#i WILL add art to accompany some of the future ones just not atm

[hyfinart]

HIII I NEED TO KNOW MORE ABOUT THE STARCHILD AU I’M OBSESSED 🥹🥹

since you asked! here's a few random tidbits that hasn't been asked about yet :)

around the time mephone left to travel with the shimmers post ii18, the ex-contestants went to live across a few small towns and a bigger city by the coast (a straight-shot boatride from inanimate island, but a long one). they all live rather close, but that isn't set to last forever—among the many that don't call it home, salt and pepper plan to move to NYC at some point soon as they can get the funds.

additionally, they are all learning a LOT. the different culture of the real world (dating and marriage for one), the complexities of renting, having a job, science that was beyond even test tube's knowledge.

mortality is something they have to grapple with now so that's.. not fun. balloon is probably the most scared of the fact, and has regressed a bit in terms of secluding himself.

another tidbit,

mephone and the shimmers don't only stay on the ship, they sometimes visit planets with many different creatures and species, some very object-like, others not. mostly to show mephone around!

some people closer to prime and are aware of the missing shimmer egg (they used to give updates as to whether or not they heard its screams nearby) are overjoyed to learn that they were found! but theres always a point of confusion in why he's, well, a phone.

what else...

mephone is very, very scared of repeating his actions again. that is, generating a person without his knowledge. anyone he meets that isn't a shimmer, strangers who aren't friends of prime, he gets very nervous around. he can't trust himself. they could be real or they could be of his own creation, how would he even know?

with these people, he tends to slip in many questions relating to their past and parents to make sure they have one. it's become a habit, and it isn't very well hidden, either...

i would love to say that it's never been the case, that fear being validated. but it has, unfortunately. once.

[goonmilk]

How to buy an NFT

GoonMilk has entered the Metaverse!

You can purchase your own GOONS NFT available now thru this link! 

A 12 piece collection of digital art on the Solana Blockchain that will be released periodically this season along with accompanying apparel and Utilities that only GOONS NFT holders will have access to as well as helping each other Get Out Of Negative Situations!

The first two NFT’s are already up for grabs through Solsea

Fot those of you that don’t understand what NFT’s are I will be Posting how to videos in our GOONS Discord

How to add a Wallet, How to Buy ETH, SOL, BITCOIN, and NFT’s as well as how to Mint NFT’s! There’s not many communities out there that are humble enough to share info or beginner friendly for those trying to just get into the NFT marketplace and I feel like there’s a market in that in itself because its such a new phenomenon people flipping jpeg images for millions of dollars doesn't seem logical at all but it is the reality were living in. So why wouldn’t I want to help people that look like me understand how to do so, even if Im just learning to do so myself. So joint the Discord because that is how these NFT communities build their worth by gaining followers and social currency sort of a members only type society. That’s where the images come in, where there’s only so many and if you have one you get the “secret” club invites and different “utilities” but as the Cryptocurrency market goes up the worth of the art goes up as well so because ETH in the last 8 months skyrocketed up to $4000 a coin the art that was worth $168 six months ago is now worth $168,000. And Crypto is only gaining ground, Paper money is a thing of the past, there’s bitcoin atm’s in the gas station now.

But I digress, You need Solana in your wallet to purchase the GOONS NFT’s.

Download Coinbase app on your Phone

Add a bank account or Card to your Coinbase acct.

Buy Solona or SOL

Go to your Computer download Google Chrome

Download Phantom Wallet

Send your Coinbase Solona to the Phantom wallet

Go to Solsea and Purchase your NFT

That’s about as simple as I can put it in, 7 steps. Biggest advice I can give you is to write down your recovery phrase somewhere and keep that somewhere safe. that is the key to your bank account so to speak but for cryptocurrency! Ill go further into that in the videos to come along with why you need to support GOONS NFTs, black NFT Artists, and the cryptocurrency revolution.

PS. I do have some Matrix NFT’s for top dollar right now if anyone is interested.

These are thru the Nifty’s website in partnership with the upcoming Matrix Movie and game that allows you to enter the Matrix universe as your own Avatar, pick red or blue pill to become a resistance fighter or stay in the matrix.

