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stuckinapatriarchalbullshitland · 4 years

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Camren Timeline (Tittle edited)

Hello, dear Anon.

I’m gonna answer your questions in order.

1) 2012-2016. This is the timeline that I’m gonna explain just because so you can go check based on the concerts, interviews, etc. Compared to the first years, the timeline from 2017 to today is much simpler because they’ve broken up very few times. This one here that I’m gonna explain (2012-2016), is based on what I know and also my theories. You can, as usual, disagree with me.

In January 2017, Camila talked about the evolution of her music during Lena Dunham’s Women of the Hour podcast, by explaining how she created her life story through the songs she wrote. Starting precisely from the age of 15, when she had her first kiss. She practically and inadvertently exposed the lie she has always been forced to tell regarding the famous first kiss she had when she was ‘17’. [The entire podcast has been removed, unfortunately. But you can go listen to the audio posted by 5HxCC News on Youtube, called ‘CAMILA CABELLO TALK FIRST KISS ON PODCAST’.]

According to the calculations, the kiss must have occurred between December 20, 2012, that is when X-Factor ended, and January 17, 2013, that is when they signed the contract with Syco/Epic in Los Angeles. My guess? It happened that same New Year’s Eve when the Cabellos spent it over at the Jaureguis.

Throughout 2013 until the beginning of April 2014, L and C had a strange relationship. They were friends, but they behaved and did things you wouldn’t do with a friend. Doesn’t that ring a bell? Oh, hello ‘Like Friends Do’!

2014: Become official in early April and broke up in late November. Small parenthesis. They were both 17 years old in April 2014. Oh, hello to you too ‘Used to This’!

2015: From the end of December 2014/the very first days of January 2015, to the beginning of April. From mid-July to mid-October. From the beginning of November to almost mid-December, they did a continuous on-again, off-again that lasted throughout 2016.

2016: from almost mid-January to mid-February. From early March to early April. From mid-May to early June. This makes me laugh. Only the first few days of August, then from mid-August to the end of August, and again, in hops the first days of September, and from after those hops, until almost the end of September. From early October to almost mid-October (broke up only for a few days), and then until mid-November. And lastly, only a few days in mid-December.

2) Camila suffers from one of the variants of OCD since she was 8, and despite seeing a therapist since 2013, her OCD was diagnosed at the end of 2015. C also suffers from anxiety, panic attacks, mood disorders, and depression (all linked to her OCD). These are things that we’ve been able to witness with our own eyes on more than one occasion. She’s always tried to bottle everything up and not show herself ‘weak’ in front of people, in front of us fans. The last thing she wanted was to let people know how much she was really struggling, and therefore, she always tried to disguise it as best she could. Many times, even using her humor as a shield. Picture certain events like a time bomb. Picture her depression as a progression ready to explode:

March 2015, mild. October, November, December 2015, and January 2016, medium. From June to August 2016, high, + explosion in early September, which consequently led to the permanent presence of mama Sinu.

Everything has been derived and therefore worsened by: 1) The rhythms that have always been crazy. 2) Having to deal with many people every day. 3) Having grown up in the spotlight and being constantly observed. 4) Labels that told them what to do (through management) even when they just had to breathe. 5) The expectations and the pressure they’d put on her for being chosen as the chosen one. 6) Having her relationship secretly because they’d rather pass her off as a killer rather than queer/bisexual/gay or in any case associate her romantically with a girl. 7) All the hatred constantly received.

And the list goes on… Anxiety consumed her life for a long time. Now comes and goes.

3) Yes, of course Laurinah were there for her. As were Ashlee, Normani, Ally, Hoko, Michel'Le, Lauren (Fuller), Roger, and a few other crew members who were with them on the tour. As were her family, Jenny, Sandra, Marielle, Mariana, Brooke, Megan, Tica, Rebecca, Guido, Steven, Javi, and her other Miami friends.

Guys, Camila is a private person. The fact that she’s private, however, doesn’t mean that at the time or now, she doesn’t have other friends. It wasn’t just Lauren, Dinah, and Ashlee. And as for 5H, of course Mani and Ally were there for her too, contrary to what they want us to believe. Just think about it. And don’t think that only Dinah was their captain. Who was the one who went to Taylor’s ‘1989 Tour’ concert with Camila? Who was the one who went with them to the famous 1975 concert in Los Angeles on April 16, 2014? Who was the one who tried to protect them from the paparazzi in London in 2015? And instead, who was the one who always helped them lie during interviews? Who was the one who could never manage to control her expressions at first glance in questions that caught them off guard?

