even if only a tiny bit. I wanted to make a difference somewhere to someone, as it was  music that saved my life. 

I have loved music since I was a little kid. I remember me and my younger sister would perform  for people my mom would have over when I was about 7 or 8. We loved to sing and dance in  front of people, and they always got into whatever it was. It made us feel great. 

I recall sneaking to watch MTV and once, I had seen a music video from Smashing Pumpkins. I  was around 9 or 10, at the time. Someone in my neighborhood had offered to give me his old cd  since he had moved on to rap music. That copy of Siamese Dream I credit for the reason I  literally didn’t kill myself as a kid in the mid-90’s, as my home life had disintegrated around me from drugs, death, and divorce by that point. I used to pray to God to just kill me because I was  tired of suffering. That whole album from beginning to end let me feel things and made me feel  like “This person gets it, he gets what I’m dealing with.” I never forgot that and someday I  wanted to return the favor to someone out there that was staring into the abyss and needed to  know that they weren’t alone. It made me feel like there was a reason for my suffering and that I  could hopefully be that comfort for someone else. Music literally saved my life. 

Your ability to play multiple instruments and program synthesizers is impressive. Could you share your process for self-teaching and expanding your musical abilities, and how does it influence your creative process as a musician?

When it comes to instrumentation, I play by ear and feel, so I tend to just get my hands on the  instrument and start experimenting. Being that I started playing guitar pre-youtube and my mom  barely could afford the guitar pack, lessons were out of the question, but the pack was a Squier Strat Pack and it was $250. I only got it after begging for two years because she got a child  support back payment. So, what I did was I just used CD’s and tv commercials to learn how to  play instruments. I would just sit with my guitar and listen to songs and just sound them out and  so I learned how to play my entire music collection that way. When I wasn’t doing that I would  watch tv and try to figure out the melodies from the commercials before they ended. 

When I moved into synths and drums I focused with drums learning how to play to anything that  Jimmy Chamberlin or Josh Freese were playing on. Synths was a bit different as I learned how  to play keyboard, then I got into sound design, which the internet played a huge part in, and so,  I spent entirely too much time on Vintage Synth Explorer.com. Synths was a bit weirder as I started off first playing with presets and tracking layers at a time. I got into actually programming sound design not to dissimilar to how I got into computers and that was by needing to  understand how the machine worked to know exactly how to do it again. 

I tend to learn music that moves me and makes me feel. Everything I listen to also has a color  to it, like an actual color hue, that’s similar to ambient lighting in the car. Every sound or song  has one and so depending on where my head is at, it’s what I’ll gravitate towards. 

Learning instruments by learning songs, helps to keep you focused on what it is you’re actually  trying to do and that’s not really trying to master any instrument for me, it’s trying to write more  songs. So I keep a big focus on song craft, and learning songs written by others helps me keep  my ideas fresh. I really don’t believe artist’s write the songs as much as they are channeling  them from some other place. I hear the songs in my head before I write them, and I am drawn to  listen to stuff that has a piece or a snippet that I need in order to get the idea out of my head. 

I’ve since learned a lot about music theory and would like to get deeper into it, but I tend to get  caught up in another song as I am always hearing something in my head. In a big way, my  approach is what helps me stay creative, as by learning from everything I listen to, I am able to  not get married to one type of process for creating songs.

Playing multiple instruments forces you to think about the entire song, and how every part plays  with others, so, I am never trying to show off on any instrument unless the songs asks for it. If a  song is going to have a guitar solo, or a big crazy synth jam, etc it’ll be done tastefully and fit the  song. I think it really helps keep the ego in check, and to me, generates the best songs. 

It's fascinating that you handle almost every aspect of your music, with some production assistance from your wife, Jeanine. Could you tell us more about the collaborative dynamic between the two of you in the creative process?

Me and Jeanine have a few ways we work together. In Animals land, I tend to write the music  first and usually write the lyrics second, and she helps me with deciding vocal approaches. She  really is a big part of why I started to use my voice more, as before it was a lot of yelling. So,  after we have the basic outline of the vocal delivery decided, I record a bunch of vocal takes,  anywhere from 4 -12 of each part, she then has the Herculean task of picking the best takes  from each part. 

After that, I mix for the most part but there are some songs that she actually mixed the bass, as  it’s her favorite instrument. Then I master everything, using Izotope’s AI mastering software. 

In the past, Jeanine would then get anywhere from 3 to 15 versions of a song to listen to in the  car and pick the best one from that. Now, with the AI assistant it’s down to 2 or 3 versions, with  most of the time it being right the first time. Jeanine is also instrumental in helping me with track  sequencing, as we both still agonize over the order the songs flow. We both love when albums  are good from start to finish, with the idea you don’t need to hit the skip button. 

When it comes to the live show, Jeanine is who I entrust to handle main electronic duties, so  she’s playing keyboard and triggering any backing tracks or samples we need. She also does  backing vocals. She also is directly responsible for things actually getting released as I tend to  be really good at making stuff, but not so much with the business side of things. It also goes  with out saying that she’s my biggest cheerleader, but still critical, so, when a vocal isn’t making  her feel it, I know to keep digging. I couldn’t have finished this many songs without her. 

We also have a side project that’ll be coming out early next year we call MOD CON, that’s a  EDM project, where we basically just jam out with synths and sometimes other instrumentation  and it’s purely instrumental although we’re open to collaborating with vocalist, just not either of  us. I also do most of the music for her project we’re working on called Lady Destro, where she’s  lead singer and lyric writer. 

In 2016, you released a significant amount of music, including singles and full-length albums. How do you manage such a prolific output, and what inspires your songwriting and music production during these periods of creativity?

Well, I’ve always written fast because I just constantly hear music in my head. I really can’t shut  it off, I finish one thing and before I can finish one song, 2 or 3 more pop into my head. In 2016,  I wrote 88 songs in 3 weeks, and I only stopped because Jeanine told me I needed to slow  down and decide on some to release. I started out saying I was going to write 10-20 new songs  and it ballooned into 88. There’s still an entire album worth of songs from those sessions that I  haven’t released yet. 

I have ASD so I tend to be super detail orientated so, I hyper research every piece of gear and  tech I have, to set things up in a way that I can’t help but record something. I currently have over  700 pieces of new music I am working on, and a little over half of it is Animals music, and the  rest is for other projects. I just am constantly hearing new songs in my head, so I have to get  them out. I have multiple tracking rigs set up and an audio interface on every computer I own,  even upstairs in my bedroom, and with the price of old Macs, and studio gear for pennies on the  dollar I am close to putting a small rig in my bathroom. 

I am basically always on or working on something. The vocals are really the hardest part for me,  as the music is what I hear the loudest in my head. The words are almost always jumbled in my  head and that’s where my wife Jeanine is invaluable as she helps me zero in on the right  method of delivery. I honestly don’t think I can really help but create and write songs, as it feels  like I��m going to wither away and die if I don’t. 

I’m inspired by my heroes and all of the great music that was made before me, and there is so  much to draw from. I like to think of myself as “song agnostic” approach wise, meaning the  instrumentation or method of recording everything can change. No formula, just taking what I  hear in my head and bringing it into a format everyone can hear. 

The lollapalooza festival in the 90’s is probably my biggest source of inspiration as to me it really  was the second pinnacle of music. I think we’re due for a third and I’m trying to do my part, but  that festival and the artist’s that played it, being so different from each other but, all sharing  stages and audiences was incredible and I wish I would’ve been older to be able to experience  it. Everyone I meet that went might as well be a celebrity to me. So, to me, AID is a direct by product of that festival. I think it also set me up to always chase where the next good song is,  and to know that not every guitar part needs a distortion pedal. 

It’s a similar bent with production and just like I have guitar heroes, drum heroes, songwriter  heroes, synth heroes etc, I also have production heroes. That list is small when compared to the  number of artists I listen to but it’s a mighty list. Alan Moulder and Flood are at the top of that  list, as well as Butch Vig, Steve Allbini, Ken Andrews and the great Rick Rubin. Trent Rezonr is  one of the heroes that overlaps in so many areas. To me they’re the finest producers in the land  and can’t be beat. The albums they had a hand in are just beyond top notch and are the gifts  that keep on giving. There’s certain parts or certain songs that come on and the room is just  flooded with color, and you can feel it light your whole body. It’s like that feeling you get when  you get a bottle of water after mowing your lawn on a really hot day. It’s like your insides  become super alert! It’s exhilarating and probably why I don’t do drugs.

As an independent musician, what are your goals and aspirations for Animals in Denial, and what can fans expect in terms of new music or projects in the near future?

My biggest goal’s with AID are to get to work with my heroes that inspired me to pick up an  instrument in the first place. I’d probably be satisfied with just knowing that they heard it, and  thought it was pretty freaking cool. But I am doing everything I can to be able to make records  with my heroes as I feel like we could do something that would shake up the world! 

We have another of the revisited series singles just released, and the first ep in that series will  be out November 10th. We have several batches of the revisited songs that I can’t wait for  everyone to hear, as it is what I meant to say, it’s what I heard in my head! 

Currently we are working to build up the live show and possibly tour, although, we’re looking at  the modern world here and so making live streaming a key component to all live shows is goal  1. Also, thinking about how to reach the most people, the most efficient way. Fans can expect  

to hear more music! There’ll be lots of new music and they’ll see more performances and  videos. We have the revisited series that we’re releasing now and then after that will be another  round of albums of new music, as I have so many new songs! 

I also will have side projects that are releasing. MOD CON being the first of them, and some  others to follow. I’d like to have them further along before I can give details but one of the  projects is a guitar record, that’s mostly for other guitar players, so think of John 5, Joe Satriani kind of thing. I’m also hoping to find a band I can play drums in and just be the drummer, but  that’s a pretty good ways away so we’ll just leave that out for now.

Stay up to date with Animals In Denial on the Website, and Facebook. 

Stream music on Spotify, Soundcloud and YouTube music.

[littlemixnet]

To me, a good ally is someone who is consistent in their efforts – there’s a difference between popping on a pride playlist or sprinkling yourself in rainbow glitter once a year and actually defending LGBT+ people against discrimination. It means showing my LGBT+ fans that I support them wholeheartedly and am making a conscious effort to educate myself, raise awareness and show up whenever they need me to. It would be wrong of me to benefit from the community as a musician without actually standing up and doing what I can to support. As someone in the public eye, it’s important to make sure your efforts are not performative or opportunistic. I’m always working on my allyship and am very much aware that I’ve still got a lot of unlearning and learning to do. There are too many what I call ‘dormant allies’, believing in equality but not really doing more than liking or reposting your LGBT+ mate’s content now and again. Imagine if that friend then saw you at the next march, or signing your name on the next petition fighting for their rights? Being an ally is also about making a conscious effort to use the right language and pronouns, and I recently read a book by Glennon Doyle who spoke of her annoyance and disappointment of those who come out and are met with ‘We love you…no matter what’. I’d never thought of that expression like that before and it really struck a chord with me. ‘No matter what’ suggests you are flawed. Being LGBT+ is not a flaw. Altering your language and being conscious of creating a more comfortable environment for your LGBT+ family and friends is a good start. Nobody is expecting you to suddenly know it all, I don’t think there’s such a thing as a perfect ally. I’m still very much learning. Even recently, after our Confetti music video I was confronted with the fact that although we made sure our video was incredibly inclusive, we hadn’t brought in any actual drag kings. Some were frustrated, and they had every right to be. You can have the right intentions and still fall short. As an open ally I should have thought about that, and I hadn’t, and for that I apologise. Since then I’ve been doing more research on drag king culture, because it’s definitely something I didn’t know enough about, whether that was because it isn’t as mainstream yet mixed with my own ignorance. But the point is we mess up, we apologise, we learn from it and we move forward with that knowledge. Don’t let the fear of f**king up scare you off. And make sure you are speaking alongside the community, not for the community. Growing up in a small Northern working-class town, some views were, and probably still are, quite ‘old fashioned’ and small-minded. I witnessed homophobia at an early age. It was a common thought particularly among men that it was wrong to be anything but heterosexual. I knew very early on I didn’t agree with this, but wasn’t educated or aware enough on how to combat it. I did a lot of performing arts growing up and within that space I had many LGBT+ (mainly gay) friends. I’ve been a beard many a time let me tell you! But it was infuriating to see friends not feel like they could truly be themselves. When I moved to London I felt incredibly lonely and like I didn’t fit in. It was my gay friends (mainly my friend and hairstylist, Aaron Carlo) who took me under their wing and into their world. Walking into those gay bars or events like Sink The Pink, it was probably the first time I felt like I was in a space where everyone in that room was celebrated exactly as they are. It was like walking into a magical wonderland. I got it. I clicked with everyone. My whole life I struggled with identity – being mixed race for me meant not feeling white enough, or black enough, or Arab enough. I was a ‘tomboy’ and very nerdy. I suppose on a personal level that maybe played a part in why I felt such a connection or understanding of why those spaces for the LGBT+ community are so important. One of the most obvious examples of first realising Little Mix was having an effect in the community was that I couldn’t enter a gay bar without hearing a Little Mix song and watching numerous people break out into full choreo from our videos! I spent the first few years of our career seeing this unfold and knowing the LGBT+ fan base were there, but it wasn’t until I got my own Instagram or started properly going through Twitter DMs that I realised a lot of our LGBT+ fans were reaching out to us on a daily basis saying how much our music meant to them. I received a message from a boy in the Middle East who hadn’t come out because in his country homosexuality is illegal. His partner tragically took their own life and he said our music not only helped him get through it, but gave him the courage to start a new life somewhere else where he could be out and proud. There are countless other stories like theirs, which kind of kickstarted me into being a better ally. Another standout moment would be when we performed in Dubai in 2019. We were told numerous times to ‘abide by the rules’, which meant not promoting anything LGBT+ or too female-empowering (cut to us serving a four-part harmony to Salute). In my mind, we either didn’t go or we’d go and make a point. When Secret Love Song came on, we performed it with the LGBT+ flag taking up the whole screen behind us. The crowd went wild, I could see fans crying and singing along in the audience and when we returned it was everywhere in the press. I saw so many positive tweets and messages from the community. It made laying in our hotel rooms s**tting ourselves that we’d get arrested that night more than worth it. It was through our fans and through my friends I realised I need to be doing more in my allyship. One of the first steps in this was meeting with the team at Stonewall to help with my ally education and discussing how I could be using my platform to help them and in turn the community. Right now, and during lockdown, I’d say my ally journey has been a lot of reading on LGBT+ history, donating to the right charities and raising awareness on current issues such as the conversion therapy ban and the fight for equality of trans lives. Stonewall is facing media attacks for its trans-inclusive strategies and there is an alarming amount of seemingly increasing transphobia in the UK today and we need to be doing more to stand with the trans community. Still, there is definitely a pressure I feel as someone in the public eye to constantly be saying and doing the right things, especially with cancel culture becoming more popular. I s**t myself before most interviews now, on edge that the interviewer might be waiting for me to ‘slip up’ or I might say something that can be misconstrued. Sometimes what can be well understood talking to a journalist or a friend doesn’t always translate as well written down, which has definitely happened to me before. There’ve been moments where I’ve (though well intentioned) said the wrong thing and had an army of Twitter warriors come at me. Don’t get me wrong, there are obviously more serious levels of f**king up that are worthy of a cancelling. But it was quite daunting to me to think that all of my previous allyship could be forgotten for not getting something right once. When that’s happened to me before I’ve scared myself into thinking I should STFU and not say anything, but I have to remember that I am human, I’m going to f**k up now and again and as long as I’m continuing to educate myself to do better next time then that’s OK. I’m never going to stop being an ally so I need to accept that there’ll be trickier moments along the way. I think that might be how some people may feel, like they’re scared to speak up as an ally in case they say the wrong thing and face backlash. Just apologise to the people who need to be apologised to, and show that you’re doing what you can to do better and continue the good fight. Don’t burden the community with your guilt. When it comes to the music industry, I’m definitely seeing a lot more LGBT+ artists come through and thrive, which is amazing. Labels, managements, distributors and so forth need to make sure they’re not just benefiting from LGBT+ artists but show they’re doing more to actually stand with them and create environments where those artists and their fans feel safe. A lot of feedback I see from the community when coming to our shows is that they’re in a space where they feel completely free and accepted, which I love. I get offered so many opportunities to do with LGBT+ based shows or deals and while it’s obviously flattering, I turn most of them down and suggest they give the gig to someone more worthy of that role. But really, I shouldn’t have to say that in the first place. The fee for any job I do take that feels right for me but has come in as part of the community goes to LGBT+ charities. That’s not me blowing smoke up my own arse, I just think the more of us and big companies that do that, the better. We need more artists, more visibility, more LGBT+ mainstream shows, more shows on LGBT+ history and more artists standing up as allies. We have huge platforms and such an influence on our fans – show them you’re standing by them. I’ve seen insanely talented LGBT+ artist friends in the industry who are only recently getting the credit they deserve. It’s amazing but it’s telling that it takes so long. It’s almost expected that it will be a tougher ride. We also need more understanding and action on the intersectionality between being LGBT+ and BAME. Racism exists in and out of the community and it would be great to see more and more companies in the industry doing more to combat that. The more we see these shows like Drag Race on our screens, the more we can celebrate difference. Ever since I was a little girl, my family would go to Benidorm and we’d watch these glamorous, hilarious Queens onstage; I was hooked. I grew up listening to and loving the big divas – Diana Ross (my fave), Cher, Shirley Bassey, and all the queens would emulate them. I was amazed at their big wigs, glittery overdrawn make-up and fabulous outfits. They were like big dolls. Most importantly, they were unapologetically whoever the f**k they wanted to be. As a shy girl who didn’t really understand why the world was telling me all the things I should be, I almost envied the queens but more than anything I adored them. Drag truly is an art form, and how incredible that every queen is different; there are so many different styles of drag and to me they symbolise courage and freedom of expression. Everything you envisioned your imaginary best friend to be, but it’s always been you. There’s a reason why the younger generation are loving shows like Drag Race. These kids can watch this show and not only be thoroughly entertained, but be inspired by these incredible people who are unapologetically themselves, sharing their touching stories and who create their own support systems and drag families around them. Now and again I think of when I’d see those Queens in Benidorm, and at the end they’d always sing I Am What I Am as they removed their wigs and smudged their make up off, and all the dads would be up on their feet cheering for them, some emotional, like they were proud. But that love would stop when they’d go back home, back to their conditioned life where toxic heteronormative behaviour is the status quo. Maybe if those same men saw drag culture on their screens they’d be more open to it becoming a part of their everyday life. I’ll never forget marching with Stonewall at Manchester Pride. I joined them as part of their young campaigners programme, and beforehand we sat and talked about allyship and all the young people there asked me questions while sharing some of their stories. We then began the march and I can’t explain the feeling and emotion watching these young people with so much passion, chanting and being cheered by the people they passed. All of these kids had their own personal struggles and stories but in this environment, they felt safe and completely proud to just be them. I knew the history of Pride and why we were marching, but it was something else seeing what Pride really means first hand. My advice for those who want to use their voice but aren’t sure how is, just do it hun. It’s really not a difficult task to stand up for communities that need you. Change can happen quicker with allyship.

Jade Thirlwall on the power, and pressures, of being an LGBT ally: ‘I’m gonna f**k up now and again’

[onlydylanobrien]

Dylan O'Brien - NME Magazine Interview

Dylan O’Brien: “I was in this transitional phase – close to a quarter-life crisis”

From YA heartthrob to legitimate leading man – how the 'Maze Runner' star hit his stride after a whirlwind decade

Definitely!” hoots Dylan O’Brien when NME asks if he still has to audition. “I’m not Tom fucking Hanks, bro.” He’s clearly amused by our question, but forgive us for thinking the 29-year-old actor gets cast on reputation alone. A decade into his career, and he’s making an impressive transition from teen TV star and YA franchise hero to charismatic leading man.

New York-born O’Brien cut his teeth on MTV’s hit Teen Wolf series, before landing the lead in the Maze Runner film trilogy based on James Dashner’s hugely popular novels. Leading a band of bright young things that included ex-Skins tearaway Kaya Scodelario, Game Of Thrones’ Thomas Brodie-Sangster and Will Poulter, he honed his craft while racking up nearly a billion dollars at the box office. “My career is a constant acting class,” says O’Brien. “To be able to do the Maze Runner movies simultaneously with Teen Wolf was amazing in terms of getting in reps and working my [acting] muscle.”