The future of gaming, movies, concerts, and everything else is wrapped around cryptocurrency, NFT’s, and the Metaverse, whether you want it to be or not and I want to be on the receiving end when it comes to making profits off this new wave of technology and commerce. We are still in the early adoption stages. you can still gain the necessary knowledge to make money off something so simple as a pixel image. So many people asking why? and not how for me.

Our First Women’s GOONS NFT Drops Friday!

The Hoodie is already available in the Shop and guarantees you a opportunity to purchase the 3rd NFT of our Collection this Friday at 12 noon. I will help set up the first 5 sales Crypto wallets via FaceTime.

Further “utility” such as more free apparel upon NFT releases, priority in GOONS Discord giveaways, Complimentary Artshow entry, and much more. So join the Discord to stay up to date with all things GOONS NFT!

[ifuckinglovestvincent]

NEWSTATESMAN: “It’s cool that some people hate my show”: St Vincent on fan backlash and Chinese massages

The singer messages me on Twitter the next day. “Dude!” she says, “I’m sorry I was a cock.”

By Alexandra Pollard

9 November 2017

Maybe if St Vincent and I had got massages together, things would have been different. If we’d gone for a hike in the scorching midday sun of Burbank, California, or sat in a small pink box getting high off paint fumes, perhaps we’d have had a better time. She’s done those things with other journalists during this press cycle, in an effort to disrupt the stale dynamic of interviews  –  of which, she told BBC Music from inside that newly painted box, she’s done “a million”. As it is, we’re sitting in her room on the 12th floor of a London hotel, and things aren’t going well.

St Vincent, AKA Annie Clark, is in the early stages of a 37-date world tour in support of her new album, Masseduction. The shows –  which she’s doing without a band, opting instead to accompany her own fearsome guitar with rearranged backing tracks  – are fascinating, sometimes exhilarating affairs. She doesn’t throw herself around the stage in a self-flagellating fervour, as she did a few years ago on the Digital Witness tour, nor this time has she employed the shuffling, robotic choreography of Annie-B Parson.

Instead, Clark exposes herself in a different way –  by carrying the show alone. As a blue curtain gradually pulls back to reveal nothing in particular, she places herself in various positions across the stage. Sometimes she faces the audience, sometimes she stands side-on as if utterly unaware of their presence. At one point she curls up in the foetal position on the floor. The idea, she says, is to plot the trajectory from fear to freedom.

“Some people loved it and were brought to tears and thought it was the best thing they’d ever seen, and then some people were incensed by it,” Clark explains. She was in Manchester last night, London the night before. Now, she’s draped over a black chaise-longue, demonstrably exhausted, her feet spilling on to the armchair beside her (when I ask if she’s tired, she says flatly, “I don’t care, my emotions are irrelevant.”)

Does she mind that the shows, particularly her decision to play without a live band, have received such a polarised response? “Whatever,” she says. “I think it’s cool that some people hate it.” She rolls her neck around to glance at me –  the semi-horizontal position she’s taken has thus far meant minimal eye contact. “Did you hate the show?”

Not at all, I tell her. I really liked it. Then I add, in an effort to avoid bland effusiveness and because she’s still looking at me with a sceptical eyebrow raise, that perhaps I found it more intriguing than moving, and anyway it would have been hard to beat the experience I had seeing her at End Of The Road festival a few years ago. I realise too late that my words have landed with a leaden thud.

“Great,” Clark says. “It’s the third show. I mean, when I played End Of The Road, that was one of the last dates I did. Tours take a while to alchemise.” She pauses. “Also, if a rapper got up on stage and didn’t have a live band, which most of them don’t, no one would be bummed at all. Why is the assumption that I need to have a live band onstage for something to be authentic? It’s about the management of expectation, and I think it’s similar to people thinking that they have a glass of milk, and then they drink it and it’s Sprite. ‘I don’t like this.’ Actually you like Sprite too, you just weren’t expecting it.”

St. Vincent has made a career out of giving people something they weren’t quite expecting. Her music is bold and melodic  – but only if you catch it at certain angles, like a magic eye book that only makes sense if you squint the right way. With each album since her chamber pop debut Marry Me a decade ago, she’s pushed her sound further towards a place between beauty and ugliness, aggression and vulnerability, adding scuzzy synth layers, distorted guitar riffs so heavy they drag half a second behind the beat, and lyrics both profoundly moving and a little grotesque  –  images of severed fingers, for example, that anchor a tale of drunken heartbreak.