Ally and Mani were captains as much as Dinah. There are billions of interviews that prove it. In their own way, they always helped and teased them. Think of the video where Ally fakes a laugh as Lauren loudly slaps C’s ass, who screams “Lauren!” Think about the performances of specific songs. One, for example, is ‘They Don’t Know About Us’, and Norminah always teased them especially during that song. Think about when fans asked Ally if Camren was real and she ran away, laughing and not answering. Think of Mani during the ‘BOSS or TOSS’ game. There are millions of other examples.

4) 3 times. But, as we saw with Dinah in that 2017 video, they may have given her intravenous therapies when she needed it. It’s common, especially for overworked artists.

Oh and, guys. I saw that the audio of the uncut interview with Hitz FM station that the girls did in Malaysia on July 6, 2016, which was released on August 5, has returned to spread. I don’t know why it’s back to spreading now since I heard it already, if I’m not mistaken, in 2017, and saved it a couple of years ago. But anyway, that’s not the point. The point is, I saw that they wrote what Camila says, and it’s wrong. Listen to the audio even at full volume if you want, but C doesn’t say ‘False’. This is what happens:

I (Interviewer): “This one an interesting one. Are Camila and Lauren dating?”

L: “No”

C: “Ugh, Jesus Christ”

I: “Yeah, I know” at the same time as what he says, C laughs awkwardly as a result of her comment “It comes down on Google 'cause people are googling it!”

L: “No! It’s amazing how people continue to do that”

I don’t know if whoever wrote that heard wrong or what. If it’s one of those “which name do you hear, Yanny or Laurel?” cases, you know? But I just wanted to point this out to you. That’s all.

Okay. Love u, guys. Stay safe, please. With love, Faby.

___

I decided to post this twice because I want to add this to a masterpost (Once I figure out how to do that)

But for real, this timeline is insane. I knew about a lot of those stuff except the last one about that interview. insane.

#submission #anon #ask #camren timeline #F #f anon

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dustedmagazine · 3 years

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Dust Volume 7, Number 5

Sarah Louise

A week or two before this Dust’s deadline, we got our first tour announcement by email in more than a year. It was the first of deluge, as live music looks to be coming back with a vengeance starting this summer and really picking up steam around September. Meanwhile, we celebrate our newly vaxxed (or for our Canadian correspondents half-vaxxed) status with tentative steps outside. Your editor had her first beer at a brew pub in mid-May, and it was stupendous. Also stupendous, the onslaught of new music, which has, if anything, accelerated. This month, contributors include all the regulars plus a few new people: Jennifer Kelly, Bill Meyer, Patrick Masterson, Ray Garraty, Tim Clarke, Andrew Forell, Ian Mathers, Bryon Hayes, Jonathan Shaw and Chris Liberato. Happy spring, happy normal and happy listening!

Amulets — Blooming (The Flenser)

Blooming by AMULETS

Like a lot of us, Portland-based noise artist Randall Taylor discovered the solace of long walks during the pandemic. His work, which has always used tape degradation to explore the intersection of time, loss and technology, shifted to incorporate another source of decay: the natural world. So, in opening salvo, “Blooming,” alongside blistering onslaughts of eroded guitar sound, it is possible to hear the sounds of a fertile garden — birds, insects, air movement. You can nearly smell the flowers and feel the sunshine on your skin. “The New Normal” explores sounds of creaking, friction-y word and metal, alongside pristine chimes of synthetic tone. It is uneasy, with skittering string-like squeaks and swoops, but also deeply meditative; it shifts from moment to moment from anxiety to provisional acceptance, much as we all did last year, staring out our windows. Overall, the tone is elegiac, gorgeous, but Randall does not hesitate to introduce dissonance. “Heaviest Weight” thunders with frayed bass tones, a weight and a threat in their subliminal pulse. The contrast between that ominous sound and purer, clearer layers of melody, makes for unsettling listening—are we at war or peace, happy or sad, agitated or calm? And yet, perhaps that’s the point, that the past year has been swirl of feelings, boredom alongside anxiety, hope lighting the corners of our listlessness, the smell of flowers pleasing but faintly reminiscent of funerals. Blooming decocts this mix into sound.

Jennifer Kelly

Astute Palate — S-T (Petty Bunco)

Astute Palate by Astute Palate

Astute Palate is a hastily assembled group of rockers summoned to support David Nance in Philly on a date when he couldn’t bring the David Nance Band. Participants included Richie Records proprietor Richie Charles, Lantern’s Emily Robb, Writhing Squares/Purling Hiss/all around Philadelphia regular Daniel Provenzano on bass and, of course, Nance himself, all huddled together in Robb’s recording studio for a weekend together. None of this origin story does justice, however, to the pure liquid fire of this one-off musical collaboration, dominated by Nance’s viscous, distorted blues-inflected guitar wail, but knocked sideways by brute force drumming, wild hypnotic bass lines and the ritual incantation of Nance (and later Robb) singing. The long “Stall Out” does anything but, rampaging free-range in unbridled Crazy Horse/Allmans-style abandon for close to ten minutes without a single sputter. “A Little Proof” is somehow simultaneously heavier and more country, spinning out the soul-blues jams like a younger, unrulier cousin to MC5. “Treadin’ Schuylkill” gives Provenzano the spotlight, opening with a growling bass solo soon joined by heavy psych guitars (a nod, perhaps, to the illustrious locals in Bardo Pond). If Nance et. al. can pull stuff this fine out in a stray road warrior weekend, what are the rest of you doing with your lives?