Now for the sometimes tricky bit. Many actors struggle with the post-breakout period, but O’Brien is making it look easy so far. This year’s Netflix hit Love and Monsters proved he can carry an old-school family adventure, and new film Flashback (out next week) reveals an appetite for weirder, more cerebral work. He stars as Fred Fitzell, a young man reluctant to buckle down to life as a nine-to-fiver with a boring corporate job and a long-term girlfriend (Mindhunter‘s Hannah Gross). When he runs into a freaky-looking acquaintance from his teenage years, Fred becomes obsessed with finding an old high-school friend he used to drop a mind-bending experimental drug called Mercury with. It’s difficult to say any more without entering spoiler territory, but Flashback is a wild ride underpinned by the idea that we can exist in several realities at once. Even if you follow every plot twist, you might not fully understand the end. “Oh, it’s definitely a headfuck,” O’Brien agrees. “There’s not totally an answer to figure out. There’s a lot of different things that people can take from it.”

Speaking over Zoom from his LA home, O’Brien is bright, thoughtful and really good fun to talk to, especially when he relaxes into the interview, but he clearly knows where his line between public and private lies. When he first read the Flashback script, written by the film’s director Christopher MacBride, his “mind was blown” by just how much he related to Fred. “I felt like I was in this transitional phase of my life that was, you know, sort of close to a quarter-life crisis type thing,” he says. “For whatever reason, it was like me and this script were meant to be. I remember reading it and thinking: ‘I am this guy right now.'”

“There were a lot of things in my personal life that were neglected for a while”

When we ask why O’Brien felt as though he had reached a “transitional phase”, he gives an answer that’s vague but not exactly evasive. For understandable reasons, he doesn’t mention the incredibly traumatic motorcycle accident he sustained while shooting the final Maze Runner film in March 2016. O’Brien suffered severe trauma to the brain and said in 2017 that he underwent extensive facial reconstructive surgery after the accident “broke most of the right side of my face”. Tellingly, he’s never really revealed what happened on set or how it affected him.

Today, O’Brien dances around the details of the accident and other issues he was dealing with at the time, but doesn’t shy away from discussing his inner conflict. “You know, it was a lot of personal things combined with at-a-point-in-my-career things,” he says after a brief pause. He says he’d have been going through some of this stuff anyway, simply because of his age, but it sounds as though success intensified it all. “It was like this whole fucking storm of shit,” he continues. “I was simultaneously so fulfilled and happy about these, like, otherworldly and surreal things that I had experienced in terms of where my career had brought me. I had all this confidence and fulfilment and beautiful people [in my life] – such amazing things to experience at a young age. But at the same time, there were a lot of things in my personal life that were unchecked and sort of neglected for a while.”

O’Brien says that in time, he realised he had to “stop for a second” and “re-explore how I wanted my life to look going forward”. In fairness, you can see why he needed a breather: his career took off while he was still a teenager. After his family moved from New Jersey to Los Angeles County when he was 12, O’Brien contemplated a career as a sports broadcaster – his Twitter bio still bills him as a “no longer suffering Mets fan” – then began posting YouTube videos as moviekidd826. A funny, slickly edited skit titled ‘How to Prepare for the SAT in 45 seconds’, shared when he was just 17, shows he was a born performer and storyteller. YouTube success led to him getting a manager, but his breakthrough role in Teen Wolf still came out of the blue. At the time, he was treading water at a local community college and taking auditions on the side.

Still, he has since taken a rather fatalistic view of this career-making moment. “It’s totally weird because, when I think about it now, I don’t see how it could have happened any other way. I can’t picture myself doing anything else now,” he told Collider in 2011. “It was really sudden and a little random, and not provoked by anything. It was just out of nowhere. It wasn’t my intentional doing.” Today, O’Brien summarises his skyscraper career trajectory succinctly. “I guess I just graduated high school and started acting,” he says. “And then I felt like I was just flying by the seat of my pants and never got a chance to stop.” Thankfully, straight-out-the-blocks Hollywood success hasn’t taken away his sense of perspective. When I say how easy social media makes it to compare yourself unfavourably to others, O’Brien jumps in: “Yeah, that’s very true. I was watching the Billie Eilish doc the other day, and I was like, I’ve done nothing. I’m not an artist at all!”

“No one thought ‘Love and Monsters’ was going to be good!”

O’Brien is also self-deprecating when he talks about being cast in Flashback, suggesting it happened because he had such an intense connection with Fred. “I was honestly like, ‘Who is watching me right now?’ That is the best way I can describe how I was feeling when I came across this script,” he says. “Chris [MacBride, director] and I had this conversation that went so well in terms of [my] understanding this script that I think he’d sent around a lot and [that] very commonly wasn’t understood. I think Chris has even said that the night before shooting, he suddenly had this thought, like, ‘Wait, do I even think he’s a good actor?'”

Though O’Brien has firmly ring-fenced elements of his private life, he’s actually pretty frank about his acting vehicles. He readily admits he was expecting a snobbish response to Love and Monsters, a CGI-heavy hybrid of post-apocalyptic action and romcom that dropped on Netflix in April and topped the streamer’s daily most-watched list. “It means so much that Love and Monsters has gotten the response that it’s gotten,” O’Brien says. “No one thought this movie was going to be good.” His blunt honesty makes me laugh out loud. “No one did though!” he says in response. “And so, fuck that. You know, most of the people who say something to me about the movie, they’re like: ‘I watched Love and Monsters, and it was… good?’ And honestly, that just cracks me up.” For obvious reasons, we hastily decide not to share our response to the film – namely, that it was a whole lot better than expected.

In Love and Monsters, O’Brien plays Joel, a survivor of a so-called “monsterpocalypse” that has bumped humans to the bottom of the food chain. Though he’s known in his colony as a bit of a coward, Joel sets off on a treacherous 80-mile journey to find his high school sweetheart Aimee (Iron Fist‘s Jessica Henwick), which means evading the hungry clutches of various supersize grizzlies including a giant monster-frog hiding in a suburban pond. It’s a simple but pretty out-there premise that wouldn’t work if O’Brien’s performance was even slightly condescending. Instead, his unselfconscious sincerity really sells a film that has as much in common with the family-oriented Robin Williams movie Night at the Museum as darker fare like The Walking Dead.

His obvious affection for the project really comes across during our interview today. “When I read the script, I just thought it was so sweet and funny and smart and unique, but at the same time reminiscent of all these movies that don’t really get made any more,” he says. That’s a fair point: Love and Monsters is neither a fail-safe superhero movie nor a slice of classy Oscar bait. “And when they were talking about how to market this movie, it was so funny hearing all these conversations like, ‘How do we actually get people to watch it?'” he adds. “But that’s a big part of the reason I wanted to do this movie: because it felt like something I missed seeing.”

“I’m lucky to be surrounded by people who want to make something out of love”

So in a way, Love and Monsters was a risk for an actor seeking to establish himself outside of a bankable movie franchise and a hit TV show. O’Brien has only made four films since his final Maze Runner outing in 2018, and insists he hasn’t been tactical with his choices. “I don’t have anyone saying, ‘We need to get you in an Oscar vehicle’, or any of that kind of shit,” he says. “I’m really lucky to be surrounded by people who think like me: that you should do what you’re drawn to, and make something out of love.”

He’s recently finished shooting a mysterious crime thriller called The Outfit in London with Mark Rylance. Directed and co-written by Graham Moore, who won an Oscar for his screenplay to Alan Turing biopic The Imitation Game, O’Brien calls it “quite possibly one of the most special pieces of writing I’ve ever experienced”. He first read the script on a plane and says he “actually stood up and clapped” when he got to the end. Considering O’Brien probably wasn’t flying Ryanair, this reaction presumably attracted a few baffled glances.

Anyway, it must be pretty intimidating walking onto set with Rylance, a multi-award-winning actor revered by his peers – Al Pacino once said he “speaks Shakespeare as if it was written for him the night before” – but it sounds as though O’Brien took it all in stride. He says he’s confident in his abilities, but admits to having a slight wobble whenever he begins a new project. “I’m always sort of re-questioning everything – like, ‘Can I even act?'” he says. “But I think there’s something very natural about that. I think even Rylance could relate to that feeling. Acting is like starting a new year at school every single time.”

At this point in his career, O’Brien has made peace with the fact that some people will have preconceptions about him based on what he’s known for: Maze Runner and Teen Wolf. “People will put you in a box no matter what,” he says. “There was definitely a time when that would get to me, especially when it felt like somebody had a perspective on me that in my soul, I just felt wasn’t accurate.” Still, there’s no doubt he wants to show us what’s really in his soul with more films like Flashback. “If anything,” he adds bullishly, “it just makes me think: ‘Right, I’m really gonna show them now’.”

‘Flashback’ is out on digital platforms from June 4

[emotions-ew]

A Collection of Queer Country Artists and Songs for anyone who doesn’t feel like there’s country music they can relate to...

There is this idea that country music is like just Republican men singing about beer, and trucks and also Jesus,  and that is kind of fair because loads of it is but there are some cool as hell queer/lgbtq+ country artists. Finding those and finding that representation in a genre of music I was literally raised on kind of changed my life in a tiny way and I wanted to share that.

(This is by no means a comprehensive list and also I’m basing the “Country” part of this sometimes on my subjective opinion/limited music knowledge so yuh please don’t hate me if I get some wrong)

Also link below for a Spotify playlist of my favourite gay/gayish country music, some mentioned in this post some not, (with a title that isn’t obviously gay for anyone who can’t openly listen to gay stuff on their public accounts for whatever reason) so feel free to skip the massive essay and just jump straight to that. And pretty please repost if I missed anyone/ any songs you love.

https://open.spotify.com/playlist/7KB6PmUxnpkU7lih8Bysvw

Artists To Follow:

Chely Wright

- Right off the bat, Chely Wright is a legend and I’m in love with her. So, in the 90′s Chely Wright was kind of a huge deal. She started her career as a singer/songwriter and released her first album in ‘94, which was critically acclaimed although never reached the commercial success of her later works. By ‘97 she was really hitting her stride, dropping her breakout hit “Shut up and Drive” (a personal favourite of mine) followed two years later by the biggest hit of her career “Single White Female”. Throughout all that Chely Wright was, to the world, a good old fashioned, heterosexual southern gal. Privately it was a bit of a different story. She had public relationships with male country artists, all while pursuing a secret decade long relationship with a woman. 

I hadn’t ever really heard a Chely Wright song until a few years ago so I never knew about her music or career pre-coming out but I do know that even though by the time she came out in 2010 she was by no means at the height of her fame Chely Wright is kind of one of the biggest names in country music to be out and proud (in my opinion) and I love her like an insane amount. I literally play her music in my car when I have passengers just so I can be like “fun fact this singer is actually gay-” and then subject them to a lengthy explanation of her entire career. She came out with an album and a memoir and the album is my favourite of her work because it’s so fucking raw and because I relate to most of it immensely. Anyways Chely Wright went fucking through it in her journey to being her authentic self and now she’s out and proud and married to a woman and they have a family together and I’m a fucking sucker for a happy ending and y’all should add her to every playlist you have. And on top of that her music is genuinely good. Coming out undoubtedly damaged her career but I think that

Brandi Carlile 

- As far as I can tell Brandi Carlile has been out her whole career. I feel like this list is just going to be me saying “I’m in love with her” about a bunch of women old enough to be my mother but in my defence, I am honestly in love with her. She’s been making music since she was like, seventeen, and has had a bunch of massive hits, as a singer, songwriter, and producer. If you want to cry kind of happy tears listen to her performance of “Bring my Flowers Now” with Tanya Tucker. She’s won Grammy’s and CMT awards and she’s done it all as an out Queer woman. She’s also a founding member of The Highwomen, an all-female country music group who released their first album in 2019, comprised of Carlile, Marren Morris, Natalie Hemby and Amanda Shires. I really love this band because they’re four artists who are immensely successfully in their own right collabing, much like the Highwaymen, and their music is phenomenal while also being a fuck you to mainstream country music and their inability to properly represent women in country music spaces. 

She’s been married to a woman (smoking hot and also brilliant) since 2012 and they have two kids together and if you want to cry (again) then you have to listen to her song “Mother” about her eldest daughter. A queer country artist absolutely worth adding to all your playlists. 

Brooke Eden

- As I understand it Eden came out publicly in January of this year. She’s engaged to Hilary Hoover, who she’s been dating since 2015 apparently. I can’t even imagine the pressure that must be on a person and how stressful it would be to keep a relationship secret from the whole world for years and personally I think they’re a cute as hell couple and I wish them literally all the happiness in the world. 

Brooke Eden has a few older songs that I think are really good, my favourite being “Act Like You Don’t”, and while her new stuff isn’t my usual country vibe I am a sucker for literally anything gay and it is legally my gay duty to stream any song that she releases to support my fellow queer. It’s quite different to anything Wright or Carlile sing but I actually kind of love that because it shows that country music of all different shapes and sizes and styles can be sung by queer artists. 

Amythyst Kiah

- Okay so I am a very new listener to Amythyst Kiah, but her music is literally so beautiful it would be a straight up sin to not include her on this list. Her music is country-blues-roots esq (more roots than country, I think?) and her voice is so unique. She grew up in Chattanooga and has been playing music since childhood. She recently made her Opry debut which is fucking awesome. She also belongs to a band called Our Native Daughters, described as “A supergroup of Black women in traditional music”. Their debut album “Songs of Our Native Daughters” did numbers and I haven’t listened to the whole thing but my favourite so far are “Black Myself” and “I Knew I Could Fly” so y’all add that to your playlists along with “Wild Turkey” by Amythyst Kiah because holy hell her voice on that will blow your mind.

Steve Grand

-        The first man to make this list, he should frankly be honoured. Grand has been an out and proud gay man making country music since like 2013, and I have so much respect for an artist who chose to simply never be in, choosing instead to simply write gay ass songs about being in love with men and letting the chips fall where they man. His music is always going to have a special place in my heart and, he’s cute so if you’re into men and music by men give him a google. add him to your playlists, his All-American Boy album is literally just a dozen songs that are perfect to yell-sing along to.

Katie Pruitt

-        Not hugely knowledgeable on Katie Pruitt but her music makes me feel crazy intense emotions and is absolutely gay

 Honorable Mention Artists I haven’t Really Listened to But Who I Know to be gay thanks to google and might be your thing so totally check them out:

Brandy Clark

Ty Herndon

Shelly Fairchild

Lavendar Country

Trixie Mattel

Cameron Hawthorn

Drop any other names of artists or songs you know of 

 Specific Songs That Make Me Fucking Cry or (in good and bad ways (but always in a gay way)) or basically are just gay as hell:

If She Ever Leaves Me; The Highwomen

- So, this album came out about a week before my first (and only) girlfriend broke up with me. The general gist of the song is a woman singing about how her loved isn’t ever going to leave her but if she does it sure as hell won’t be for a creepy man in a bar. A little ironic that I felt I related to it so intensely, considering she did in fact leave me. There’s this one lyric that goes “I’ve loved her in secret/I’ve lover here out loud/the sky hasn’t always been blue” and my girlfriend and I were crazy deep in the closet so I drew her a cute little picture of a grey cloud and on the back I wrote that lyric and I gave it to her and to me it was kind of a promise that one day I’d get a chance to love her out loud and even though I never actually did this song is forever going to make me cry because of the little bit of hope that lyric gave me and the way it’s inclusion on this overwhelmingly mainstream country album made me feel like acceptance was just that little bit closer. 

 All American Boy; Steve Grand

- Definitely one of the first gay country songs I ever heard, and Steve Grand didn’t once sacrifice a scrap of country for the gay. It’s beautiful, it’s a little sad, it’s hopeful. It’s forever going to hold a special place in my heart and the music videos is kind of one of my favourites ever. I found this song before I found myself and the way it made my heart warm should have been a stronger sign than I took it to be. 

Like Me; Chely Wright

- When you love someone you kind of make it your mission to know them in a way that no one else can. This song by Chely Wright is sort of an ode to that, and how even once you lost someone, you’re still going to know every little thing about them. On top of that it sort of speaks to the idea that all these things Wright learned about this woman, she learned in secret and she knew her and loved her in secret and now that they’re gone from each other she’s left with all of this knowledge and all of these questions and no one to answer them. I love the way it’s so slow and the melody and her voice, the way it’s low and a little raspy, make this one of my favourite Chely Wright songs.

The Mother; Brandi Carlile

-        Sorry but a song about being a mother by a queer woman is going to make me cry every time and actually I’m not that sorry. It’s quite a simple song, if any song written by Brandi Carlile can ever be described as ‘simple’, it’s an ode to her daughter. My favourite line is “you are not an accident/where no one thought it through” because it speaks to the fact that in order for queer women to have a kid together they have to want it so damn bad and also I just like the way her voice sounds on that line. This song is also the perfect thing to listen to if you ever for a second feel like being gay/queer is going to stand in the way of you having a family because it absolutely doesn’t have to and if that’s something you want, you can have it. Don’t let people try and convince you otherwise.

Loving Her; Katie Pruitt

-        Unapologetic gay love. Opening a song with “If loving hers a sin, I don’t wanna go to heaven” is a fucking baller move and she went there. The lyrics are beautiful, and her voice is phenomenal. It could be a sad song, about confronting religious repression and grappling with what that means for your love, but instead its triumphant. Katie Pruitt doesn’t give a fuck if you have a problem because she’s going to write songs for her lover.

Jesus From Texas; Semler

-        Not actually totally sure this is a country song, but it has the words ‘Jesus’ and ‘Texas’ in the title so I feel safe including it in this list. Honestly, I don’t really know why I relate so hard to this song. Like, I wasn’t really raised with religion, so I don’t know what it is about this funky little tune that makes me want to sob but there’s something about this tune that makes me want to do whatever the opposite of get up and dance is, but like, in a good way.

Lovin’ Again; Steve Grand

-        Breakup song that ends kind of positively? So good to sing along to at high, high volumes. The idea that losing someone doesn’t have to mean losing yourself and just because you can’t love them doesn’t mean you’re not ever going to love again. But also kind of about how it’s hard to get over someone, I don’t know it’s just good.

Cryin’ These Cocksucking Tears; Lavender Country

-        Jesus christ if this isn’t the coolest shit I’ve ever heard in my life. Sorry but a gay country group formed in 1972 who dropped possibly the first gay themed country album, and this was the title of one of the songs. God I am in love.

 Songs that (to me) are a little fruity or that I just relate to in a gay way:

Picket Fences; Chely Wright

-          Chely Wright is gay but this song came out long before she did and when she wrote it, it wasn’t supposed to be gay which is why it’s in this section and not the previous. The reason it’s included at all is because frankly ma’am, Mrs Wright, it’s a little fruity. And I feel a little bad for joking because honestly to me, the way I hear this song and knowing the context (that Wright was deeply closeted at the time she wrote and released it), it’s kind of just sad. The general gist of the song is Wright asking what’s so great about a traditional lifestyle anyways. It could be read as a woman genuinely questioning why we push that expectation that she’ll have two kids and a husband and a picket fence lifestyle, or even could be read as a woman who’s trying to deflect how much she does in fact want that, you have to listen and form your own opinion. But to me, it feels like a woman who’s desperately trying to justify why she doesn’t want that life not because she can’t have it, but she knows it will never be right for her. I don’t know it’s hard to explain I just feel like this song is a little bit gay even though I’m sure she didn’t intend that.

Sinning with You; Sam Hunt

-          Sorry but this song is gay. Sorry but you can’t write the lines “I never felt like I was sinning with you/Always felt like I could talk to God in the morning” and “if it’s so wrong why did it feel so right” and “But I never felt shame, never felt sorry/Never felt guilty touching your body” and not to mention the opening line of “raised in the first pew/praises for yeshua/case of a small town repression”, and expect to not sit in my car sobbing as I realised that while I never felt like what we did was a sin she absolutely did, and wishing I could have told her that I was sorry for making her carry the weight of both our souls but also that it wasn’t a sin and nothing in the world could feel that good and be that bad and it isn’t right that she had to be so ashamed of something that was just so good. Sam Hunt actually said after he wrote the song that while it was reflection on his own relationship with faith he genuinely hopes that people in the lgbtq community can like find comfort or whatever in his words and like go off king, we stan an ally.