Masseduction, her fifth LP (or sixth, if you count her David Byrne collaboration Love This Giant), is a poignant, kinky masterpiece. It’s a work of staggering frankness, with anthemic pop melodies that float atop crunchy riffs and gasping synths, as Clark’s fingers wring out every peculiarly arresting sound a guitar can make. She has a pithy tagline for each of her albums. 2011’s Strange Mercy was housewife on pills; her self-titled record was near-future cult leader; this one is dominatrix at the mental institution.

She sings of loss and depression, of BDSM and pill popping, vacuous cities and self-destructive urges. Her voice is pure and resplendent, but it also creaks, stretches into a sigh or plummets to a growl. On “Hang On Me”, as she pleads with someone, “Please, oh please don’t hang up yet,” a million unsaid things pour into the cracks in her voice.

“If you want to know about my life,” she told fans in a statement when the album was announced – aware both of her historic inscrutability and of the increased thirst for personal revelations her relationship with supermodel Cara Delevingne had prompted – “listen to this record”.

Clark performing this Summer. Photo: Getty

In the past, Clark has recoiled at the suggestion that her songs are diaristic, saying that such an idea “presupposes –  in a kind of sexist way  –  this idea that women lack the imagination to write about anything other than their exact literal lives.” Still, this record is a little different to the others. “It’s very close to my heart. It’s not literal, because if it was literal it wouldn’t be art, but you know, it’s very heart on sleeve.”

Is there a particular way she hopes people interpret it? “No,” she says, exasperated. “There’s not. I’m happy to be misunderstood. It’s not even about being ‘misunderstood’, it’s just up for interpretation. Any interpretation is fine, as long as it’s not, ‘She’s a racist, sexist or homophobe’. I’d be bummed if someone thought that. I’m not the one writing the think pieces on it. That’s not my job. My job’s to make a thing, it’s not to do all the interpreting and explaining. That’s didactic, and shows a profound lack of respect for the audience’s intelligence.”

Hoping she might be open to at least a small amount of explaining, I put it to Clark that there’s a restless quality to the album. She’s quite often leaving, or being left, or wanting to leave. On “Slow Disco”, a plaintive orchestral waltz and one of the most beautiful songs she’s written, she asks, “Am I thinking what everybody’s thinking? I’m so glad I came, but I can’t wait to leave.” Did she notice that theme running through the album’s veins? “Yes.” I wait for more, but instead she pulls her phone out of her pocket and starts typing. “Keep asking away.”

I do as she says, but the air in the room is uncomfortable. I wonder if I should clarify what I said about the show, but I think the moment’s passed. I forge on instead. In a previous interview, Clark said that “Slow Disco” was about how “the life you’re living, and the life you should be living, are running parallel.” Is there a life she feels she should be living? “Yeah,” she says, phone still out. “I should be in Turks and Caicos with a fucking pina colada coming out of a coconut, just getting a sick tan.”

“I mean, I don’t even think I should be living,” she adds, before puffing air out of her lips. “Hilarious joke. No, I feel super lucky that I’m living the life I am. Everything I’ve ever done, every person I’ve ever met, every experience I’ve ever had, is because I got good enough at moving my fingers at micro-movements across a piece of wood and steel. That’s bonkers.”

That’s a fairly self-deprecating assessment of how St Vincent got to where she is. Her inimitable skill at moving her fingers at micro-movements across a piece of wood and steel  – more commonly known as playing the guitar  –  is part of it, but there’s an intrigue and charisma to her music, and the persona she presents, that goes far beyond technica​l skill. It’s an intangible talent, one that has steadily drawn her into the limelight – though it was her self-titled fourth album that really thrust her into the big leagues, topping a handful of Albums of 2014 lists, and earning her a Grammy for Best Alternative Music Album.

Clark with ex-girlfriend Cara Delevingne. Photo: Getty.