Jennifer Kelly

Axis: Sova — Fractal (God?)

Fractal - EP by Axis: Sova

Axis: Sova is a combo of three Chicago guys plus one drum machine, which had already been inactive for two or three seasons before the initial COVID lockdown. This digital EP is their way of clearing up some business that could no longer remain undone. The title tune, “Fractal USA,” is a remake of a song from the early days, when the “band” was Brett Sova’s solo project, to full-on, no your pants aren’t tight enough rock band. They just needed you to know about the evolution, you see, so go ahead, do some scissor kicks and gurn while they windmill away; you have enough money saved up from not seeing live music to pay the inevitable chiropractor bill. “Caramel” hypothesizes that a Cluster song that’s played twice as loud and twice as long is twice as good; not sure if I agree, but it’s still not bad at all. Maybe you got a little weird after a few months of putting on your best mask for your daily trip to see if the stimulus check was in the mailbox? The Brenda Ray-meets-Old Black mash up, “(Don’t Wanna Have That) Dream,” is proof that while you were alone, you weren’t alone. If you’ve made it this far, you don’t need to have the fourth track described, so let’s just say that it’s longer.

Bill Meyer

Mattie Barbier — Three Spaces (self-released)

three spaces by mattie barbier

While perhaps best known as half of the trombone-centric new music duo RAGE Thormbones, Mattie Barbier is a member of several other combos and a sonic researcher under their own name. Three Spaces, which is a single, album-length sound file, has the air of experimentation about it. “What do I do,” one can imagine Barbier asking themself, “when I can’t play with other people?” Make music at home, and out of what’s at home, is the obvious answer. But doing isn’t the only point here; the outcome also matters, and while what Barbier has accomplished with Three Spaces sounds quite different from the RAGE Thormbones live experience, it registers quite strongly. Barbier has combined long tones and melodic fragments played on euphonium, trombone and reed organ, that were recorded both inside and outside of their home. Carefully layered, the source material combines into a sound rather like a bell’s toll, which over the course of nearly 39 minutes swells and recedes, but never quite decays; it ends with an imposed rather than natural fade-out. The sound is as deep as it is expansive, inviting the listener to let themselves fall ever father into its realm.

Bill Meyer

Beneath — On Tilt EP (Hemlock Recordings)

On Tilt EP by Beneath

One of the more pleasant surprises this year is the resuscitation of Untold’s Hemlock Recordings imprint. A vital voice in the post-dubstep fracas at the turn of the ‘10s thanks to releases from Hessle Audio’s Pearson Sound (when he was still Ramadanman) and Pangaea, James Blake, FaltyDL and Hodge to name but a handful, the label went dormant following a Ploy 12” in 2017 before the surprise announcement of Londoner Beneath’s On Tilt, which sounds every bit the sensible alliance in practice it looks on paper: These are low-end rumblers with irregular rhythms and spare melodic tics that worm their way into your brain in the best bone-humming fashion (see “Shambling” or “Lesser Circulation” for a good example). Who knows how long the return will last, but for a certain stripe of DMZ-damaged devotee and pretty much no one else, it’ll feel good to have some Hemlock in your life again. Tilt back, pour in.

Patrick Masterson

Black Spirit— El Sueño De La Razón Produce Monstruos (Infinite Night Records)

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More metal comes from South America than Spain, but these Europeans clear the high bar set by Latin America scenesters. The album’s title states that it was inspired by “El Sueño De La Razón Produce Monstruos.” That can testify both to lasting influence of Goya’s art and to the laziness of the current culture which seeks inspiration only from the most popular pictorial art of the past. The track “Ignorance and The Grotesque” perfectly captures the whole mood of the disc: it balances ignorant speeds, undecipherable vocals and grotesque parts with piano interludes and doom-ish atmosphere. It would be better without the grotesque, but that’s probably part of the baggage.