  How do I Get There; Deana Carter

-          This ones easy, it’s about falling in love with your best friend and suddenly realising you want more than just friendship with them. Sorry Deana, that’s gay. In my Deana Carter of like Year 10 I played this song on repeat and screamed along to the lyrics as though singing it hard enough would make her like me back.

[d-criss-news]

Actor And Producer Darren Criss Reveals His Creative Process

The producer, singer and actor talks his approach to songwriting, discovering his sound and how he’s ready for the next chapter.

We don’t know about you, but we’re currently experiencing the Bank Holiday blues. With the realisation that our days of summer maybe coming to an end were in need of uplifting sounds and singer-songwriter Darren Criss is keeping the energy going with his fun-filled EP “Masquerade”. Between the slick alt-pop productions and high-octane energy, the artist puts his theatrical abilities and prowess at the forefront of the EP. Laced with serene dance floor-ready melodies, the actor and musician instantly gets the party going on the project, kicking it off with “f*kn around”.

“The dirty secret is that every song is character-driven,” the artist revealed when discussing the project. “I just chose wording that could perhaps aid people into understanding this exploration of genre, this self-aware exploration of genre a little more. For those people that only know me as an actor, I’m trying to guide them into this notion of music and songs being a form of acting.”

No newcomer to the scene, the artist has spent the past decade gracing our screens in the cult favourite Glee and the thrilling Assassination of Versace: American Crime Story. Wanting to continue his musical journey in the form of producing and writing, we caught up with the multi-faceted artist talking his growth over the years, staying creative in a pandemic and how he’s ready for the next chapter.

Check out the interview below now…

Hey Darren, how are you? How has this past year been for you? It’s a strange question to answer because everybody’s answer is so much more complicated than what you can say in a quick easy tight polite answer. You know, I’m well, as well as one could be given the situation. I feel, you know, luckier than most. Even with the music that I just put out there’s still more that I’d like to do, but I got to do even more than I thought I’d be able to. So that tends to be kind of the theme of the past year and a half. I feel like I’ve been so consumed by working on so many things for so long, that not a lot of people outside of my inner circle know about that. You know, it’s been a lot of high output but seemingly low visibility. So now finally getting to put out some of these things and talk about them… tipped scale of visibility versus output is hopefully having a chance to even out for a bit, to where the amount of work I’ve put in can somehow match that people you know may or may not know about what I’m doing. You know, I’ve been really busy. I’m the kind of guy where if you give me a white canvas it’s a more…I wouldn’t say stressful, but I’m more likely to fill up a blank canvas immediately with as much shit as possible – I guess that is more stressful than having only a few places to fit things in, and I usually keep pretty busy. Ironically when I’m really busy, that’s when I can get stuff done. Like you know that phrase ‘if you want something done ask the busiest person in the room’, and I think there’s a degree of truth to that because you know, the chaos kind of begets chaos, and productivity begets productivity, and in a lack of anything else to do it was like ‘I wanna do all these things!’ and then it gets really crammed, so it’s nice to be kind of simmering down from this overwhelming call to arms to get as many things done as I could with this new unprecedented free time that I had. So, in short, I guess, am well if you wanna use that! I feel, I’m just relieved that a lot of this stuff can exist somewhere outside of my head but it’s a complicated answer, I’ve been able to do a lot more than I thought I’d be able to.

With everything that happened last year, was your creativity affected? The time that it yielded is the kind of time that a lot of creative people fantasise about. Of course, we would have all preferred it in a very different way when you say ‘if only I had time to sit down and work on this’. I think we all have; I say creative people but we all say, ‘if only I had time to paint the kitchen, learn a language, get in shape’, you know do something different that requires a bit of time and focus. We were all given that golden ticket, of course take that with a massive grain of salt, I’m fully aware of the price with which that came, of course if we had the choice, I don’t think any of us would have wanted it to happen the way it did. But none the less, for those of us who did take the time to focus, to hopefully be productive and proactive with the situation we were thrown into, it was creatively beneficial to finally get to address things that had been sitting kind of on deck and dormant in my mind, and it was just a matter of having the time to give them any attention. One of the joys of jumping between acting and music is there is a battle of time commitment, because neither one is a thing you can do casually. If you’re acting in something, there’s a great degree of scheduling that really eats up a large chunk of your day. While I’m in an acting project, I’m writing stuff and playing music but the actual logistics of producing music is as time consuming as the acting. I am envious of people that can kind of just show up, sing a song and leave. I, unfortunately, am not that kind of person. Writing a song is only a small piece of putting music out. Production really does take a large part of my emotional and intellectual efforts, and I really dive in head on. And that’s not even mentioning the promotional side of it. So, it really does take a lot of time to dive into those things, and I was finally given that. If anything, it was hard to decide what part of my musical menu that I wanted to serve up. It just came to a matter of what felt right at the time, what seemed fun. I kind of wanted to put out something that was positive and fun, and unapologetically so. And something that really showed up for a side of me that I felt like hadn’t been represented in the past. The musician side, and unfortunately, we haven’t been able to perform these very much. We’ve done little videos here and there. Stuff that really showed my roots as a musician, a garage rock guy, a guy that really likes getting in the weeds of production. In the past I’ve put up things that are a little more analogue, singer-songwritey, and this is more me as a producer and a musician.

How did you first get into music, what sparked the interest? Well, I’ve been playing music my whole life, and not casually either. It’s such a massive part of my identity, and that’s one of the main driving forces of me wanting to put out as much music as I possibly can. These five songs on this EP are a small part of a much larger body of work that I’m dying to get out whenever I can. When you’re a songwriter, or just in general a creative person, you have more ideas back logged than your body can execute. This is only a small part of a much larger puzzle, and a lot of these songs, the ones that I’ve put out and the ones I’m still trying to put out, are ghosts that have been haunting me however many years., some more than a decade, some more than two decades. The reason I mention this is because I’m trying to illustrate how pivotal music and making music has been throughout my life. I started playing violin when I was 5, and that was a big part of my cultural education, learning how to play an instrument that is so dynamic and requires a pretty specific ear and technical ability. Now I’m not saying I was fantastic at the violin, but I think the training that I had on it from 5 until my late teens really shaped the way that I would create music and think about music, certainly as a writer and a producer, but with just how I would jump between other instruments as well, because the violin was such a great touchstone for me to end up taking up the piano or guitar, or drums, or other instruments that would really formulate how I create music. Between being the orchestra nerd kid that played a lot of music throughout my young life, and also being the guy that would play in bands, its just been such a huge part of my life. As I’ve gotten older and gotten to understand this other version of myself that exists in more of a public view, that has little to do with that I know, I have started to notice that person, that avatar of myself, isn’t necessarily associated with music. And that was troubling to me, so I wanted to rectify that.”

And now you’ve just dropped your EP, talk us through your mindset going into the project? If I was just a recording artist, and that’s all I did, I’d like to think that I’d have a much larger body of work to show for. I feel like a lot of songwriters feel this way. There is just simply too much music…now I’m not gonna say it’s all fantastic, there’s a reason you have to triage the ones that you think are the best at the time, and there are many songs that I feel would be outdated, they feel very of the time 10 years ago. But you’re always trying to put your best foot forward with the pile you have lurking behind you. So, it is a hard thing to decide which thing you want to put out. Killing your darlings is always a hard thing, figuring out which ones to really focus on is difficult and it usually comes down to who you decide to collaborate with – right before the pandemic was one of the most tumultuous times of my career where I was producing and acting in a show for Netflix, and I was also kind of show running, acting, writing music for, editing, doing everything for this other show I created called ‘Royalties’ on another platform. I was doing both at the same time, and one of the things that made this possible was the people that I would collaborate with. A young man by the name of CJ Baron who I produced and wrote this EP with, he’s sort of the midwife that I chose out of working on Royalties because we had a lot of great songs together. I keep referring to myself as a producer, but I do it from a much more cerebral space, whereas he is a much better technical producer than I am. We really shared a lot in common, so by the time I realised that I wanted to make a piece of music you have to decide ‘who do I want to go down this yellow brick road with?’ And when I decide with CJ, that kind of already hinted at the kind of music that I would put out because he has his own fingerprint, and so I thought there’s something that I have that might mesh well with that fingerprint, so that kind of helps the decision process along of what songs am I gonna put out. But in another world CJ wasn’t interested, so then I think ‘Okay let me try and produce an album with this person’, and that person would reveal a different selection of songs. I’m very open to seeing what the universe is allowing and pushing towards, and I kind of follow that northern star to figure out what songs I’m gonna put out. But the mindset was always ‘put something out’, on a completely pragmatic level. What did I want to have to show for if whenever we got out of this crazy, new age of ‘what does this pandemic mean? We have time to do stuff, when it’s over what do I want to sit there and say that I accomplished?’ And at the very least I needed to put out a few songs, so that was really my mindset – no excuses, this is the time that you used to hope for, and so what are you gonna do if you’ve got the golden ticket, you’ve won the time lottery – so don’t fuck it up Darren! That was my mindset.

You describe them as character-driven singles, why is this? The dirty secret is that every song is character-driven, I just chose wording that could perhaps aid people into understanding this exploration of genre, this self-aware exploration of genre a little more. For those people that only know me as an actor, I’m trying to guide them into this notion of music and songs being a form of acting. The number one question I always get it ‘which one do you prefer?’ and I always say they are the same to me. When I’m an actor I treat characters, characterisation of my voice and body, characterisation of how I deliver words like a piece of music. You’re scoring it the same way, there’s cadence, dynamics, volume, nuance, all kind of things that can make ‘a piece of music’ unique to a person. And that’s how I treat dialogue and characterisation. The other side of that coin is I treat music like I’m acting, like each song has its own character when you’re playing live or recording in a booth. You are donning the proverbial mask of that character and what it requires. I really wanted to keep people into this idea that at the end of the day, it’s all performative and all part of a narrative that don’t necessarily have to do with each other and the way that if you ask Alexa to play a ‘Jack Nicholson playlist’ it would be very disjointed. It would be like okay The Shining, that’s a vibe, and then it would go to As Good As It Gets, and that’s a completely different vibe. They wouldn’t necessarily be on the same playlist, but they are distinctly and undeniably Jack Nicholson. So I always thought that it was a bit of a double standard that actors can do this but in music, you know, I’m proud of this but it’s also very annoying – a lot of my songs would probably not playlist together on the same genres because you have more jazz songs, like a trip hop chill tune that might end up in the back of a Starbucks, but that wouldn’t necessarily go on the same playlist as a tune like ‘I Can’t Dance’, which is a crazy song because it doesn’t even sound like me, I’m literally putting on a different voice, I’m singing like two different people putting on an affectation. There’s a lot of things that are very different but uniquely and distinctly me. The word masquerade is a celebration of a lot of different masks, and in theatre we talk about ‘The Masque’, and how each Masque has it’s own style, history and culture, and I really love the genre, and I love Masques, and I love things that make them interesting, and celebrating things that make them unique, and really trying to maximise their effectiveness as a genre with whatever tools I have as an artist, so that’s really what I’m trying to go for, this whole character driven idea is – it’s all a masquerade.

It very much has a fun-filled vibe to it, was this your intention and why? I’m not gonna sit here and pretend I sat in a studio saying ‘Hey lets not have fun!’, especially during a time that was as fraught with a lot of troubled times. This EP was recorded during very troubling times, so I think I’d be delusional to think that whatever joy is in this EP was not some kind of reaction to that, trying to offer something positive is definitely my MO in life in general, so that’s always gonna bleed its way onto my records. Like it or not. The intention is to record things that can be effective. If the vibe you feel is fun, great. If you feel any vibe at all, whatever the fuck that means, that’s a win for me. If that happens to be the word ‘fun’ then awesome, there’s a lot shittier adjectives that can be derived from this body of work so I will absolutely take it. My intentions are again to try and honour the songs. When you write something it has its own magnetic pull, it has it’s own gravitational pull that you have to kind of follow. If a song sounds a certain way, you want the lyrics to feel the same way that it sounds, and you want the production to feel the way that it vibes for lack of a better word. All songs have different body types and dressing it up and knowing how to tailor it to accentuate the things that make it fun or sexy is really sort of a strange alchemy. It’s not up to me how people experience it, but that’s what makes it fun. Once you put something out into the world it’s up to other people to use their own adjectives of the suit you tailor. I’m always excited when it leaves my head and becomes somebody else’s experience. So hey, if it’s fun – great!

What do you want people to take away from the project? Obviously, I hope people enjoy themselves. Any musician or artist would hope that there’s some kind of memorable experience to be had from it. If I was talking about what I hope people take away from it, that doesn’t have to do with the music itself, I hope that every time I put out music it’s me broadcasting this notion that this is something that I do, and that this is a big part of my identity. I think the songs themselves and what they’re about and how they feel are less of an insight into my identity as the notion of me putting out music is, because I feel like for any artist your journey is a constant negotiation between how you see yourself and how you would like to be seen, and how audiences are willing to see you. And you know, sometimes that balance is not always even. Sometimes the way they see you isn’t the way you see yourself, and sometimes the way you see yourself isn’t the same as the way they see you, so you want to be somewhere in the middle. And ‘Masquerade’ is a huge step forward for me to try and represent who I am and what I’m about to folks who might not see that. So that’s the biggest goal I think with any release but particularly this one.

Who would you cite as your inspirations? I’m one of those people that, when I say that everything inspires me, I’m not trying to be cute. It’s a problem. It’s an actual scourge on my life, where I find everything interesting. I find everything inspirational. It’s such a core belief that I have that there is inspiration to be derived from every walk of life. Stuff like from a lawn chair to a Bach cantata, there are so many things that can be interesting and incorporated into some creative output. It’s just all about how you look at it and how you can perceive and understand where it comes from. There are so many things that are inspiring to me. Of course, this is the massive macro answer that you weren’t looking for, you’re probably looking for ‘what artist are you inspired by?’ I think I’m just inspired by people who are really genuine to themselves, and this is an ironic answer considering that I actually try to be as many different people as possible. It’s a strange thing that actors are celebrated for not being anything like themselves professionally. And musical artists are separated for being as close to themselves and putting their souls as close to the chopping block as possible. I think I’ve really found my niche as a storyteller. I’m envious of some of the great troubadours of history, that can put their souls out on the record for us and put their own personal experience into things. Leonard Cohen and Joanie Mitchell, and Carole King, more modern people like Taylor Swift who really can just bare their souls for us. I really admire them because that’s not a muscle I have. And when you’re an artist I think ‘Okay so what muscle do I have?’, and I think ‘Okay I’m like a playwright, I can make each story for these songs and try and bring them to life with as much accessible ability and reality, and as much truth as I can convey, that’s not to say they’re disingenuine, they’re born from a genuine idea but they’re supported by my background as an actor. Baring myself isn’t something that comes as naturally for me, I really admire those people and I try and perhaps emulate a lot of their song writing in whatever limited way that I can. Genres are inspiring to me, lets talk about song writing, and then there’s producing which are two different things to me, because when I hear music I hear chords, I hear melody, I don’t listen to the snare sample, but I always hear the bare bones and then I think about production. So as far as producing is concerned I think it’s really important to know all genres and to listen to what makes each one interesting and respecting those genres, and then when you are producing something yourself, and then taking from each thing by knowing why and how they work within that genre, so again to use a song like ‘I Can’t Dance’ which is a nod to late 70s/early 80s, somewhere between disco and new wave, I’m employing the things that make those genres fun, to me at least, and trying to smoosh them together in a way that sounds cohesive. So…everything is inspiring to me, it’s hard. But each song has a different source of inspiration, but they don’t transfer between all songs.

You’ve also wrote for animated series and for Glee, is the process different for producing? “This is actually a very good question. I think this ties into what I was saying before about writing for narrative is something of a calling that I think I’ve realised more recently is kind of where I can plant my feet more easily than any other type of song writing. I was mentioning the people that can bare their souls, some people have a really good ability of putting themselves out there but also writing as a satirist of character that he creates. The person that is a master of this is Randy Newman, he’s one of the greatest American songwriters of the 20th century. He has an amazing ability to create these scenarios or create first person accounts of people that aren’t actually him, but he can contextualise with his literal voice, his song writing voice, and make those their own sort of satirical version of himself. There’s a lot of layers going on there, but I’ve always thought of him as really excellent. He’s like a playwright with music, he’s writing musicals, I mean he’s won Oscars for writing music for narrative! That’s something that I’d really like to do – from a technical standpoint it’s actually very liberating because when you’re writing music with your name on it, you’re the artist, then there’s this sort of weird expectation that you’re trying to service which is why I like this idea of putting the mask on and separating the songs from my own personal experience, because I need to separate myself from my own experience of the music you’re hearing, at least on the surface. My big break was A Very Potter Musical, that I feel to this day are my biggest hits because I don’t really have hits, but as far as the songs that people know that strangers know of songs that I’ve written, they were songs that were written for characters. It’s a bit like painting by numbers. If you just write a song from scratch about anything, it’s like the canvas I’m talking about again. You can do anything, or go anywhere, and that’s overwhelming. Having parameters, knowing where the gates are, is extremely helpful, knowing when the deadline is, knowing how long your party can go for. It means you can maximise the space you know you have. When you write for narrative you go ‘this is the character’, ‘this is how they speak’ – so you already have your lyrical information there – ‘this is how they talk’, ‘this is the singer, the singer has a great range that goes from this note to this note’, ‘in this scene we need the character to go from point A to point B, and we want it to be a song that sounds like X’, so you create all these amazing little ingredients, and I look at artists like a service industry, I really enjoy servicing what the person or the experience requires. When I have a menu of ‘we want this, this, this’, it’s like okay great I’ve got you! A three-and-a-half-minute song that sounds like this song, but has to be in this key and has to be a duet, I really thrive on that. And it’s probably one of my more favourite versions of song writing. And usually there’s a deadline, so I can get it done! Because I need to get it done for production. I really enjoy coming back to writing for narrative, because I did that for Royalties with CJ, and when I realised how much I enjoyed doing that and how productive I was when I was writing for a narrative, that’s when I got into the idea of ‘I need to stop trying to bare my own soul in music’. I think if I treat it like I’m writing for a character, not only can I get it done faster but I feel like I can make things stronger. So that’s when I decided that’s what I’m gonna do for this next EP. Writing for other shows and characters is what helped me realise my strengths as a songwriter.”

What is next for you? What are you most excited for? “As I mentioned I think productivity begets productivity, and that’s exactly what happened with this EP. Even if the pandemic hadn’t happened and I didn’t have the time, I think I would have been just as emboldened from working on Royalties with CJ and it got me very excited about working on music and how much joy that gives me. Any artist will say the same answer, but I think by the time stuff comes out artists are already over it because they’ve been living with it for a year and a half, and in my case over a decade with these songs, so I’m always ready to move on and go to the next thing. Everything is a stepping stone, so I’m very happy that this EP is out, I think it’s a great representation of a lot of stuff that’s been unaddressed for far too long. I just wanna get going, it gets me excited about keeping the ball rolling as a songwriter or as a producer, I just don’t want this to be like ‘This is the thing I did during the pandemic’, I want to keep it going and be more proactive about keeping time aside for it, because that’s the name of the game. When you’re acting or doing music, you have to balance it with time, and this pandemic has shown me how much I enjoy spending time on music, so I’m gonna carry that on. But of course, as soon as I say that, that’s when something unexpected and something too juicy that I can’t keep my hands off it happens on the acting side. One learns to be pretty flexible, because as soon as I say one thing something else will happen, and that’s been the narrative for the past decade of my life. I hope to just keep going. I’ve been this lucky for this long so I’m not gonna pretend like I’m going to keep being this lucky. If I get to act great, if I get to do music great. I can’t believe I’m in a position where its like ‘oh if the acting thing doesn’t work out, I’ll just do music!’ or the other way around, it’s a highly privileged list of options, and I’m fully aware of that. So as long as I can have one or the other to fall back on, I will always be excited about option. It’s not always up to me, so we’ll see. Everything that I’ve put out is just a way for me to renew my lease with my ability to show up for myself as well as people that I don’t knows ability to be interested in what I have to do next. But I won’t flatter myself, I’m not gonna say that lease is forever, so I’m just trying to put in the time and work to keep it at the very least somewhat interesting.”