Then she fell in love with someone unthinkably famous, and was thrust into a more insidious kind of limelight, the kind where paparazzi followed her around, where tabloid journalists tricked her relatives into revealing painful personal information, the kind that fuelled her anxiety and depression. Though being on the road for endless stretches of time didn’t help with that. In an appearance on the New Yorker’s podcast, she said that between her self-titled album and this one, she needed to do a “radical reorganising of my life in order to fulfil my destiny as a creative person”.

“Oh my god! Who am I, Jim Jones?” she says laughing, when I quote this back to her. “Wow. I said that? It’s like a Paulo Coelho meets Jim Jones inspirational talk. I think I meant that I was just in a monastic period, I just wasn’t drinking or having sex or really doing anything that you’d consider fun.” The only pleasure she allowed herself was getting Chinese massages in New York City. I’ve never had a massage, I tell her. Perhaps I have a lifetime of tension. She looks aghast. “You probably do. You carry it with you, you know?”

Did she find it helpful, this monastic period? “Oh it was so generative. I got so much done. Completely eschewing certain things that can otherwise take up a fair amount of time left so much time to be productive. I really loved that time. Being on tour is just a different kind of energy. It’s performance all the time. Obviously I’m not putting on my best performance for you today.” She laughs again. The icy atmosphere is starting to melt, but our time’s up.

I bid Clark goodbye. She would get up, she says, but she’s too tired. I’m glad we managed to drag the encounter towards conviviality, but  –  though I’m sure she won’t spend another second dwelling on it  –  I don’t think either of us had much fun.

The next morning, my phone buzzes. Clark’s messaged me on Twitter. “Dude!” she says, “I’m sorry I was a cock.” She explains that she was exhausted, “which is not an excuse”, but that she’d felt especially defensive because she’d been getting negative tweets about the show all day, and had thought my comments were an attempt to go for the jugular. “I really misread the interaction,” she says, “and have been feeling horribly guilty ever since. I thought you were just there to tell me my show sucked and I got real defensive and yeah, it went downhill from there.”

As it turns out then, her emotions aren’t irrelevant. She feels things deeply, all the time. You can hear it in her music, in every riff, every crack in her voice, every line about loss, or leaving, or wanting to leave. Those negative tweets were sprinkled amongst a litany of praise, but  –  though she wore an insouciant armour when we met  –  she clung to them anyway. “You carry it with you, you know?” I hope she carries the good things too. I hope she gets some sleep.

Source: https://www.newstatesman.com/culture/music-theatre/2017/11/it-s-cool-some-people-hate-my-show-st-vincent-fan-backlash-and-chinese?amp

[tedfashionski]

What do I have in my pocket?

(A notish review of JW Anderson Men’s Spring 21 and Women’s Resort 21. Am feeling very Fuck Full Sentences atm. I’m sure I’ll get over it :P)

 - presented together in a mail art portfolio that juxtaposes a variety of textures, methods and sensations. Inside the box there’s screenprinted spare fabric, swatches, masks, dried flowers, various printed ephemera like postcards, posters, stickers. Like a box of memories. Jonathan speaks in the accompanying video of ‘the art of packing’, of creating characters, the power of reassembling characters, utilitarian design, assemblage, patchwork (of course). He likes the idea of the recipients taking their time with it and finding their own way with it, that it’s a kind of open-ended collage.

(sideways pictures because why not?)

The bundle comes wrapped in a calligraphic message:

“At a time of uneven connections, I thought the show should come to you. The portable format makes it playful, engaging and, well, connective. This is what interests me: the moment, being present. Your presence, wherever you are, is part of the process. The box you are unboxing is an undulating flow of textures, images and formats aiming at one single goal: conveying a sense of optimism. You’ll decide where and when. The future is unwritten.” - Jonathan

Best bits in the press notes:

Presented on fictional characters - enlarged young male personalities - the collection juxtaposes notions of pragmatism and playfulness within a context of cozy domesticity. 

Patchworked jockey coats sprout patch pockets as roomy as bags. Sleeves get excessively long, trailing to the floor. Military capes spawn an excess of buttons. Pol Anglada’s blown-up faces. A sentiment of youthful, freewheeling amusement composedly comes to the fore.