Photography - Amanda Demme

[todaydreambelieversfic]

Author Spotlight: Gleefulpoppet Day 1

Author Spotlight: @gleefulpoppet​ 

How did you get into Glee and Glee fandom?

Crazily enough, I was having the worst day ever a couple of years ago, and I was down a rabbit hole of Ms. Mojo’s top 10 videos; I’d never seen any of them before. I watched the Top 10 TV Kisses, and when the Klaine one came on, I got the chills! I sat back and thought, “WOAH! What did I just watch? That was intense on a whole different level. Like I’ve never seen on television before.” I set out to figure out how to watch Glee and was thrilled that it had been put on Netflix. I took some vacation days I had been hoarding and binge-watched all six seasons in about ten days. That led me to watch every interview I could find on YouTube, which led me to Tumblr, which led me to fanfic.

In general, what drew you into writing (and/or creating)?

I’m an artist by trade “in real life,” so I know how imperative creativity is to our mental health (I could talk about that for hours, so I’ll just leave it there). I was always interested in writing in the back of my mind but had never thought about it seriously.

What was it about Glee that made you decide to write fanfic for it?

For the first time, I didn’t want to create art with the characters; I wanted to write about them because I was so unsatisfied with the show itself. I have a love-hate relationship with Glee like a lot of us do. The characters were brought to life in such a fantastic way I couldn’t get them out of my head. They took up residence in my mind, and I couldn’t help but think about how I would have written them. And when I ran out of fanfic to read and couldn’t find more of the kind of stories I wanted to read, I decided to write my own.

Have you been a part of other fandoms before? Have you written fanfiction pre-glee?

I’ve always been a huge fangirl, the biggest one before Glee was probably BBC Merlin. But I had never read or written fanfic before Glee.

Is there a trope you’ve yet to try your hand at, but really want to?

I want to try so many things. Now that I’ve started writing, it’s something I doubt I’ll ever stop. I wrote a one-shot about a vampire/werewolf combination, and I’d love to expand on that someday. I also would like to write Daddies!Klaine, but I haven’t gotten there yet. I hope to very soon.

Is there a trope you wouldn’t touch with a ten foot pole?

Incest. I accidentally read a few chapters of a story that was not tagged correctly, and BAM, there it was. I threw my phone across the room in shock. And I can never get that scene out of my mind—I still cry thinking about it.

How many fic ideas are you nurturing right now? Care to share one of them?

I have a list of about thirty stories I’m serious about wanting to write and then the list is about fifty more deep of just random one-lines and thoughts that “could be” a fanfic someday. 

I’d love to share! One of the things I want to do is rewrite the classic Audrey Hepburn movies with Kurt and Blaine. Maybe, Breakfast and Tiffany’s and Roman Holiday to start with. Not sure when I’ll ever get to them, but I think about it a lot. 

***

Check out Gleefulpoppet’s Fics

Better Knot Bow Tie Company -  Blaine Anderson has been a Better Knot Bow Tie Company monthly subscriber for years. This summer he's taken a hiatus from Broadway to facilitate the Journey Performing Arts School's summer program in New York. What happens when a zany bow tie sets off a chain reaction of events that may change their futures forever?

Soulsongs and Seastars -  In a world where Doms and subs depend on the symbiotic relationship their pheromones provide, it can be a matter of life and death to go too long without a claim. When one of the most powerful Doms in New York comes home for some much-needed family time, he stumbles upon a scene that throws his instincts into high alert as he witnesses a sub do something he’s never seen before. Will the bravery of one man change his life forever? Kurt Hummel knows there’s only a one-in-a-million chance of finding his Soulsong, but what are the odds it could happen in a run-down mall in Lima, Ohio?

The Playhouse on the Edge of the Forest -  In the small town where Kurt lives, there is a forest of trees his home is nestled right up against. In the backyard, there is an enchanting playhouse made of bricks and wood and has genuine glass windows with metal striped awnings and flower boxes. This is the tale of his adventures in the playhouse from age 3 to 33 and how everything changed when he met the boy next door.

[love-takes-work]

Steven Universe: End of an Era: Outline & Review

I wrote this review in October but never got around to posting it here

Steven Universe: End of an Era is far more than an art book–it’s also a collection of behind-the-scenes material, stories about the experience of working on the show, planning documents and associated background info, and both older versions of developed concepts AND concepts that never made it into the show. It's a huge fusion of all those elements, and it's definitely an experience!

Some low-quality images are included with my review just to give you an idea of what’s there--it’s not a good substitute for getting your own copy, but here’s a tour!

Like the previous concept art book, Art and Origins, I'll be giving you a description of the structure and overview, while also collecting notable information for fans. Obviously just about everything is "notable" once again, but I'll aim for unique insight or perspective on the main source material, keeping the screaming about everything new to a minimum so you can also enjoy something for yourself if you pick it up. My low-quality photos should prevent people from feeling like I'm reproducing the book in any capacity. Please grab one while you can and have your own experience!

[SU Book and Comic Reviews]

OVERVIEW

The book is titled "End of an Era" for a couple reasons--obviously because it is released after the show has wrapped, but also because Gem history recently ended its "Era 2" and began Era 3--an age of prosperity and peace. The author--the person in charge of adapting all of this information into this slick, readable package--is Chris McDonnell, whose work was previously applied on the Art and Origins book.

The foreword is by N.K. Jemisin, a well-known science fiction author who's a huge fan of the show (and wrote a really excellent series that also has a weird geological connection, by the way).

And the cover, like its predecessor, is shiny and decorated with a beach scene featuring minimalistic characters--this time it's the Gems at night in front of the Temple, and on the back cover is a big pink leg ship in a cross-legged pose.

The interior covers are decorated with tons of amazing sketches of Steven and Connie on the front, and a bunch of Gem sketches on the back. Every interior page that most would leave blank is highlighted with some kind of sketch art or character exercise--it's so much to look at, so much to absorb.

The book is dedicated "For Eddie."

Its organization is different from the previous book in that it shares applicable work in chunks associated with groups of episodes rather than pertaining to different aspects of building the show.

FOREWORD

N.K. Jemisin gives us such a great introduction to the book--apparently understanding very well that the audience of this book is full of animation enthusiasts and adult fans more than it is full of kids, and explaining that bewildering journey some adults had from blowing this show off as a silly kid thing to falling in love with it hard and fast.

The important thing, Jemisin says, is being able to trust a storyteller with your heart. And it was clear to her that Rebecca Sugar knew what she was talking about and was saying important things about identity and the radical power that comes with accepting it and demanding respect.

Important also is how we handle heroes and who gets to be one in fantasy. That's part of the reason Steven Universe speaks to so many--because we see ourselves here, and know stories can be about us. Acknowledging the power we all have to MAKE THINGS BETTER with what we fight for is so important--especially if we're going to speaking to the next generation about it.

Highlighting Rose Quartz as a "born leader" who failed and Steven as a relatable scamp who did what she couldn't, Jemisin asserts that we can save the world.

1. END OF AN ERA

We start with an appeal to the audience to think about identity and the formative parts of our childhood--and how different it is if who you are and who you become is restricted, mocked, erased, or Not Allowed. Most people, if not ALL people, can relate to this, but for those of us with a special relationship with Steven Universe because of queer identity, this hits hard.

But it doesn't have to be anything grand to be something we respect--this show's authenticity comes largely from how personal everything is, drawn from real-life experiences and incidental truths from each artist's perspective, leaning hard on childhood and formative experiences.

Rebecca Sugar offers some interview bits to discuss writing philosophy and why "writing female characters" was difficult for a nonbinary person who'd been socialized as a girl and a woman. Rebecca has spoken before about how frustrating it is that marketing for cartoons was SO gendered when she was growing up (and to some extent still is).

The Gems in the story are all "she/her," but on their planet they're defined by their work, not by emotion or relationships (unlike women in our society), so having them be socialized opposite to how she was and be able to claim those emotions through choice and NOT as just an expectation "as women" was revolutionary. Rebecca wants her show to tell all marginalized people that they don't deserve to be in the margins.

Weighing in on other aspects of the show were Ian Jones-Quartey, Joe Johnston, and Miki Brewster. Ian describes feeling like at first doing SU was a thrill ride that meant they'd finally get to do all the cool stuff, but it quickly became a responsibility that he took very seriously--the need to tell a good story now that he'd been given a megaphone.

Promotional art, planning documents, character sketches, and concept art from the lighthearted to the stone serious is included, along with some very cool (sort of famous) timeline charts that track major characters' developments. It's emphasized by Rebecca that the developmental materials ARE NOT CANON (and especially are not MORE canon) compared the final show.

There are concept sketches alongside final art for Aquamarine and Topaz in "Wanted" (with Topaz labeled "Imperial Topaz"), the Zircons in "The Trial," Blue and Yellow Diamond, and the Off Colors (including Pink Lars).

And there's also a spread of "the two sides of Steven's life: Gem Magic and Rock N Roll" featuring Sadie Killer and the Suspects (referred to as "Buck's band")--as well as a cool "Crew Cameos" key and some concepts for short-haired Connie.

And then there's some more "finished" art with stills alongside concepts, including some background art, revision, and really cool "fairytale" art from some of the shadowplay storytelling bits. We get "Lars of the Stars," "Jungle Moon," and "Can't Go Back."

2. THE BEGINNING OF THE END: A SINGLE PALE ROSE

In discussing the huge reveals and Gem mysteries in the show, the pacing is examined, and emphasis is put on the intended "slow burn." One of the most difficult things in the show was to strategize so that every piece that was needed to support another piece in the future was placed properly to seed what it was supposed to.

Some of the ideas they developed were more of a group effort and were fit together collaboratively (like Amethyst's being younger than the other Gems and Jasper being from Earth), while others were intended from the beginning based on Rebecca's vision (the fundamental idea of Pink Diamond's true identity, for instance, as well as Obsidian's design and sword and our Pearl not being Pink's first).

The writing process gets a great deep dive here, including fun tidbits like how the orb in the moon base was inserted by Joe Johnston and they literally had no idea what it was for when they wrote the episode. They repurposed it when they figured out what they needed.

Rebecca credits her detailed timelines for helping keep the order straight, and discusses how other artists are sometimes flabbergasted that a storyboard-driven show can have this much detail and continuity and yet not get wrecked by the free non-scripted boarding process. But Rebecca and the Crew valued that approach and loved the way fresh eyes would handle an idea, making it come back alive, entertaining, vivid.

Several Crew members weigh in on the writing process. Lauren Hecht refers to making lots of incorrect guesses despite being on the inside. Joe Johnston recalled getting briefed on his first day and getting so excited to start working on this massive project.

Miki Brewster remembered being told Rose Quartz is Pink Diamond and being shocked--and also confused about why Ruby and Sapphire would need to be married if they're already basically married. Drew Green talks about being brought in late and getting to watch unaired episodes and a rough of the movie while eating cereal.

Ian Jones-Quartey complains about Pink Diamond's real jester-like form being leaked to the internet through a Hot Topic shirt. Rebecca piggybacks on that and says it was upsetting that the wedding was leaked because of toy fair keychains featuring Ruby and Sapphire in wedding attire. They'd always be worried about leaks, and sometimes Rebecca struggled not to talk about the reality of Pink Diamond before the reveal because she knew it would make so much more sense once the truth was out. And everything associated with Rose makes more sense once you know she's Pink--especially what happened with Bismuth, considering what we know about how Pink Diamond has a habit of treating anyone who no longer serves her interests.

When it comes to visual cues, Rebecca also talks about intentional designs to create a feeling of unity between concepts, like the flower shapes on Pink Diamond's palanquin lining up with the poofs of Steven's hair and the star imagery of the series. Steven Sugar and Mary Nash discuss how the Human Zoo incorporated this imagery, trying to look like Homeworld with a Pink Diamond touch.

Steven Sugar, as a game nerd, liked to throw in video game references from old and modern stuff to feel like he's inserting what he's enjoying and who he is from moment to moment, while Mary Nash, who related to Sadie as a basement-dwelling young person with cult interests, liked to include stuff from MST3K and cult movies. Pearl's hand gestures get a spotlight too--her reflex to cover her mouth when Pink Diamond was being discussed was analyzed here.

A "Top Secret Visual Timeline" from 2016 is included which tells us some Diamond history. It has an earlier version of Pink Pearl's fate and does not include Spinel since the movie hadn't been greenlit. The timeline includes the birth of the Diamonds, the emergence and major story beats for each major character, and some philosophy of the driving force behind each.

We're told that Pink Diamond straightened up, behavior-wise, after she lost her first Pearl, and that Yellow and Blue wanted to give her a planet but White only agreed to it to prove she would fail at managing a colony. Pearl, meanwhile, is so confused to have a Diamond who keeps asking her what she thinks when she doesn't believe she should have opinions.

And when Pink moonlighted as Rose to start conflict, she found herself leading an army to fight Pink's troops--then Yellow's, and eventually Blue's too. Lapis is said to be waiting for the conflict to end on Earth so she can terraform, but she gets trapped instead.

Pearl's love story with Rose is described as "an endless honeymoon" where she's free to love her, while Rose's is more like "I'm now the head of the family and I'm going to give everyone what they never had, so everyone is super special!"

Jasper is described as "adopted" into Yellow's army as the only successful Beta Quartz. And White Diamond knew that Pink Diamond was not dead--she thought she was just running away from home like a brat and would eventually be back.

3. THE HEART OF THE CRYSTAL GEMS

Now we discuss Rose Quartz--the original Pink Diamond. How she was selfish and selfless, never enough and always too much, and how Greg was her first partner who "challenged her" to be an equal. Rebecca describes Rose as being delighted by the idea that both she and Greg reinvented themselves, but when that leads her to want to share her past, Greg isn't interested--he only wants to know who she is now, and doesn't consider the old her to be her.

Rebecca likes Carl Jung's concept of "enantiodromia," which is the idea that extremes lead to their extreme opposite. This is demonstrated in all of the Diamonds. This narrative is interspersed with drawings of Greg and Rose being cute.

But another "heart" of the Crystal Gems is its relationships--particularly, Garnet, the fairy tale romance embodied. More psychological theories are discussed with regard to differentiation in a relationship making the relationship stronger, and how they made sure that happened for Garnet during the appropriate arc. Rebecca has struggled with the idea that she, like Ruby, went straight from a "family" group to a living-with-others situation and never lived by herself. But she also learned that you can in fact develop as a person in the context of a relationship--you don't have to be alone to do it. Ruby learned that too, and chose on her own terms to be with Sapphire.

The wedding made so much sense to Rebecca and the crew that they couldn't imagine a wholesome couple like Ruby and Sapphire not having a wedding episode. They wanted it for years: The wedding concepts always included the tuxedo for Sapphire and the wedding dress for Ruby.

But pushback (often blamed on the conservative standards of the international market) led to negotiations trying to keep Ruby and Sapphire's relationship from being explicit. Rebecca and the Crew were very tired of this double standard, and they were especially irritated by attempts to claim a wedding wouldn't be well received by a core demographic or wouldn't make sense for Steven's character. But other shows had done weddings and Steven had been established to love weddings already.

Rebecca kept adding more elements to the wedding episode to answer all the concerns, but she didn't want to back down from explicit marriage between these characters. They deserved it. And the audience deserved to see this as wholesome, like any other cartoon wedding. Eventually they got their way and were allowed to have the wedding. But the ordered episodes were also coming to a close without promise of more, so Rebecca had to request more episodes to be able to wrap up the storyline!

And of course, there is Steven, the true heart of the team. A very interesting aside discusses Garnet's leadership and how the network pushed the Crewniverse to acknowledge Steven as the leader. This was successfully resisted throughout as well--because Garnet is the leader (unless she's incapacitated, of course). It's fantastic that this concept was preserved because too often a young male chosen one is elevated above people with more experience and knowledge because of that chosen one tradition, so it's really nice to have a show acknowledge that team leadership is more appropriate for an adult.

4. ERA 3

Beginning with a discussion of the Diamonds, this chapter deconstructs the dysfunctional "family" of the Diamonds (who are said to be based on tropes about evil stepmothers and stepsisters), with the thread of dysfunction originating with White Diamond.

Yellow is physical, Blue is emotional, White is judgmental, and Pink is impulsive. Some philosophy on why Pink is naturally manipulative and why she clashes so much with White is offered.

White believes her identity is to be imposed on all because she is the pinnacle of what should be--and therefore, she has the right to make decisions and statements about and on behalf of everyone. But her secret is that she can't do what the others do--act or feel or want. In trying to be everyone, she is no one.

And this becomes very important when she confronts Steven about his identity and turns out to be wrong. The triumph of Steven being totally, fully himself is a beautiful, simple revelation that's described as far more satisfying than the theories about Pink living inside him or Rose returning from his Gem.

Also discussed is Gem architecture. A lot went into this idea, and Steven Sugar weighs in to say he had to think of what it would mean for a world to have buildings but serve no human needs. That's why it's mostly focused on transport and storage. Even the broken planet is meant to indicate a place stripped for its resources, and everything serves a function that is meant to avoid looking like the human equivalents.

And there's another layer, too: a difference between Era 1 and Era 2. Era 2 became more functional to hide Era 1's broken bits, and older Homeworld buildings still have some "ornate and ancient" feel to them. And the fact that props, tools, and even walls and doors could be living was taken from a concept Rebecca thought was horrible from old Busby Berkeley movies, where people were inanimate objects and it was portrayed as lovely. Tom Herpich helped conceptualize these living objects.

Steven dealing with "princess tropes" is discussed here too. The Pebbles (worked on with Pendleton Ward) were sort of his Cinderella's mice, and all the locked-in-a-tower, having supportive tiny friends help you, getting princess clothes made, attending a ball, having to mind your manners stuff was intentionally related to fairy tales.

The point of doing that (besides fun) was to easily invoke the feeling that Steven was being made to be someone he's not, and that he was being treated like THIS is who he really is when it isn't. White Diamond as the "evil stepmother" is discussed with regard to her detailed features and massive scale. They generally didn't put fingernails and eyelashes on characters (especially not to indicate that they were women or girls!), but they decided White would get all of these feminine markers for tradition's sake.

Rebecca also invokes several other references that were included and describes the princess tropes as "chipping away at his integrity" setting him up for the final challenge with White.

There is again tons of concept art: Homeworld architecture, Pebbles, Diamond diagrams, background Jades and Lemon Jade Fusion, Comby, Diamond extraction chambers, and White Diamond.

5. CHANGE YOUR MIND

Now we finally begin to discuss Steven's identity. The "Perfect Steven," discussed in several interviews before this book's release, was an idea back in 2013; the "ultimate Steven," beefed up and shonen-looking, was far from perfect because OUR Steven is perfect, while this alpha hero Steven idea (used in Steven Universe Future) didn't belong being idolized in such a show.

They thought about having Steven fall apart into organic half and Gem half early in the show (during "Giant Woman" after a successful fusion and unfusion, even!), but they didn't try the concept until the last episode. They didn't want the "Pink" Steven to be portrayed as "better" even though he would be more powerful, so they decided he isn't whole without his organic self and he's just as much of a shell as the organic half. They absolutely did not want any ending that required Rose to be inside him or waiting to come back. But the debates were fierce--what DOES it mean to have Rose's Gem?

Ian Jones-Quartey brings in an anecdote about his own family to emphasize some of the immigrant themes that inspired aspects of the show. He had a brother who reinvented himself elsewhere away from family without resolving issues, and all the ramifications of that were explored in the show through Rose Quartz. (He is careful to say he doesn't think his immigrant experience is like being from another planet!) But he did say you can hurt your old family even if they were toxic or didn't know the real you, and you can hurt your new family by hiding your past. The Pizza family of course was also a more direct reference to Ian's Ghanaian family.

In talking about the new Fusions from this episode, Sunstone is largely described by Miki, who also got to board the Sunstone section. Sunstone was described as a cool 1990s character and the evolution just continued into making them a fourth-wall-breaking PSA dispenser. Obsidian is also discussed, with their sword being an early concept. Steven Sugar said they totally knew it would be forged in action. Obsidian being similar to the Temple design is of course another very early detail.

The story of how James Baxter got involved with one of the final scenes (Organic Steven and Pink Steven fusing in front of White Diamond) was shared. His family was fans of the show and Rebecca Sugar took the time to drive to a birthday party for his daughter and give her a drawing. He then owed her a favor, and this was it.

Concept art is again included, this time with sample boards, promo images, a Diamond fight concept, costume design changes for the Gems, new Fusions, the so-called "Mega Diamond" ship conglomerate, some scenes from the White Diamond confrontation, Pink Steven, multiple pages of James Baxter animation, corrupted Gems and their healed selves, and photos from the "Change Your Mind" premiere and some awards. The show has won one design-related Emmy, a Peabody Award, and a GLAAD award.

6. STEVEN UNIVERSE FUTURE

The book doesn't cover the movie because it got its own book, but dives right into Future. Ian Jones-Quartey emphasizes that the movie and Future are separate and different from the original show, which ENDED. After all, after that, Steven has a neck!

Some new names are invoked now: new writers Kate Tsang, Jack Pendarvis, and Taneka Stotts. They were excited to have Steven make HIS OWN mistakes instead of trying to clean up someone else's! Now, instead of doing the usual shonen anime thing and having the final battle be a big physical rumble, Steven has to make peace with himself and take an active role in coping with what all the fighting has done to him and what effect it's had on who he is (and who he wants to be). There is no sudden "I love myself!" answer, either. It's always a process.

Drew Green and Maya Petersen, who came on board as storyboarders officially in Future, also weighed in on writing for a "mature" show, how to deal with Steven being a "moral compass" while being sort of unreliable, and what they learned as Crew that they didn't know as fans. Drew didn't know Garnet never asks questions. Jack didn't realize the show never deviated from Steven's point of view. Taneka was nervous but excited to collaborate. Kate was worried about how established the show was and what to do as a new writer to contribute appropriately.

Maya was on the old Crew but not as a storyboarder, so felt like some of the "old" ideas ended up not being appropriate for the "new" Future in an embarrassing way--and dreaded the idea of dealing with Steven's emotional problems when they were similar to stuff she'd been through. She also was personally behind the idea of Steven wanting to dump his problems by becoming Stevonnie, and got to work with Etienne Guignard on inventing the Pearl creation backstory with Volleyball.

There's some discussion of "depression hobbies," stress, and the show's pacing. And they say Etienne was entertaining at pitches. There's even some discussion of how Greg is taken off a bit of a pedestal because his terrible restrictive life in the suburbs sounded wholesome to Steven and Greg presented it negatively.

And then there is some information about how the Crew felt behind the scenes due to fan reactions and negative press. Ian discusses feeling offended when the Black characters are described as bad examples, as if their cartoonized but realistic-in-context features are automatically caricatures.

Rebecca Sugar felt beaten down by some of these narratives and began to access mental health services, inspiring some of the content of "Mindful Education." A long reflection from Rebecca discusses people's infighting about her show and what she had a responsibility to show or not show in the story. She learned a lot about bullying from Cartoon Network's anti-bullying program and learned that bullies thrive on whatever attention you give them--unless it is made clear to them by a peer group that no one is impressed by their cruel actions. Also, not all negative feedback is bullying. Constructive criticism is different. Self-awareness can help you avoid internalizing what bullies might do or say to you.

Segueing from the discussion of how people are affected by and connect with the show, we then discuss how they chose as a team what should be covered as the show came to a close. They didn't have time to do quite a few stories they wanted time for, like a Rhodonite story, a Lars side story, and Diamond "prehistory" and religion; all of it was put aside for the main arc with Steven.

They thought people would find those stories about Homeworld and Off Color history very interesting, but so much of the show had been about Steven's Gem adventures, so keeping him mostly on Earth seemed appropriate. The acknowledgment of his battle damage, of his trauma, was necessary and real, and helpful in an important way to the core audience.

Oh, and there was some stuff about a cheeseburger tree. Don't ask.

In discussing the "reverse escapism" of the original show (Gem aliens are intrigued by everyday human culture, and realism is necessary), Rebecca says her views have changed on escapism and gets why some people want a soothing feel-better show. She acknowledged also that her own escapist dreams-come-true fulfilled in the show didn't feel like escapism because they were givens to the majority of mainstream culture, but were never guaranteed to marginalized people.

Rebecca ties in her several-times-told story about "Love Like You" and how the middle bit was when she didn't feel she was worth looking up to, and the realizations she had to tie the beginning to the end. Feeling like someone will like you less if they know you more is terrible. So sometimes a show like this can be helpful in telling people that they belong when their fantasies are things like "I want to be loved" and "I want to know I exist."

In Future, Steven has to connect to who he is and love that person--and understand that person enough to finally feel that even if he's not fixing their problems or saving their world right this second, Steven deserves his family's love and support, and they WANT to give it to him.

There's a huge amount of supplemental material in this section so there's no way I could name it all. The charts for Future's timeline are pretty straightforward, though a few episodes like "A Very Special Episode," "Why So Blue," "In Dreams," and "Bismuth Casual" aren't specifically represented and a couple are in a different order ("Prickly Pair" was conceived as happening after "Fragments" and "Homeworld Bound").

Steven feeling like a monster, having intrusive thoughts, having not forgiven the Diamonds, and getting help/moving on--it's all there.

We have keys, color scripts, and boards for the new opening and some various backgrounds and storyboard art from episodes. Model sheets for Shep, Nice Lapis and Mean Lapis, Jasper, Steven Tag Gems, Pink Steven Powers, Monster Steven. New house concepts, Era 3 Homeworld concept art for the Diamond environments, and background art for the Reef.

New Connie and Greg designs. Concepts for Mega Pearl, the Rose Quartzes, Bluebird, and Morganite (who didn't get used). And there are some photos from recording and the conference room. There are even some extras from "Crossover Nexus," the crossover with OK K.O.!--including an unused cut scene that included Ruby and Sapphire fighting. The rest of the book is a bunch of adorable Crewniverse art--extras, blog drawings, promos, and gifts to each other.

NOTABLE

1.

The first timeline chart in the book features a cool sketch of the original Off Colors, which at the time this planning document was drafted included unused Off Colors Flint and Chert.

We knew of their existence already because of an episode of the podcast, but these two unexpectedly appeared as incidental characters in the Steven Universe Future episode "Homeworld Bound," identified only in the credits. Sad to think that instead of banding with the Off Colors, these two were probably shattered for their crime (being Quartzes who don't want to fight) and that's why we see them being repaired in this episode. Later, there's some brainstorming for types of Off Colors and "a Ruby that wants to wear limb enhancers" is mentioned as well.

2. 

It looks like there was also originally more juice to the story of tracking down the events of the war culminating in Pink Diamond's assassination.

One of the timelines talks about Steven thinking it makes sense that Pearl can't talk about her involvement because she might have been a double agent, explaining why Rose Quartz always knew what Pink Diamond was doing. It seems like that bit was supposed to be included in Garnet's version of the story she believed in "Your Mother and Mine." Seems like they originally conceived Garnet's story to inspire the Off Colors to become pirates and freedom fighters, though in the show's canon this storytelling happened after Lars had already reinvented himself the way he did.

Sadie was also supposed to be sending letters to Lars via Steven, which is funny since the "Letters to Lars" episode is just a montage Steven letter. And of course it's specified that Steven was supposed to get Pink Diamond flashbacks by going to the Palace on Homeworld.

3. 

The second chart in the book makes references to Sadie's reinvention of herself as a parallel to Lars, Greg, and Pink Diamond all doing the same thing, and how positive it is to embrace such a thing--a version of yourself that YOU create.

I love that Yellow Diamond's arm ship arm-wrestling the Cluster was always part of the plan.

There's some more explicit direction to have Connie help Steven understand the Diamonds as "strict parents," and a lot more emphasis on everyone realizing Rose had been inspired by THEM rather than them all following her.

White Diamond is presented here as if she thinks of Pink Diamond as a "daughter" (whom she now understands she has "lost"). There are notes on how the Diamonds have a responsibility to their children and should attend to it before just continuing to make more.

4.

One of the concept art images for the Off Colors features Rhodonite crouching by Padparadscha saying "Don't worry, I won't let them hurt you." It's very interesting because she DOES seem to protect Padparadscha in the show, but doesn't seem confident about it in her final version, even though it does seem like she'd be "programmed" to guard aristocratic Gems because of her Ruby and Pearl makeup. Cool.

5.

A "Crew Cameos" spread was included, which is of great interest to some of us who loved seeing the Crew insert themselves into the show. Not every SU Crew person who's been represented in a crowd was there, but this crowd included Amish Kumar, Kat Morris, Amanda Winterstein, Angie Wang, Lamar Abrams, Emily Walus, Mary Nash, Joe Johnston, Christy Cohen, Danny Cragg, Hilary Florido, Danny Hynes, Matt Burnett, Ben Levin, Elle Michalka.

6.

The official national flower of South Korea, Hibiscus syriacus, is the name of Pink Diamond's flower.

7.

One of Steven Sugar's comments about the silhouette difference between humans and Gems points out that humans have ears. This seems to be pretty good confirmation that they are not supposed to have ears, despite that sometimes we'll see ears drawn on them in some frames.

8.

Rose Quartz/Pink Diamond is characterized in this book as "self-hating" in a really interesting way, saying that because she believed she was not capable of compassion, she practically worshiped those who demonstrated that ability and thought they were so much better than her--which is described as "intoxicating" and resulted in others being drawn to her. How interesting is that!

9.

Timelines reveal that early plans for Pink Diamond's first Pearl originally had her getting destroyed by Pink during  a game, and then her destruction was rewritten as a punishment from the Diamonds after Pink Pearl defended Pink Diamond to the other Diamonds. They went back to the idea of her getting hurt by Pink for the final version, though the cracked face and control by White Diamond was not on the agenda until they started writing "Change Your Mind."

10.

The approximate ages of the major characters, based on emergence, are revealed on these timelines. It begins with a cracked-planet-looking graphic depicting four tiny Diamonds emerging at 20,000 years ago. Some suspicious "blacked out" redacting surrounds a long timeline tail that goes back before that, which may mean there are secrets they still don't want to reveal. But the dates go like this:

20,000 years ago: The Diamonds emerge.

11,000 years ago: Pearl is custom-made for Pink Diamond.

8,000 years ago: Sapphire emerges (on Homeworld).

6,000 years ago: Ruby emerges (on a colony).

5,750 years ago: Garnet is formed.

5,600 years ago: Lapis is poofed and put in the mirror.

5,200 years ago: Jasper emerges (on Earth).

5,050 years ago: The Cluster is planted.

5,000 years ago: Amethyst emerges (on Earth).

4,500 years ago: The Crystal Gems found Amethyst.

3,000 years ago: Peridot emerges (on Homeworld).

40 years ago: Pearl found Lapis's mirror at the Galaxy Warp.

And of course we know 14 years ago Steven is born!

11.

Originally the Diamonds were based on a quartet of themes: Love, Fear, Pride, and Sorrow. It got too complicated to keep and it was abandoned, with Pink's identification of "love" being described as "particularly outdated."

12.

Notes on a sketch say that Pearl was inspired to become bold and unashamed because Pink's questions drove her to have opinions, and it's said that Rose "fell in love" with her boldness.

13.

Rebecca tells the story of driving off a ridge and getting stuck in the desert, comparing this to Ruby's tumble during her Wild West adventure and using it as inspiration. She's told this story before but here it is in print. She also included the story about using the flowers from a friend's wedding to put in Ruby's hair.

14.

Rebecca describes having to "fight" notes she was given when it had to do with Ruby and Sapphire's relationship. One she describes as NOT fighting was for a signing card depicting Ruby and Sapphire dancing. It was called "too romantic" and she decided not to worry about it since it wasn't the actual show content.

She was also scolded over her book The Answer because the powers that be expected her to downplay that relationship. She always argued that queer youth deserved these things.

15.

Tom Herpich describes being inspired to name Blue Diamond's comb "Comby" because he was watching the news about Comey getting fired from the FBI. It's also a mineral-related term and I always assumed that reference was intentional, but maybe it's not and this is the only intended significance to Comby's name?

16.

Rainbow Quartz 2.0's design is not discussed, though the other two new Fusions from "Change Your Mind" (Sunstone and Obsidian) were. RQ2 has some sketches included, but no accompanying narrative in the text.

17.

A sheet of corrupted Gems and their healed selves is offered, though it doesn't appear to be final. The obelisk in "Serious Steven" is labeled Albite. The unnamed Worm Monster, Desert Glass, and Watermelon Tourmaline are included. An unnamed birdlike Gem represents the Big Bird monster from "Giant Woman." The crab monster from "Arcade Mania" is labeled Blue Chalcedony. The Tongue Monster is drawn uncorrupted but not named. The Flower Monster from "Back to the Kindergarten" is labeled Grossular Diopside or Titanite. The invisible monster from "Island Adventure" is labeled Moonstone. The Lighthouse Gem is labeled White Topaz. A form for Larimar that was used in "Change Your Mind" but changed in Future is there. The Slinker is listed as Chrysocolla. And the Crab Monster is listed as Aventurine.

On the next page, this is changed to Bixbite (as it was in Steven Universe Future), and we then also have Lace Amethyst, Blue Lace Agate, Crazy Lace Agate (Fusion), Ocean Jasper, the Mother Centipeetle Nephrite (Facet 413 Cabochon 12) and three other Nephrites, Angel Aura Quartz, a hooded Jasper, Zebra Jasper, Biggs Jasper, Watermelon Tourmaline (labeled as Fusion of Gem * Onion--huh?), Snowflake Obsidian, "Little" Larimar, and Orange Spodumene (who was the Worm).

18.

The Rhodonite side story would have been about the love story of a Ruby and a Pearl working for Morganite. Images of Morganite and her servants, unfused, are in the book. We do not get this additional information, but Rebecca said in a panel shortly before the book's release that Rhodonite's story would have been about finding out that she had been Rejuvenated 17 times because her components kept falling in love and needing to be reset.

19.

Referring to the Diamonds on one of the charts, Steven's perspective is "I can't believe I helped these" and then there's a censor bar. Welp.

20.

Some included art by Hilary Florido features Kevin with a souped-up Koala Princess car and another where Kevin is staring at himself in the mirror in front of an altar to himself.

21.

Rebecca's sweater collection is included in the Crew art.

[SU Book and Comic Reviews]

[catherdrashepard]

Red Rising/Persona

I’m a huge fan of the Persona series and pretty much anything Atlus has done. I am ALSO a huge fan of Red Rising (blame that on @hyena-frog) So, the natural conclusion is that I should determine which Persona the main RR POV characters would have. As well as a couple extras. Pictures will be included with credit to the artist when applicable. Please let me know if I forget to credit someone. (https://megamitensei.fandom.com/wiki/List_of_Persona_5_Royal_Personas) Here is the website I’m using. Spoilers for the first three books and probably a little of Iron Gold. Also a spoiler for the Faith Confidante in Persona 5: Royal. Avoid the Lysander paragraph if you want none of that. Disclaimer: I have not finished Dark Age yet so some of my thoughts might be lacking complete information.

Darrow: The main characters of the Persona series always start with a Persona from the Fool arcana. It doesn’t necessarily stay that way depending on the players personal preference. That being said, Darrow does fit the Fool arcana very well. It’s considered to be the beginning arcana or one without a number. It represents innocence, divine inspiration, madness, freedom, spontaneity, inexperience, chaos and creativity. These traits I think describe Darrow pretty accurately, especially in the first two books. Considering the story revolves around his journey, it makes sense to label him as a character of beginnings. Persona-wise, I think the one that fits Red Rising and Golden Son Darrow would be Satanael. This Persona is basically the equivalent to Lucifer, the angel who led a rebellion against God. But also that isn’t all that Darrow is. I also think the Death arcana is fitting for him, from Morning Star and beyond. Death is an arcana roughly in the middle of the tarot deck and it’s one that represents metamorphosis and change. Literal interpretation aside, Darrow experiences a change in himself after his capture at the end of Golden Son and his rescue in Morning Star. Not to mention, his entire purpose for becoming a Gold in the first place was to provoke a change in the current system of government. For his Death Persona, I would give him Thanatos. Because he’s my favourite, but also he’s considered the harbinger of death. Perfect for the Reaper. I don’t think Darrow completely loses Satanael in favour of Thanatos; I could definitely see him using both depending on the circumstance.

Virginia/Mustang: By Persona standards, because Mustang is Darrow’s main love interest, she would be the Lovers arcana. However, and this was incredibly difficult because she could really fit more acana, I think she could be both the Judgement and the Empress arcana. The Judgement arcana, I feel, fits her Sovereign persona (ha). It’s associated with a deep understanding of life, a balance of light and darkness, and characters who are well-aware, and intelligent. Not that this doesn’t fit her in her private life as well, but it seems more prevalent in her dealings as the Sovereign. The second arcana is the Empress. This one is more associated with mothers and women of authority. As we saw in the first trilogy, she went to great lengths to protect her family, i.e., working for Octavia, being with Cassius, the whole incident in Lykos. Choosing her Persona is tricky, mostly because Personas can shift arcana depending which game they are pulled from. I think the one to go with is Astarte. This is more of a feeling rather than definitive “proof”. She is identified as the goddess of war, hunting, love, sex, horses and possibly the morning star; her symbols are thought to be the lion, panther, and an eight pointed star. This is also the ultimate Persona of Haru in Persona 5, who awakens her initial Persona in defiance of her father and his corruption, which also feels apt. That being said, Astarte is from the Empress arcana and I could not find a Judgement arcana Persona that I felt fit her well enough.

Credit for the picture of Astarte to: Machia McMadlass on Amino

Sevro: Sevro was very easy to choose a Persona for. One in particular stood out to me. I think Sevro could fit both the Fool arcana and the Devil arcana. I think the aspects of the Fool that Sevro embodies are the madness, freedom, spontaneity, and creativity. The Devil arcana represents the urge to do selfish, impulsive, violent things. However, it also can represent a healthy bond and commitment.  Sevro is a wild card from the beginning, killing Priam in the first book being a prime example. Both he and Darrow were very unexpected successes in the Institute. This is something that also describes the protagonists in the Persona games as well. They all just kind of show up out of nowhere and completely shift the paradigm, especially in Personas 3&5. As for the Devil arcana, Sevro reminds me of the Devil confidante in Persona 5. Their goals are not the same, but both characters are very focused on what they want and make every effort to push through despite any obstacles in the way. As for the Persona, the one I chose was sort of picked for superficial reasons; Bugbear. Its name comes from the Celtic word bugs which means evil spirit or goblin. It’s also considered to be something of a boogeyman, a creature that lurked in the woods to scare children. Also, it’s essentially a stuffed bear filled with skulls, which seems to fit Sevro’s weird tastes.

Victra: With Victra, one arcana stuck out in my mind immediately, the Chariot. This arcana represents victory, conquest, self-assertion, self-confidence, control, war, and command. When first introduced to Victra, she does seem very sure of herself and what she wants. She strikes me as a shoot first and ask questions later type, which is something she has in common with the video game characters who share this arcana. Like Sevro, she could also fit the Devil arcana, especially during certain events in Dark Age that she pursues very single-mindedly. Although, I would say Victra is more Devil leaning than Sevro. As for the Persona, I think Pazuzu would fit her style pretty well. What really struck me as fitting Victra was the description of Pazuzu as an evil spirit that drives away other evil spirits, and protects humans from plagues and misfortunes. Also, despite trying to stick with the arcana placements of Persona 5 Royal, I think it’s worth noting that Pazuzu was summoned by a character in Devil Survivor who seeks revenge for death of a loved one.