Mysterious yet upbeat masks give a totemic presence to the characters 

A sense of fluid elongation counterbalances the neatness of sharp tailoring. 

Ties, scarves and pompoms add an element of playfulness. 

Patchwork of different fabrics and prints that create visual frenzy. A jacket is tied in the front, the volume gathered and then offset of sturdy presence and evanescent languor eerily kept together by Bertjan Pot’s abstract, colorful masks

My takeaways:

Ww1 - bib fronts/envelope pockets, kick out at thigh, strong silhouette. Echoes mens & women’s at-work utilitarian utopian workwear and uniforms - the boredom of routine work and trench warfare. WW1 - whole world falling apart, sitting in a hole, then death in a moment, a moment out of the blue. Extreme contrast of stress and mundanity. Killing time. Capes - downpour, improvised shelter, collapse the distance between war games and pillow forts.

Romantic element - artists’ smocks, angelic, A&Cm - dresses with ‘wings’ say what? - the artist as child, the muse as angel, distant adult gracefullness? 1930s bias dresses - Mother? Work at home, entertaining bored children.

-student portfolio vibes. Posters. Illustration. At home ‘consumption’ - what is being consumed, apart from a cup of coffee? A commercial experience? What does fashion communication look like without that underwriting? Why bother? What is being sold, apart from clothes? The designer as dungeon master.

wallpaper/domesticity, fucked with. Distorted. Psychedelic boating. Staring into space, spaced out, zoned out, daydreaming, exploding mundanity in mindscapes.

Lone trip - not alone. Acid babysitting

Masks, cartoonish proportions, big long head. Sucked into a face. Mother is absent. Boy character sticks out his tongue and entertains himself.

Love the long sleeves - speculation about how fashion will change after mass quarantine: split between growth of athleisure and ‘dress up’ renewal - Anderson proposes a blend. CLothing as entertainment, something to alter ordinary space between body and others and kills time. A game. Stretch armstrong. Pushing the bounds. Breaking the toys. Ripping off Barbie’s head. Bored games.

Patchwork is controlled, severe, scale of pieces like fields, packaged, enclosed commons- envelope sized/coloured, works in the mail art theme subtly, strictness underlined. Infrastructural - organised. Anderson’s allegiance is with the grown ups.

Pom poms echo the dried flowers - ways of entertaining bored children, but they don’t really bring anything. Once you make a pom pom, it’s like, great, what do I do with this? Decorative crafts as children’s entertainment. “Comes in a box” = overly simplified?, motivelessness. Sticking to the hems is :( More play perhaps?

hobby/sport - conscription, duty, contribution, spontaneity

What makes this different from a student portfolio? Nothing really. That’s the power of it.

Cathartic draping - renewal - back to basics. It works to breaks down the distinction between professional/amateur/student, serious and playful, joyful/routine

The anorak - boating, fishing - activities done out of an obsessive focus/niche enthusiasm. Autistic special interest. Obscure/boring/bored. ‘Only boring people get bored’., indifferent to others. ‘FLow’

Orange cards - floral oblique strategies hoping to prompt out of the blue, Lost in a pocket. Absent mindedness. Padded pillow square things - lavender drawer pillows - first craft project. 

Childishness - being around kids can make you see reality anew. Both refreshing and exhausting. A child’s eye view -  fashion moving towards broadening its spectrum of practice - embracing amatuerishness, experimentalism, unprofitable play. Then, just shrink back to its narrow palette of profitability when ‘normality’ resumes? No more normal. Schools out, forever. Low-budget, small scale is more sustainable and attainable - too many looks, business to maintain, yes, but the designs are so focussed, ten piece collections would have been a stronger way to do storytelling. It’s hard to take in a story in 40+. Feels bingeish in a very 20-teens way. GOT vs irl angling - absence, stretched timing, online presentation could have done with some work. Focused engagement for the 2020s..  looksA little too slick, too much pr - where the subject is homespun, rainy day hobbyism, where is the dark, twisty itch of existential ADD, avoidance - keeping busy, distract from what? The women’s masks, illustrations and /long sleeves hint at this and are really successful, would have liked to see more - orange/red/yellows are an interior flame, a glint at cabin fever and impatience for change and escape.