Cassius: While perusing the arcana descriptions, the one for the Lovers immediately reminded me of Cassius. The Lovers is usually reserved for the “canon” love interest in the games, barring player preferences. However, Dassius jokes aside, what really made me think Cassius is that this arcana symbolises two paths a life could lead to and, standing at a crossroad and needing to make a decision. I think this describes Cassius’ personal journey throughout the books to a T, especially in the climax of Morning Star where he makes the decision to join Darrow in taking out Aja and Octavia. The other arcana that Cassius would be is the Star. This arcana is said to represent hope, self-confidence, faith, altruism, luck, generosity, peace and joy. I feel like self-confidence, faith, and altruism fit pre-end of Morning Star Cassius very well. He was considered the pinnacle of Golds and I think, at least until he learned what was actually going on, that’s all he wanted to be. The game characters with this arcana are teachers or mentors to the protagonist. Characters that are very good at what they do and offer some form of training. A sort of outlier to this is Teddie, from Persona 4. While he does have more experience than the main character dealing with the enemy (both Cassius and Teddie are part of the group the protagonist fights against), Teddie doesn’t take a combative role until later in the game. This is only possible because Rise, who replaces him as support, makes him question his identity or the “real” him. This is very similar to what happens to Cassius in the first three books. Darrow becomes what Cassius thought himself to be and it causes Cassius to question who he really is. Although, unlike Teddie, I think Cassius chose to heavily lean into being the perfect Gold specimen until the end of Morning Star, where he makes a choice to be the “real” Cassius. As for the Persona, I could easily see him with Sraosha, who represents the highest virtue of humanity, obedience to and submission to Divine Law. I think his motivations for using this Persona would change, however. I imagine at first, he would use it to keep the Society functioning how it always does. But, after Morning Star, I bet it would shift to be more about protecting his own ideals and the submission aspect would relate to Cassius’ personal morals and sense of justice.

Lysander: I really wanted to avoid using the arcana that are not present in a standard deck, and added for a specific game. However, one of the arcana that stood out to me for Lysander is the Faith arcana. This arcana symbolises, in the positive, belief in others and in oneself. Negatively, it represents blind faith misplaced in something that does not deserve trust. From what I understand of Lysander’s story, his personal journey seems to mirror that of the game character who shares his arcana. It is revealed later that she is a fake, and her memories were overwritten by another character. I have not finished Dark Age as of writing this but, I am under the strong impression that Lysander has been brainwashed and that some of his memories have been replaced or erased entirely. And while he does have some misgivings about the Society, I believe he is blind to how fucked up it really is. But it also holds potential for Lysander to overcome this indoctrination. I had a bit of trouble with what the second arcana would be but, I think the Moon fits Lysander pretty well. You could say he’s a….Moonie. But in all seriousness, the description that struck me as Lysander-esque was "They often tend to have trouble accepting themselves for who they are and, because of that fear, try to correspond to an ideal person. And like the arcana, there is a hidden depth as to why they act in their behaviours." Lysander was definitely sheltered and isolated, by both Octavia and Cassius (he tried his best). And perhaps by Atalantia to some degree. He is a fed a narrative and doesn’t really get a chance to analyse his own perceptions and why they may be incorrect. The characters of the Moon arcana in the game often struggle internally with themselves which, to be honest, is a trait most of the POV characters have. But what I think Lysander lacks in that case, is self-awareness. As for the Persona, I ended up going with Cendrillon. This Persona is based on Cinderella, which is a little different from some of the other ones. As much as I like to make fun of Lysander for his poor choices, it’s hard not to see him as a victim. I don’t necessarily think he’s a hero or that he’s entitled to the kind of happy ending Cinderella gets. However, I do feel that, like the fairy tale princess, some of his circumstances were as a result of situations that were out of his control. Also, a line really stuck with me from the initial awakening for the Persona that really made me think Lysander; “Well, if those really are the shoes you've chosen... Then we'll dance to the end.”

Ephraim: Ephraim suffers a lot throughout the books, and I feel like that reflects heavily on what arcana he is. I think the first one that fits him well is the Tower arcana, which is associated with a fall from grace. His story reminds me a lot of the Tower social link character in Persona 3. Both Ephraim and the game character lose their family and turn to substance abuse to numb the pain. People of the Tower arcana seems to suffer a lot of internal pain which they fail to cope with healthily and thus turn to less savoury means until and outside force steps in to help steer them in a better direction. The other arcana I believe fits him well is the Hanged Man. What makes me think Ehpraim is that the appearance of the Hanged Man can be seen as advice to take the time to reflect over one's upcoming actions, which is something I think he needs to learn how to do. They can also be self-sacrificial and are often notable for being stuck between two different stages of life. Also, much like the Tower arcana characters, their journey seems to revolve around some kind of loss that they are failing to cope with. As for the Persona….this was a bit tricky. I have a few I like but one comes with a bit reluctance because of how it plays into the plot of Persona 4 and how it would reflect on Ephraim’s character. But, my gut is telling me that Magatsu-Izanagi is the way to go. What is making me think of Ephraim when I see it is the symbolism behind this Persona. It represents emptiness, impulsiveness, poor judgement, obsession and frivolity. There are also some similarities between Ephraim and the character who wields this Persona in Persona 4. They both exhibit little tact and seem to be playing some sort of game with the other characters. However, Adachi (Persona 4 character) seems to do this because he’s a psychopath whereas I think Ephraim is this way as a terrible coping mechanism. In Persona 4, the arcana where this Persona fits in is meant to be the reversed Fool. And while I’m trying to stick with the Persona 5 Royal placements (which for Magatsu-Izanagi is the Tower arcana), I think the implication here is that Ephraim has a lot of potential to be something so great if he can just reverse the path he is going down.

Lyria: I love Lyria. I think she’s a wonderful and interesting character. I love that she highlights the ramifications of undoing a toxic form of government. She gets so much development that it was easy to see what arcana she fit into. The first one I thought of was the Hermit. It represents wisdom, introspection, solitude, retreat and philosophical searches. In the beginning, she has very strong opinions about Darrow and the rest of the Rising. Which is entirely understandable considering her entire way of life was stripped from her without a way to cope with the changes. But, unlike Lysander, she’s willing to re-examine herself and her perceptions as she is presented with new information. She also tends to try and keep under the radar if she can, which is another trait of the Hermit. What’s interesting to me is that other characters of the Hermit arcana are victims of circumstances out of their control, but they see their own victimization as a result of a flaw in their character. The other arcana is very tricky for me, as there are parts of Lyria’s character that I don’t know yet. After much discussion and deliberation with my resident expert, the second arcana for Lyria is the Priestess. This arcana is a symbol of hidden knowledge or other untapped power, wisdom, female mystery and patience. The characters of this arcana also take more time to open up to the protagonist than others. Which also fits Lyria as she needed time and introspection to really understand Darrow and Mustang. As for the Persona, I’m actually going to cheat a little with my choice. I try to keep the arcana placements from Persona 5 Royal but for Lyria, I’m choosing Hariti whose arcana is Priestess in Persona 4 and Persona Q. Hariti is a protector of children and childbirth after going through a significant change in perspective which, from what I understand and have been told, is also something that Lyria does.

[nutty1005]

Xiao Zhan: Learning to Live with Different Opinions

Original Article: https://mp.weixin.qq.com/s/kFwWw70e6UvJ75egnRe7BA This article is published by Blogger World 博客天下 Weixin. This is also part of the article published in Blogger World 《博客天下》2020 8th Issue.

Giving others the space and freedom to voice different opinions is also a form of respect. Accepting criticisms during growth, displaying kindness in adversity.

Eye of the Storm

Acting is a profession, once you become famous, you will be labelled as “a celebrity” and you become a public figure, but in essence, you are still an average person. Just like everyone else during the pandemic period, they still need to stay quarantined at home and consider their daily meals.

“Celebrity” Xiao Zhan, who has a huge fan following, was also at home catching up on the movies on his to-watch list, watching dramas, reading, practicing his culinary skills – his work was no longer as tightly scheduled as before. This was supposed to be a rare relaxation period, but because of the sudden internet controversy, he found himself landed in the midst of public outcry, and this shattered his initial peace.

At first, he was quite confused, although he understood that any public figure would come with some sense of controversy, but when some of the controversy affected his friends and family, he felt that these were unfair to them. This point was something he could not quite understand.

After the passage of time, he slowly calmed down, and he attempted to learn to live with these different opinions. He feels that giving others the space and freedom to voice different opinions is also a form of respect, and he will accept criticisms during growth, and display kindness in adversity.

After a problem appears, the best method is to resolve the problem, and not to create another problem. This problem will obviously inspire fans (of any idol) to reflect on their actions, and consider how to reasonably handle themselves as a fan. At the same time, artists will also consider how to handle their relationships with their fans, and their teams will need to be more precise in their work. Whereas to the general public, when viewing the whole incident rationally, this can be also considered to be a part of creating a healthy internet environment.

Chance

When some people consider Xiao Zhan as one of the core members of the controversial “traffic” celebrities (TN: Traffic is a term that is used in China to describe idols with a lot of fan following), and lambast him for it, it is necessary to view his journey rationally – understand his chance entry into the entertainment business, and his unique qualities that set him apart from the rest.

Born in 1991, Xiao Zhan is almost 30, but he actually had not been famous for more than a year. Before this, like many other youngsters, he went through high school, university and work life, and never thought that he would become an artist. His university was Chongqing Technology and Business University; he majored in graphic design; while schooling he had received titles such was “Advanced Literary Individual” and “Excellent Team Member”, and also participated in the charity poster design competition organized by his university, winning awards “First Standard Award” and “Most Popular Award”; he even started his own studio with his friends. As such, it can be said that he went through a complete university education, and hence he has a certain amount of knowledge literacy.

After graduating in 2014, he worked for almost a year in a design firm. In June of the second year, because he loved singing, he joined a variety show “X-Fire”《燃烧吧少年》, in hopes of being seen by more people. This was not an easy part of his life – he had to learn dancing with zero foundation, stretching, memorizing movements, with great difficulty. Finally, he debuted as a member of the X-NINE X玖少年团 boyband.

That year, he was 25, and this fulfilled the lyrics of a song by Stefanie Sun – “The 25 year old me, there are differences now.” Then, he thought 25 years old was far away, but in the end it was really different.

However, at that point in time, China talent search variety shows did not have the popularity it would have later on, hence he was not popular upon debut – there was a period of dormancy. In the years following that, he switched paths to become an actor, and participated in web dramas, television dramas, as well as a minor role in the movie “Monster Hunt” 《捉妖记》, totaling a number of 7 to 8 shows. Because he did not come from an acting background, he felt inferior to his partners, who graduated from acting schools, during the shoots. During this period of time, he also doubted his decisions, and wondered if he had a future.

Later on, in the interview with Ren Min Wang 人民网 “Friendly Chat” 《友聊》 he said, “If initially I knew that I would later on go through so much things, I might retreat.” This is actually very similar with the encounters of many other actors, from low to high, from silent to outstanding, experience, works and reputation all have to go through an accumulation process.

At that time, he already had fans, although not too many. In his Weibo, he once had a post that was meant to communicate with his fans, named “Secret Garden”, to tell one another stories, encourage and comfort one another – it was a type of positive interaction.

Fame

The true fame came on the June of 2019. The web drama “The Untamed”, where he starred as the leading actor, aired. This drama came with a fan following from the novel it was based on, and with exquisite production quality, good acting portrayal and performance, this drama became the hottest drama of that year. It scored 7.7 in Douban (TN: Somewhat like China IMDB), which was considered above average in China, and it is worthy as a piece of “work” – although Xiao Zhan said in this interview, “Currently, I don’t think I have any piece of noteworthy work, hence I cherish every opportunity to participate in creative work.”

From this, he obtained a huge reputation, his fan size grew multi-fold, and this objectively created more difficulties for his team working behind him. From a commoner to an artist, and then to a celebrity, based on Xiao Zhan’s behavior, he is careful and cautious. When interviewed by China Youth Papers 《中国青年报》, he said “When I encounter difficulties, I will not give up easily, I will think of ways to resolve it”; “Respect everyone around me, I have to uphold the heart to honor and respect everyone around me.” When interviewed by Guang Ming Times《光明日报》, he hoped “the works that he participated in could transmit some positive values.”

At the end of last year, in CCTV Movie Channel, he also reviewed his legendary experience of 2019, “There are no adjectives to describe my 2019, hence I will say thank you, thank you to all the experiences, to all that I have.” He never talks about what role he is most satisfied with, but only that he could do better, “maybe it could be the next one”. At the same time, he expressed that he will put the focus of his career in 2020 on acting, “to an actor, works are my foundation.” This clearly shows that he is clear about his own acting career.

But evidently, the start of this year was not smooth sailing for him. This internet controversy, as a related party, he received numerous criticisms, whether with good or bad intentions, and how he viewed this whole incident, what psychological process he went through, how a public figure should bear the social responsibility, and what his next steps are…

For this, the aim of this Blogger World interview with Xiao Zhan is to “understand the problem, obtain a common understanding”.

Understood Some Things

(TN: R = Reporter, XZ = Xiao Zhan)

R: Earlier when the pandemic was at its peak, what were you busy with?

XZ: Quarantine, just like everyone else during the pandemic period. I remember it was during Chinese New Year period, following the news, seeing the medical personnel fighting at the forefront. It was especially touching when you see that they were relentlessly fighting even though they were facing a lack of medical supplies. At that time, I spoke with my staff, thought about wanting to do something, and do what I can. After the discussion to decide what to donate, we started contacting the relevant suitable organizations, communicate on what was needed, etc.

Besides this, I also received invitations to record ID videos to cheer on Wuhan and songs to beat back the pandemic. Because the songs required more professional equipment, hence I remember around the end of January, we went to the recording studio. At that time, the pandemic was at its critical period, to ensure safety, there were very limited staff on site, everyone were wearing masks, everything was strictly disinfected, every staff had to perform multiple roles, but we finished the recording with high efficiency. To me, this was a very special experience. Other then that, I was quarantined at home.

R: When you were at home, how was your daily life? How did you spend the time?

XZ: Actually just like everyone else, watch the news, watch dramas, watch movies, read books and rest. It is also quite inconvenient to order takeouts during quarantine period, hence I also trained my culinary skills. Just right at the time there were charity events to aid the farmers, hence I bought some fruits and farm products.

R: Were you concerned with the daily changes of the pandemic, what did you feel and think about?

XZ: Of course I did, I was following up on the pandemic news everyday, there were many moments that touched me. Previously there was this piece of news, a pair of husband and wife, there were both medical staff at the forefront, recognized each other despite wearing isolation robes and hugged together, that scene of reunion touched me very much. But at the same time, I saw that there were a lot more people who needed assistance, and I also felt personally that what one person can do is very limited, and I did too little.

R: When the internet controversy happened, what were you doing, what was your initial reaction, and what happened after?

XZ: I was quarantined at home at that time, when I first saw it I was extremely surprised, why there were suddenly so much topics, felt a bit confused, and understood it later like everyone else. Actually with regards to controversy, as a public figure, I was willing to bear these controversy, but some of them affected my friends and family, I felt that these were unfair to them. I could not quite understand (why they did this). And that point in time was the most critical period of the pandemic, I did not want my issues to take away too much attention, and bother everyone, hence I did not make much responses. Later on, my friends also gave me advice, and this period gave me more time to ponder over it, I also went out to do voice overs, in preparation for my future jobs, slowly I understood some things, so after a while, I started to slowly calm down.

R: You once said that in order to survive in society, one needs to learn to be complex, do you realize the complexity even more so now? Where there any changes to your life views?

XZ: There is definitely complexity, I do not think this is anything bad. Facing complex situations, we do not have the ability to force any changes, but I feel, as long as we maintain the most initial kindness and purity, work hard to do the best for the things we have decided. I have always upheld these principles, and these are also what I want to do.

R: Do you feel misunderstood? How do you adjust yourself?

XZ: It is still the same phrase from the previous interview, “When serious – work, when confused – read, when alone – think, when upset – sleep.” Actually I think this phrase can be used to aptly describe my condition for the past few months.

R: After a period of time, how do you feel about the controversy now?

XZ: We need to learn to live with different opinions, and also respect everyone’s rights to voice theirs. But this world is like this, there is a balance of energy, there are those who love you, who like you, at the the same time there will be people who hates you, who dislikes you. Giving others the space and freedom to voice different opinions is also a form of respect. Accepting criticisms during growth, displaying kindness in adversity.

No one likes you for no reason

R: We will talk about your experiences as an artist, when did you realize that you are famous? How did you feel?

XZ: Last summer, after seeing that there were more people who supported and liked me, very thankful and grateful. My father told me since young “no one likes you for no reason”, hence I hope I can live up to everyone’s like.

R: When you first entered the entertainment business, what goal did you hope to attain?

XZ: Actually my thoughts were very simple then, that is work hard to do the best in the competition, and hope to receive more recognition.

R: In being an artist, what did you feel is the most toilsome?

XZ: Every profession has its own toils, I treat my work very seriously, hardship is actually something you cannot avoid. If I really have to say something as toilsome, then it will be how I face the complex environment.

R: Many felt that you became famous overnight, but actually you already participated in several different dramas, how was your condition like then? What desires did you have for the future?

XZ: Actually there were not much difference, previously I just hoped that I always have jobs, have the opportunity to contact better roles, now is just work seriously, act properly, live everyday to the fullest. Continue on the path of an actor.

R: How did you learn performance? Where there any experience that was especially memorable?

XZ: At the start, I had no concept with regards to performance, later on I also took performance classes, with directions from performance teachers. The experience that was especially memorable was during the shooting of “The Wolf”, there was a crying scene on the highlands, a night scene, and it needed to rain, but that time, no matter what I did, I could not cry.

R: What do you think the relationship of front stage and back stage is?

XZ: I feel that front stage and back stage is not a type of relationship, but is the same job. Without the serious work and support of the backstage, the front stage will not be able to become better.

R: The character Wei Wuxian gave you a lot of glory as well as some controversy, how did you view the role?

XZ: I treat every role I have acted in seriously and with deep respect, because their story are all alternate lives that I would never experience. And portraying these characters, I really hoped that we can achieve success mutually, and win the recognition and love from the audience. I am lucky and thankful to have participated in a part of Wei Wuxian’s life, and this role also became an important part of my acting career. Also I am very grateful to the hard work from all the staff as part of this creative work, and gifted this character vitality. All these creative artists gave me the chance, and allowed me as an actor, using my own thoughts and performances, to bring forth the character Wei Wuxian, even more vividly in front of the general audiences.

R: With regards to “work”, how do you define it?

XZ: I feel that a piece of work is not just the result of a person’s hard work, behind it are also everyone’s sacrifices and creation. Currently, I don’t think I have any piece of noteworthy work, hence I cherish every opportunity to participate in creative work, and also treat every job seriously, in the future I will do my best in singing and acting.

R: The journey of fame, how did you establish your confidence, from inexperience to mature?

XZ: It is definitely a slow process. Actually it is just like that lyric in my new song “All traces passed by turned into light spots.” That is when you encounter difficulties, from it you learn and grow, the accumulation of every step, you are always on the path of growing.

R: In facing the exhaustion from work, the disturbances from the outside world, do you feel that fame is a double edged sword? How do you hope to be viewed by the outside world?

XZ: I feel that anything has its pros and cons, I have already learnt to handle it with common sense, I hope that I am still the same initial me, to be able to maintain humility and politeness.

R: Are you afraid of the uncertainty of life? Do you have insecurities?

XZ: Of course I am. Life is made up of a lot of uncertainties, many times I would also feel insecure, but isn’t the unknown life’s greatest challenge? The feeling of “singing as you walk” is great.

Be yourself, actions speak louder than words

R: You once said in an interview that you do not want to be a perfect person, can you explain what you meant?

XZ: I feel that no one can be perfect, neither can I.

R: Actor, artist and traffic celebrity, what do you think the difference are in these terms?

XZ: Actor is my career, artist and traffic celebrity, to me, are just a label, that is on every public figure. I will do the best for my job, in the future I will be even more serious in my singing, acting, and continue to bear whatever social responsibility I should bear.

R: You once said that communication is very important, now that you are too famous, will this bring about difficulties in communication?

XZ: The changes in my identity definitely brought along some inconveniences, but to my friends, my family and me, the communication has always remained the same. In facing those who like me and support me, I feel that I am communicating with them via my works, hence I will humbly accept all good intent criticisms and corrections on my profession.

R: You did not change your Weibo account after your debut, and also said that that you are very real, and you want to show everyone the real you. To the public who do not understand you, what do you have to say?

XZ: I always said, I am not a perfect person, but that does not prevent me from working hard towards becoming a better person. I am a more direct person, I also wanted to present the real me to everyone, hence I never considered changing my Weibo account, those were all my experiences and memories, the testament to my growth. I will not use youth or commoner as an excuse.

I started using Weibo when I was 19 or 20 years old, when I was still young and a commoner, and I said some very inappropriate words or opinions that are unacceptable now, and it probably did cause trouble or hurt to others. Hence I also wanted to say, after reflecting, to those who were hurt by these opinions, I express my most sincere apologies. If I could use my current experience and sensibleness back then, I would definitely respect everyone’s effort in their work, and will not comment rashly.

R: Your Weibo used to be very lively, full of witty words, you also liked to snatch the top comment on your own posts, and interacted with your fans, but later on, these posts were generally non existent, almost as if your image became flat, how do you feel?

XZ: Just representing myself only, I feel that the image on social media cannot encompass an entire person, that is only an outlet. I am always willing to communicate with everyone, but I am also afraid to bother others, if the effect of bother becomes greater than sharing, that would be something that I very much would not want to see.

[entertainment]

Entertainment Spotlight: Will Vought, The Marvelous Mrs. Maisel

Actor, comedian, and writer Will Vought stars in the most recent season of the critically acclaimed dramedy series, The Marvelous Mrs. Maisel. Additional television credits include The Good Wife, The Good Fight, both Lipstick Jungle and Love Bites, Bones, and Wilfred. Will is also an accomplished comedian, having toured the country opening for Wayne Brady. He got his start in the entertainment industry by contributing to Scott Shannon’s #1 morning show on 95.5 WPLJ, offering David Letterman updates and recaps, which opened the door for him to work for Late Night with Conan O’Brien. Following his work with Conan, Will was offered a position in the West Wing of the White House, working for former President Bill Clinton, where he still continued his radio work on the weekends as the youngest morning show host in the country at just 22 years old. Will went on to serve as head writer for Wayne Brady during his time hosting the The Late Late Show prior to James Corden in 2014 on CBS, and he continues to collaborate with renowned actor and comedian Paul Reiser, including shopping a television pilot they wrote together with Julie Bergman. We got the chance to ask him some questions. Check it out:

Do you have a favorite character arc from season 3 of The Marvelous Mrs. Maisel?

For Season 3, I’m finding myself really interested in Susie and her journey. I don’t want to spoil it for those getting ready to start the new season or binge the series; however, in the first two seasons, Susie’s been hustling and primarily being of service to Midge while her personal life hangs on by a thread. In season 3, there are so many more layers introduced and opportunities that will ripple into not only her clout as a comedy manager but also her personal life. Also, I’m really invested in Lenny Bruce. Having read so much about him to see his plight on screen told through Amy’s lens is incredible. I don’t know anyone in comedy that doesn’t appreciate what Lenny Bruce did for comedians. The end of the Season 3 premiere is absolutely priceless seen thought the eyes of Tony Shalhoub’s Emmy Award-winning performance as Abe Weissman - Midge’s father.

If everything that you did was narrated, whose voice would you want narrating your life?

HA! That is a great question, and I’ve had to think about it. At first, I thought of the late great voice-over artist Don LaFontaine who moviegoers would remember as the “In A World…” guy who made millions voicing almost every movie trailer ever! BUT…truth be told I think that I would love Seinfeld's voice and lens, and I think it would make my day to day activities far more entertaining to listen to, especially when on the phone with my therapist.  

Can you tell us about a time you bombed (on stage or in an audition)?

Well…the thing that pops to mind was an audition for NBC’s series called Lipstick Jungle. At the time, I was living on Long Island and decided to make the mistake of driving into Manhattan for the audition. Traffic was abhorrent, and you would think that there were mass casualties on the Long Island Expressway resulting in me being almost an hour and forty-five minutes late for the audition. The director of that episode was the one and only Timothy Busfield, whom I loved on Arron Sorkin’s The West Wing. Tim played reporter Danny Concannon - Senior White House Correspondent.

I had no idea that Timothy was going to be at the audition and was mortified when I showed up and saw him in the room because I was so late. It’s not unheard of to not be seen at all if you are late, let alone hours late. I read for the part and left. Tim was gracious. A month later, I got a call saying that I didn’t book that role; however, they were writing me another role and wanted to hire me for it. While on set shooting, Tim told me that when they asked him if he had any ideas for the part and he said, “That guy who came in 2 hours late. He was great. Hire him.” So I thought I bombed — but it worked out in the end.

The USO Tour scene from The Marvelous Mrs. Maisel broke the record for the most number of background actors used in a scene for tv in the state of New York (850). What was it like being a part of such a huge production?

I’ve never worked on Star Wars, but that’s what I was thinking of when we were filming that. It was by far the largest set I’ve ever been on, and yes there were almost 1000 background actors there for almost an entire week, who made up the audience of the USO show that you see in the season 3 premiere. When I met with Amy and Dan for the final audition for the role of Major Buck Brilstein, it was at Steiner Studios in Brooklyn in a small room that’s not much larger than a small studio apartment in Manhattan. It was the three of us and Emmy award-winning casting director Cindy Tolan. We did all the material from the episode, and to juxtapose that to being in an actual hanger with 1000 extras essentially filming a USO show that’s scripted — it was a historic moment in television that wasn’t lost on me.  

What was the audition experience like for your role on The Marvelous Mrs. Maisel?  

I kind of talk about that above. I had a great experience. As with anything, you have to go in a number of times, and then the final callback is with Amy and Dan Sherman Palladino. You are 2 feet away from her, there is a camera, and Cindy Tolan, the casting director, and you create the world and do the scenes — WORD PERFECT! That is a huge thing, and something I was told going in. Be word perfect every time. Their words are like notes on a page. Each one carefully picked and placed, and my job is to take them off the page and bring them to life with a sensibility of 1959 and a guy that’s a major in the army who always wanted to be a comedian but never really got the chance. So, my character is literally living his dream in this episode. Beyond that, you bring your A-game, nail it, and it’s up to Amy and Dan. It happened to go my way, and as I told Amy, I was grateful to get the invitation to play in her world. She wrote and directed this episode, so it was extra special.

Is there a specific role or moment that you feel has defined your career up to this point?

We’ll — this is pretty significant re: working with the Palladino’s.  I thought that The Good Wife was a big deal at the time — as I was part of Bob and Michelle King’s storyline that revealed Josh Charles’ character was murdered.  

It seems that I’m only allowed to act opposite actresses that have won 2 Emmy’s and 2 Golden Globes for Best Actress. LOL.  It’s truly a hard question to answer as each project is different, and as an actor, you hope that one job will open a door or opportunity to another.  That’s what I’ve found, at least over the past few years, so it’s certainly a slow burn.

Years ago, I was the low man on the totem pole at NBC’s Late Night with Conan O’Brien. I was an intern in the writing department under John Groff and often got the chance to appear in sketches on the show. This was an invaluable experience. There was an afternoon where I asked Conan (as I was cleaning his office) if he knew this was what he was going to do from the beginning. I’ll never forget what he said. He told me that, “In his wildest dreams he never thought he would be hosting a late night show.” He described show business as being on a highway. He was a writer in college, wanted to be a writer and set off on the highway with the goal of writing in mind. Along the trip, there were exits: Mad Magazine, The Simpsons, SNL. After each exit, he gets back on the journey. If you want to be a teacher or doctor or lawyer, you know exactly what to do. Go to X school for X years, and then they declare you as such. Boom. You’re it. Hollywood is not like that. Everyone’s path is so different, and how we get to where we are is almost inconsequential when compared to the culmination of the journey. I’ve been blessed to do a lot of different things so far and work with incredible talent that truly moves the needle in this business, and I hope for more opportunities.

What’s your favorite bit or joke from one of your stand-up sets?

I have a new bit I’m working on that’s fueled by my natural anger toward this situation.

I hate paper straws.

If this makes me a horrible person, so be it. If “they” think I don’t care about the EARTH or ENVIRONMENT and support the extinction of humanity because of this — so be it.

Paper straws? Really? Who did this make sense to? Who thought it was a good idea to combine PAPER and WATER?

I’m sure it seemed like a good idea at the time — but it doesn’t work. Three sips into my iced coffee and the thing has disintegrated, and I’m now drinking iced coffee and paper!

If you think paper straws are a good idea, let me ask you one question. Would you like to use a paper condom?

In the future, you’ll be standing in the rain telling your friend you can’t understand why she’s pregnant and soaking wet from holding the paper umbrella.

I will say that if we do switch to paper condoms …. I don’t know about the environment, but we will absolutely ensure the survival of humanity.

Lighting round! Describe each of the following in one word: Who you are, what you value the most, and what you’d be if you were a food item.  

I AM WILL VOUGHT.

I VALUE MOST: MY SON.

IF I WAS A FOOD ITEM, I’D BE A BEYOND BURGER!

What are you working on right now?

Right now, I’m working on sending out subliminal messages via Transcendental Meditation to Adam McKay for a coffee meeting that would result in being cast on the 3rd season of Succession on HBO.  I’d text him, but I don’t have his cell. Do you?

Thanks for taking the time, Will! Catch Season 3 of The Marvelous Mrs. Maisel on Prime Video. 

Photography: Emily Assiran | Grooming Laila Hayani | Styling: Natalia Zemliakova

[sheliesshattered]

This Isn’t A Ghost Story extras for Chapter 8: The Temple

The eighth and final chapter of This Isn’t A Ghost Story has been posted! You can find it here on AO3 and here on Tumblr. Below the cut are extras for this chapter and a few things for the story over all. I’ve had such fun writing this fic, and hope you’ve all enjoyed reading it and following along with the writing process here too!

Like the previous chapter, chapter 8 is named for the location where it takes place, in this case the Mortuary Temple of Hatshepsut, which is near the Valley of the Kings, Thebes, and modern Luxor, on the west bank of the Nile.

As mentioned in both this chapter and previous chapters, several sections of the temple have stars painted on a blue background on the ceilings:

The ‘towering statue’ Clara comments on is one of a line of statues depicting the pharaoh Hatshepsut as the god Osiris, only a few of which are still standing:

Here’s a short video showing both the exterior and interior of the temple from earlier this year.

I came across the Temple of Hatshepsut fairly early in my writing process, when I was looking into what archaeological dig sites were active in the 1910s and 1920s. This photo from the late 1920s shows the continuing work going on in the area (that’s the Temple at the back left), and served as part of the inspiration for Clara’s memory of finding the Doctor at a dig site in Thebes in 1921:

About a month into writing This Isn’t A Ghost Story, I was grappling with the detail of Clara’s wedding ring, based on the poll results you guys gave me. I had been toying with going with an emerald for her ring, since emeralds have some interesting ties to ancient Egypt, but I also really wanted to go the route of a TARDIS-blue sapphire, and in particular a star sapphire really appealed to me, for its look and its symbolism. The results of that little impromptu poll clearly pointed to a star sapphire -- but also suggested I tie it into the world-building somehow.

Those two elements came together in my head rather abruptly when I remembered the star ceiling at the Temple of Hatshepsut, and after digging into the history of Hatshepsut, I realized it worked almost too well. On 28 June this final epilogue chapter sprang into being in basically the form you see it in here, baring a few edits I’ve made to it in the three months (!!) since then.

As the Doctor says in this chapter, the Temple was designed and overseen by Hatshepsut’s head advisor Senenmut, and many modern Egyptologists do in fact believe that the two may have been lovers during Hatshepsut’s time as pharaoh. While there are many stylized statues of Senenmut (including a few of him with Hatshepsut’s daughter, to whom he served as primary tutor), archaeologists have also found ostracons, chips of limestone that ancient artists used as throw-away sketching surfaces, that depict Senenmut in what he more likely looked like in life:

Please tell me I’m not the only one who sees this resemblance: 

And then there’s Hatshepsut herself, who is depicted in numerous different ways throughout art and statuary, sometimes shown as more typically male in her role as pharaoh, but more often shown in what Egyptologists believe she looked like in life -- large eyes, full cheeks, and a small chin:

I mean:

Once my brain made that connection, I really couldn’t let it go.

I had originally planned to end the story with the sequence in the Cairo museum that eventually became chapter 7, but the connection between Clara and the Doctor and the real historical Hatshepsut and Senenmut -- with the added parallel of Senenmut as tutor and guardian of Hatshepsut’s daughter corresponding to the Doctor watching over Margot in Ghost Story, even -- was just too good to pass up. 

Senenmut’s tomb is as the Doctor described it, with the oldest known astronomical ceiling of any tomb or temple in Egypt:

His tomb is very near to the Mortuary Temple of Hatshepsut, and tunnels into the cliffside such that it is extremely close to Hatshepsut’s own tomb, which is entered from the Valley of the Kings, on other side of that mountainous area. This has only further fueled speculation that the two were very much in love -- as pharaoh, Hatshepsut had to have her tomb built in the Valley of the Kings, and as a commoner Senenmut couldn’t be buried there. But they could design their tombs such that they would be as close as possible to each other, even if the entrances are miles apart.

Part of my goal with this final chapter was to give a hint at a larger story that this version of Clara and the Doctor are just a part of. I left the possibility that they had once been Hatshepsut and Senenmut intentionally open-ended, so the reader can make their own decision. They might have been, they might not have been, but in the end what matters is that they are together and in love now. 

Similarly I also wanted to make allusions to both Doctor Who canon -- Senenmut as an ancient astronomer, and Clara’s comments about travelling the stars together in their next life -- as well as the wide variety of fanfiction that exists for this ship. In a way there are thousands of versions of them scattered about out there, finding each other and falling in love over and over again. This Isn’t A Ghost Story doesn’t exist in a vacuum, it’s part of a much larger multi-layered story that is constantly being told and re-told. And in many ways, that’s what I love best about fanfiction versus any other genre of fiction.

The process of writing this story has been so interesting and rewarding, frustrating at times and huge amounts of fun at other points. With this final chapter posted, This Isn’t A Ghost Story is officially the first multi-chapter, non-series fanfic I have ever actually finished, in more than a decade of posting fanfiction online. This is the first time I’ve made myself wait to start posting a story until it’s nearly complete, and I documented more about my process thoughts here on Tumblr than I have for anything I’ve written previously.

It has been a fantastic nearly four month journey, and so much of that is down to the lovely interactions with those of you reading, both here and over on AO3. From the early interest many of you expressed way back at the beginning of June, to the comments and cheerleading on my #process thoughts posts throughout the summer, to all the many wonderful and humbling comments on the story on AO3, I could not have made this journey without you guys. With what a strange, stressful, and often depressing year 2020 has been, I know that when I look back on this year, this is what I’m going to remember the best, taking this journey along with all of you.

And on that note -- do any of you have any questions about Ghost Story? Anything about the writing process or the world building or really anything at all, I am more than happy to answer in as much detail as you like. Feel free to ask here, or on AO3, or use my Tumblr askbox, now or at any point in the future. ❤️

@tounknowndestinations​ had asked about the timeline I worked out for the entire story, that I’ve been keeping under wraps for fear of spoilers. Originally this started as just a way to keep straight how many years had passed -- ‘do I say eighty-six years here, or eighty-seven??’ etc -- but eventually ballooned from there to cover the entire narrative, and even some of the timeline that is only hinted at in places. This is its final form in my working googledoc:

1875: the Doctor is born

1885: the House is built

February 1899: Clara the 1st is born

13 May 1921: the Doctor and Clara the 1st meet in Cairo, she is 22, he is 46

12 May 1923: the Doctor and Clara the 1st marry in Glasgow, she is 24, he is 48

June 1925: Clara and the Doctor return from Egypt

August 1925: purchase of the House

23 Nov 1927: the Doctor dies, age 52

21 August 1928: Margot is born

23 Nov 1928: Clara the 1st dies, age 29

8 April 1956: Ellie is born. Margot is 27

23 Nov 1986: Clara is born. Ellie is 30

1991: at 5 years old, Clara tells Ellie and Margot about the ghost 

September 2000: Ellie dies of cancer, age 44. Clara is not quite 14

January 2010: Dave Oswald dies of a heart attack, age 56. Clara is 23

October 2014: Margot dies, age 86, leaving her house to Clara, who is nearly 28 

16 Nov 2014: Clara has the nightmare that begins to unlock her past life memories

13 May 2021: Clara and the Doctor return to Cairo to mark 100 years since they met, the Doctor is restored to life

18 May 2021: Clara and the Doctor visit the Temple of Hatshepsut, which leads Clara to wonder if perhaps they have met and fallen in love before

Thank you so much to all of you who have followed along during the writing process, to everyone who has reblogged chapter posts here and commented on AO3, and everyone who has cheered me on during the past four months. You have made writing this such a joy, and I cannot wait to share my next project with you. ❤️

[ingravinoveritas]

Hey there. I'm glad I'm not the only one who ships David and Michael. I want to ask... Since you ship them too, what are your favorite moments between them and why? And when did you start thinking there actually might something happen between them?

Hi Anon! I apologize that it’s taken me time to respond to your question. I needed to really think about my answer to this, as it is so difficult to choose a favorite moment between Michael and David. I’ve also been talking about so many of those moments lately, so I wanted to think of something that hadn’t already been discussed.

So I would say that, yes, many of my favorites are ones I’ve mentioned previously on my blog, but two that come to mind right now are when David and Michael were on Graham Norton last year, and then David interviewing Michael for his podcast.

Now, there was a lot going on during this interview, with Graham Norton busy Graham Norton-ing and of course the eggplant emoji incident, but what gets me is the sustained look of pure, unadulterated adoration that Michael was giving David:

...That. Nonstop. For almost the entire interview. Amazing.

Their bodies were also oriented toward each other the whole time, again falling into that pattern of always ending up in their own little world. Michael and David were ever the professionals, of course, interacting gamely with Graham and Chris Hemsworth and the audience, but they clearly only had eyes for each other. I also loved the moment where David recited the very long name of the place in Wales. He didn’t learn it specifically to impress Michael, as we know (he learned it from a Welsh actress while doing a Shakespeare play, to mess with the sign language interpreter), but on some level, he had to know what that would do to Michael. And we got Michael’s wonderful, giddy reaction--which was to look like he was barely restraining himself from dropping to one knee and proposing right there--and David just utterly basking in the warm glow of Michael’s attention.

The second moment I mentioned was David interviewing Michael on his podcast. It’s one of the most delightful interviews I’ve ever heard precisely for the reason that it doesn’t at all sound like an interview, but rather like two close friends just having a conversation (which is at least partly due to David’s talent as an interviewer). But right from the outset, one of the first things David says as they’re talking about a GO photo shoot they had just done is, “You're an honest version of how I'm feeling." Which confirmed something that I’ve been observing for a long while now, which is that Michael says the things that David only thinks. There’s a thread of that in so many of their interactions and interviews, which is subtle, but after a while you start to see it, and it’s fascinating.

To go back to the conversational quality of the interview, even though there was no video, the way Michael and David interacted made it easy to imagine what that conversation might look like. My mental image is basically of a sleepover, of them sitting on the floor together in their pyjamas, David behind Michael, knees bent and his long legs bracketing either side of Michael’s body, both of them sharing popcorn out of a bowl beside them and drinking glasses of red wine. David idly plays with Michael’s hair as he asks questions and giggles at Michael’s answers, and then he slowly starts to grip his curls just a tiny bit harder, massaging his head, making Michael’s breath hitch in his throat, but he keeps the conversation going. By the end, they’re both a bit tipsy and Michael is leaning back against David’s chest, warm and flushed and eyes fluttering closed as David rubs the back of his neck, debating whether to laugh or to turn his head and kiss David to break the growing tension...

(...I realize that was rather elaborate, but that whole scenario just blossomed in my mind as I re-listened to the podcast. Also, the fact that there’s a deleted clip of Michael saying “I almost came” and David giggling in response is another reason it’s one of my favorite MS/DT moments and really, really makes me wish we had video of this interview...)

Anyway, to the second part of your question, Anon, which is when did I think there might be something happening between Michael and David. I actually went back into my Tumblr archive to see when I started getting into Good Omens (June 2019) and how the timeline progressed from there. I can see that from the beginning, as I was diving headfirst into Aziraphale/Crowley fanfic and fanart, that I kept gravitating to the more ‘realistic’ art--illustrations, paintings, drawings, etc. that looked like the actors, rather than an artistic interpretation of the characters (which is not to say that other forms are bad, just that it’s my personal preference for fanart).

Right away, I was shipping Aziraphale and Crowley, but I think I was unconsciously drawn to that chemistry between Michael and David, even though I wasn’t outright shipping them then. The shift started to happen not long after that, as I began watching more and more of Michael and David’s interviews and all the GO press tour stuff I could get my hands on. But I am pretty sure that what made the switch finally flip was two things: Michael calling David his “lover,” and this moment, from earlier this year:

Over and over again, Michael has talked about how he was initially excited to be in Good Omens because he’s such a huge fan of the book, he’s known Neil forever, he’s mainlined Ineffable Husbands fanfic like Turkish black mule heroin, and so on. But then here, Michael is talking about what made filming the show so special...and it’s David. He’s remembering this experience--this incredible, life-altering journey of filming this show--and it’s not the book or shipping Aziraphale and Crowley that he speaks about with the most tender affection. It’s David. I just thought that was utterly lovely and very telling.

But the thing is, Anon, is that there really isn’t one specific moment that made me think something might have happened between Michael and David. It’s just been the gradual accumulation of all these moments put together--both the ones I mentioned in this post and the ones I’ve talked about previously. It’s how Michael and David talk about each other when they’re together and when they are apart. And it’s how, despite having numerous opportunities to put out the flames of suggestion, Michael instead runs toward them cackling maniacally, a can of kerosene in hand. (I also like to imagine an amused David just standing there calmly and holding up a Zippo lighter for his part.)

So I hope that helps to answer your question, Anon, and I’m always glad to hear from another shipper. Thanks for writing in and for being here! x

[girlsbtrs]

An Interview with PLEXXAGLASS

Written by Olivia Khiel. Graphic by James N Grey. 

Non-binary dark pop artist PLEXXAGLASS has found their identity and carved out their own space in the music world. With the pandemic putting things on hold, they took to TikTok, reaching a new community of queer fans to connect with through songs like “Liar” and “Lilith” (the latter produced by Linkin Park’s Mike Shinoda). GBTRS spoke with Plexxaglass about collaborating with Shinoda, their gender identity journey and what they hope listeners will connect with in their music.

Girls Behind the Rock Show: Now that you have more music out, how would you describe the evolution of your sound from when you started to where you are now?

Plexxaglass: I love that question. Because it's kind of funny- I feel like I made a little bit of a circle. I say that because the first two songs that I put out- "Lament en Route" and "Liar"- they're pretty similar sonically to the songs that I'm putting out. So much so that I'm actually going to include those songs on the LP that I'll be releasing, tentatively in October. There's an interesting little gap between those first two songs, and then I put out three other songs that was like my experimental phase. I'm always having fun, but I was trying some different things. I'm happy that I did that and there were two music videos that came out of that cycle or phase. Those songs are "Dead-Eyed Monsters" and "Ana Thema". But I feel like I found my way back to what I found initially, which is really interesting and fun to realize now.

GBTRS: What's the story behind your latest singles? What was it like collaborating with Mike Shinoda on "Lilith"?

Plexxaglass: "Lilith" was a half-finished song honestly- maybe even a quarter-finished song when I even got in touch with Mike. That happened so serendipitously-I had a listener who was also a regular viewer of my Twitch channel and a huge Linkin Park and Shinoda fan in general who hit me up on Instagram and was like, 'Mike Shinoda is producing independent artists' tracks, you should totally submit'. 

I submitted what I had of "Lilith" at the time, which was only a verse and the hook. It was a song that I loved and I knew that I wanted to be finished. I'm not one of those musicians that can just be like, 'alright, I'm gonna write a song today'. I really have to be called by the Muses or some shit. I have to be very inspired. But when Mike reached out to me, that was incentive and inspiration enough. I think when I was sitting down to finish it, I finished in maybe 20 minutes. That's just how it happens sometimes. When it's there, it's there and I finish songs really quickly. The process of working with Mike was amazing, and him and his team told me in the beginning that it was going to be pretty hands off on my part. I knew going in that I was gonna have to take it or leave it, which was sort of scary. I was like, oh shit, what if I don't like it? Am I gonna have to tell Mike Shinoda that I don't want to release the work that he did on my track? Oh my god, that's so scary. But no, of course, he's just so versatile. He really is a musician's musician, and he just gets music in general- doesn't matter what genre it is. I believe my song is the one that he finished the fastest, which is very flattering. It made me feel like it was just very ready. He didn't really have to do too much to it. It was a really, really cool experience that I just will cherish forever and ever and ever.

GBTRS: The song came out beautifully so it's great that things worked out so well.

Plexxaglass: Yeah! And the inspiration behind that one- I wrote it out of a fascination with the second season of The Handmaid's Tale. I found that dynamic so fascinating. I find women or femme-presenting people who [are] in a marginalized group who buys into very oppressive religious practices horrifying and fascinating at the same time. That was the inspiration behind writing that and really sitting with wondering if there's ever an awakening with those people. That was really the basis for that whole song.

GBTRS: You've gotten to collab with Mike Shinoda, but is there anyone else on your list that you'd love to be in the studio with in the future?

Plexxaglass: Oh god, yeah. So many. Right off the top of my head...I love Bishop Briggs, I love Dermot Kennedy, Bon Iver, Annie from St. Vincent, Florence Welch. Those are the big ones. I would die happy if I ever got to collaborate with any of them. That would be amazing.

GBTRS: What else do you find yourself drawing inspiration from these days?

Plexxaglass: Up until this point, it's been very autobiographical. It's been very much things that have happened in my life. I am trying to get away from that because I'm somebody who writes more somber music. I have some anthemic stuff that's more uplifting, but it is dark pop. I am at a point in my life where I'm generally- I'm mentally ill- but I'm generally a happy person. There's not a lot of dramatic tragedy going on in my life at 30 anymore. I'm trying to write a little more abstractly these days, but the themes that seem to always reoccur are very social justice motivated. Writing about mental illness and mental health are all themes that I tend to write about over and over again in different ways.

GBTRS: You've been very vocal and open about your gender identity and that's very important to so many people who are looking to find themselves in the people that they listen to. Do you have any advice for people who are struggling with that, or even advice for creatives who are in the industry who are working through that as well? 

Plexxaglass: So my coming out as non-binary is still honestly pretty new. I came out publicly about it a little over a year ago. It's something that I always knew, but growing up we just didn't have the language for it. I didn't really know why I felt so out of place and that it felt like such a struggle to present as feminine as possible so as not to feel like I was an outsider. I spent many years trying very hard to conform. 

I think a lot of it was literature that talked about neo-pronouns [that] was something that happened for me that was really an eye-opener. I knew at that point that there were people who used they/them pronouns [and] identified as non-binary, but for some reason, it didn't really click until a book called Black Sun. They have a character that uses neo-pronouns. It just really slapped me in the face. 

I'm really lucky. My friends and family have been almost apathetic about it- like 'that totally makes sense'. The other thing that really helped me was honestly TikTok as well. There is a large trans and non-binary community on TikTok. That was where I really found community, because it was scary to me, because I have conformed for so long. Being a woman was something that I made a very clear part of my identity for so long, that I was scared to lose that community.

I would just say to anyone who is afraid of that: anyone who doesn't still want to welcome you in their space isn't a person you want in your life anyway. I've been lucky that I haven't really had a lot of that. It was a struggle to let go of that. After I came out publicly, I was looking through my closet and I have all of these shirts that say Girl Club and Badass Woman [and] all of these because I was trying so hard. It was difficult to let go of that and come to terms with the fact that it really never was me- it was a mask that I was putting on to feel included and normal.

GBTRS: Do you have a song in your catalog that particularly resonates with you?

Plexxaglass: There's a song that's coming out in August. It's the last single off of this record [and] it's called "Tall". It is about being a trauma survivor- my trauma- and just a rallying cry for trauma survivors in general. I have put out little teasers of it on TikTok and it does seem like it's really resonating with people, which is very exciting. But out of the catalog of songs that I have out currently, the song "Liar"...it's kind of similar in tone. I wrote it after I was diagnosed Bipolar II. It's a song that's very clearly about mental health struggles and I think anyone who does struggle with depression really does relate to that song. That song was the one that really gifted me listeners from TikTok. So that's a song I'll always cherish for many, many reasons, but it has definitely brought me my little music family.

GBTRS: Now that you're starting to connect even more with your listeners, is there anything specific that you hope people take away from your music when they hear you for the first time?

Plexxaglass: I think, like most people, I wanted to create a little community, and I do feel like I'm finally getting to a point where I'm doing that with my music and connecting people and their experiences. 

GBTRS: Now that things are starting to move forward, what's coming up for you?

Plexxaglass: I want to get back to playing shows. I definitely want to pair a show with the release of the record, so I'm hoping I'm going to book some shows for the fall. Get back into rehearsals with a band and get that going and just keep writing and coming up with new material for the next wave of music.

GBTRS: Is there anything else that you want people to know about you or your music, or is there anything that you wish you got to talk about more that you might not get asked?

Plexxaglass: Wow, good question. I think a lot of people don't realize that musicians- especially independent artists- this is this is our small business. It takes a lot of work, obviously, it takes talent and patience, but it takes money. That's why they're there are gaps in time of when I put music out, because sometimes I just legitimately can't afford to- which is sad, I wish that the US had more support for artists like I know other countries do- I know that the UK is really good about grant opportunities for their artists out there. 

I know that people are happy to consume music, but I think people don't realize- especially in the independent side of things- how hard it is to be a musician who's trying to make it in this country. I appreciate everyone who has ever just randomly sent me like $2 on PayPal. It means so much to me because it means that they get that and I think that is something really special and cool about the family that I'm building with my music because they think that they really see me and they appreciate the work. It's people who genuinely want to be involved in my work, and that is something I've never experienced before until the past year or two. That's awesome because myself and my producer, Kevin...we love this project to death. It's awesome to see response from people who love it just as much as we do.

[thelifedocumentor]

Nkuley Masemola and his iconic creative expressions

Nkuley Masemola is a multidisciplinary creative who works as a fashion model, DJ and stylist. Nkuley Masemola has modelled for iconic South African fashion brands such as Rich Mnisi, Thebe Magugu and Nao Serati. They also invite the young vibrant youth of Johannesburg to the eccentric scenes of Braamfontein through DJ’ing. With styling that transcends cultural eras and borders, Nkuley translates their experiences of navigating South Africa and the creative culture artistically into their photographs. The success they have garnered since working as a fashion model from the age of 17 is truly inspiring. In this interview we talk about what inspired Nkuley growing up, their artistic journey and the importance of being yourself in order to thrive in the creative industry. 

1. How was it like growing up in Pretoria? 

The funny part is that I didn’t actually grow up in Pretoria, it was more outside of Pretoria than it was Pretoria. I grew up on the outskirts of Pretoria - that’s the farms. Bronkhorstspruit is where I was from. And it was bland - I don’t know any other way to explain it. It was like growing up on a big sheet of white paper. I had to make out myself. It was an experience but it was also really overwhelming because no one there had progressed to anything. It was complicated but also a good learning curve. I always say I would have rather not. I would have rather had a soft life but I guess I see the benefit of growing up like that but it was overwhelming. 

2. What are some unforgettable childhood experiences you believe shaped who you are today? 

When I finally moved to Bronkhorstspruit, after my father passed on, my mom bought herself a huge mirror. I didn’t have friends, I didn’t have anyone. So the only thing I ever did was look into that mirror. I had all my performances there, I had all my interviews, I did everything with that mirror. I just became so self-obsessed, all of my art is self-obsession. Everything is all about me. It’s my self-portrait, it’s music that is about me, everything that is structured in a way that is like self-worship. So I think that particular childhood experience shaped me forever. I got harassed but I never got bullied. I never let anyone bully me. If it happens, I can just avoid it, I’m not gonna stick around. I was always inside the house. I would make up my own stories, live in my head, and wait for the day I move to Jo’burg. When it finally happened, I already had like self-discovered so much. That particular childhood experience shaped who I am today. I created my whole world, and now I’m living in it. 

3. How did you start modelling? 

Back home, there used to be this modelling agency. It was just high school kids who had high-quality cameras, more than it was a modelling agency. They were like, “Yeah you should be a model.” And I was like, “I guess.” It was never my thing. I take really good photos, but I don’t look like a model, I don’t present myself as a model. At that time, I wasn’t the typical male model. And so I was like I’m not a model. That happened and it wasn’t really serious. When I moved to Jo’burg, my friend and I had just come from registering and we were going past Kitcheners and my friend was with their friend. We were all speaking to a guy and he said, “Yeah you can just come back to my place.” We all went back to the place. Then I left my matric certificate at their place and then when I left and went back home, they were like, “You left your stuff here [matric certificate] and also, I saw on Twitter that you might have to drop out of school because you don’t have anywhere to live until March so you can just live with me.” This is the person that I met with a friend because they met on the streets of Braam, literally at the corner of Kitcheners. I lived with that person for 3 months. They literally got me into modelling.

The first day I got here they were like, “You’re a star!”. I was on a music video set, and they needed one guy and I had just moved to Jo’burg and put my bags down. My parents had just dropped me off. I put my bags down and went up to shoot the music video. After that, I had another job. It was quiet for a minute and then my friend asked me to escort them to a casting. Still, I was not in the modelling game, I was just deep in love at the time. So cool, I go to this modelling gig, and then when we get there, my friend doesn’t get picked but they’re choosing from outside. They’re like, “You? Come here.” I said that I’m not here to model what’s happening? They said, “No, just audition quickly.” So I walked and strutted to the wall and then when I came back I got picked. It was The Threaded Man show. After that, everything started picking up, everything just set off. That’s how that happened. I just started modelling after that. Still very weird. 

4. Wow! The Threaded Man was so huge at that time. 

I didn’t even know. I didn’t know who Siya Beyile was. I had just got to Johannesburg. I had no idea who anyone was. So literally getting calls from Rich Mnisi being hey it’s Rich Mnisi. When I found out it was Rich Mnisi I was like OMG! They were shooting for i-D. That is one thing I’ve always dreamt about - I’ve always bought i-D magazines at the taxi ranks. When they said, "You’re 17 you’re gonna shoot for i-D", I was like that’s crazy, that’s crazy. I shot for almost every magazine that I had back at home. In one year, I had Cosmopolitan, Vogue, and i-D. My mom was like, “Aren’t these the magazines that are in your room.?” It was my favourite flex. I didn't even know it’s gonna happen in terms of modelling. I had always imagined being a part of the creative team or like one day when I’m all the way older on the cover of i-D for doing something. But not a whole documentary that is based on us. That’s so crazy, that’s insane. 

4. Which would you say are your favourite fashion collections you have modelled for?

I really enjoyed the Rich Mnisi collections that I modelled for in the first year - I thought I looked really good in zebra print. Thebe Magugu gave me a suit and said “Do what you must with it.” That was really insane for me. Siyababa Atelier’s collection, Rich Mnisi’s collection and Nao Serati’s collection. 

5. The South African creative scene has truly evolved over time, but there’s still so much work to be done. What do you think still needs to be done to move the culture forward? 

I think South Africa needs to stop normalizing things and actually live in them. We need to stop trying to normalize things so much because we are othering them more than we think. We are othering people more than we think. We are regressing more than progressing. If we keep saying “Normalize trans women” - why? They’re women. Women are already normal. You don’t need to normalize women. It’s microaggressions like that. People don’t realize homophobia is just as serious as racism. The same way people are judging you because of your skin colour is the same way you are judging someone for loving someone. I think South Africa would be much better if they just lived in their truth more than trying to be these progressive people. We’ve been through so much, that we should know by now that we can’t risk having another revolution. We’ve revolved too many times. We’ve been traumatized too many times - we don’t need any more trauma. We just need to get that into our heads. We need to let go of the power game. The obsession with power in this country is a hectic obsession - that needs to be let go of. 

6. How do you find the experience of integrating fashion, music and creative direction together to tell a story? 

It comes easily because everything that I do is still self-obsession. Everything that I create is based on me so it’s not that hard. Self-awareness. It’s hard in that term that you know yourself so much that people want to digress you into this way. The only thing hard about it is people not understanding you and wanting to change you and who you are at that point. You already know who you are. Trying to accommodate everyone into your world because I’ve already said I am living in my own world, in my own space. In my own space, there is no need to accommodate other people. I think that’s the hardest part about it. It’s just me finding spaces for people in my world. In terms of navigating it, it’s always been me living out what I wanted to live out. It’s always playing music - when I DJ I play all the music that has registered with me. I’ve always been a Rihanna girl, I’m always going to play Rihanna. I’m always going to have the Rihanna aesthetic - the same way she does it. I’ve been studying Rihanna for the longest time in my life. The same way she does it. The same way she has this creative direction that goes into her music that also goes into her modelling - it’s really insane. That’s what I’ve always done. Rihanna, FKA Twigs, and FAKA do that in the most perfect way ever. That’s my thing. 

7. If you ever feel a creative block during a project, how do you reconnect and channel your energy? 

I like feeling things out. If it doesn’t happen then it’s not gonna happen. I was at a point where I was really depressed last year - I was at my lowest. I had never been that depressed ever in my life before. I told myself that I never want to feel like that ever again. For that to happen, I always have to be honest with myself. I have to know that I can’t do this right now. If I’m gonna go somewhere and I’m like okay you’re gonna have to model today but you don’t have the haircut. You look bad, you’re gonna feel bad and the pictures are going to look bad. So rather, we don’t do it. Rather sacrifice that and put me in a risky position but I’m not going to put something out there that I don’t believe in and don’t feel comfortable with. Being uncomfortable with something that’s seen by so many people is actually kinda crazy. It’s like uploading a picture of your pinky toe that you don’t like. I know people always say embarrassing yourself on the internet is being real, but that is always different for me. My realness is perfection. The real me is the perfect me. 

8. Which creative material inspired you on your overall journey - it could be a book, film, exhibition, art collection - anything really. 

Definitely seeing FAKA. Sitting down, talking to FAKA, and realizing that we have had the same life experiences. When I was 15, when I was a party girl - I still am, FAKA was like, “Oh you host this party called “Umrubisho” and I was like omg we used to host that party and FAKA was like we were always there. It’s so crazy how the Universe aligns like that - that’s insane to me. No one at that point understood what that meant to me but it just means to me my life is fine, I don’t need to worry about a lot of things. Life is just going to progress the way life progresses. I’m just going to get to where I need to get. A moment most pleasing to me was when FAKA was curating a Versace show. That’s so insane. That means anything is possible. That moment for me just sparked up everything. Thebe Magugu winning the LVMH Prize. Rich Mnisi doing Milan Fashion Week. Moments like that for me make anything. Moments like that for me are the most affirming.

9. Which brands and artists would you like to collaborate with in the future? 

I’m not a big fan of Kanye but I really love Yeezy and the direction that it’s taking. As much as I’m working with Adidas, I would love to go deeper into Yeezy like that. Of course, I want to be a FENTY girl so, so, so bad. All the luxury brands - not necessarily as a model but as a muse nonetheless. I would love to be a DIOR girl, I would love to work with YSL but most mostly, I want to be a FENTY girl. 

10. And lastly, which words of advice would you give to artists who aspire to manifest their dreams in this creative industry? 

I would say be yourself. It’s not a joke, really be yourself. Everyone always says this, and it sounds corny all the time but really but it took me at least 2 years to realize, be yourself. Don’t fake it out, be yourself in such a way that even if you are being fake, you’re being fake in a way that is beneficial to you. You’re being fake in a way that is not going to hurt you in the end. You’re doing chaotic things but everything you do must be aligned with you. Everything you do must not come back and bite you. Everything you do must be something that you’ve always wanted to do. Be selfish as much as you can because being selfish just means being yourself and be selfish in ways that will still benefit you. That’s what it has always meant. Just remain yourself because that’s all you’ll have. People will come in and out, but you’re gonna remain with the same person forever - and that’s gonna be you. Take care of yourself, you know what’s good for you, you know what hinders you. You know what you need to do, so just do enough of that to keep yourself going.