Ray Garraty

Burial + Blackdown — Shock Power of Love EP (Keysound Recordings)

Shock Power of Love EP by Burial

You might worry, occasionally, that Burial was becoming a victim of diminishing returns. Here, as ever, he uses a narrow palette to create tracks that few can emulate. However, even though the music has its rewards, it doesn’t clear the very high bar that his previous work has set. Thus “Dark Gethsemane” rides a 4/4 beat, angelic murmurs, vinyl crackle and a tightly ratcheted build that morphs into a sermon led by the repeated invocation “We must shock this nation with the power of love.” As his vocal samples become more explicit, the mystery of his music fades. This is all promise and no real resolution. “Space Cadet’ likewise sounds both gorgeous and minor with its soul gospel refrain “Take Me Higher” over an old-school jungle beat. At six plus minutes it would have been enough. It continues another three with an almost cartoonish second movement that lacks the subtlety that characterizes Burial’s best work.

Andrew Forell

Colleen — The Tunnel and the Clearing (Thrill Jockey)

The Tunnel and the Clearing by Colleen

While COVID messed with most people’s lives, it was both an endgame and an opportunity for Cécile Schott, the Frenchwoman who records under the name Colleen. She was just coming out of a series of health and personal dislocations, which resulted in her being newly healthy but alone in a new town just as the lockdown came down. Clearly, this was not a time for half measures, so she selected an entirely new instrumental set-up and settled in to make a record that reflected what she’d been through. Out went the viola da gamba and melodica that have figured prominently on her last few albums; in came a Moog synthesizer, a Yamaha organ, a tape echo and a drum machine.

Colleen’s voice, of course, remains the same. Airy and precise, her delivery doesn’t match the gravity of the experiences her songs describe. But that sense of remove is, perhaps, a reflection of one of adversity’s lessons; if you don’t stay stuck, you can wind up somewhere quite different. Between the keyboards’ cycling melodies and the drum machine’s fizzy beats, the music on The Tunnel and the Clearing imparts a sense of motion that carries her light voice along for the ride, dropping painful sentiments and letting them fall behind.

Bill Meyer

Current Joys — Voyager (Secretly Canadian)

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Nick Rattigan has been releasing music under the name Current Joys since 2013, and Voyager is his latest offering. It’s a dramatic and often brilliant collection of songs, bringing to mind the urgent rhythmic drive of Spoon, the dour grandeur of The Cure and the unapologetic emotional heft of Bright Eyes or early Arcade Fire. On Voyager’s standout, “American Honey,” a simple strummed backing and Rattigan’s vocal delivery are potent enough, but it’s the string section that proves devastating, cycling around for multiple punches to the gut. While more stripped-back songs such as “Big Star” and “The Spirit or the Curse” offer some respite along the way, Voyager does prove a little unwieldy. With 16 tracks clocking in at nearly an hour, the album’s execution doesn’t quite live up to its ambition. The wonky tom-tom rhythms of “Breaking the Waves” are more distracting than interesting; a serviceable cover of Rowland S. Howard’s “Shivers” feels more like an acknowledgment of influence than a striking interpretation; and the combined six minutes of the two-part instrumental title track may have worked better as shorter interludes. Nevertheless, plenty of Voyager’s tracks demonstrate Rattigan’s knack for a raw, emotive indie-rock tune.

Tim Clarke

Ducks Ltd — Get Bleak EP (Carpark Records)

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Toronto duo Ducks Ltd celebrates signing to Carpark with an expanded re-release of their 2018 debut EP Get Bleak. The pair — Tom Mcgreevy on vocals, rhythm and bass guitars and Evan Lewis on lead guitar — bonded over a shared love of 1980s indie bands. Their intricately constructed guitar interplay carries the DNA of Postcard and C86 over meaty bass lines that evoke Mighty Mighty as much as Orange Juice and McCarthy. The sprightly music belies the miserablism of the lyrics that focus on FOMO, poor decisions, screen induced isolation, the corrosive impact of gentrification and gig economies. Mcgreevy and Lewis don’t wallow, however. Their jaunty jangle is a paean to the joys of jumping about and singing along with those new favorite songs that suddenly mean everything and will stick with you long after the world’s shit slopes your shoulders.

Andrew Forell

Field Music — Flat White Moon (Memphis Industries)

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It’s easy to take Field Music for granted. Since 2005, the Brewis brothers have been making smartly composed and tightly executed guitar pop with obvious debts to The Beatles and XTC, and all their albums have fallen somewhere along the continuum from good to great (my personal favorites are 2010’s Measure and 2012’s Plumb). Album number eight, Flat White Moon, features the usual balance between Peter’s more pensive, bittersweet numbers with greater focus on piano and strings, such as “Orion From the Street” and “When You Last Heard From Linda,” and David’s funkier, more staccato cuts, such as “No Pressure” and “I’m the One Who Wants to Be With You.” Twelve songs, 40 minutes, tunes for days — what’s not to love? If you’ve yet to get acquainted with Field Music, Flat White Moon is as good an introduction as any.

Tim Clarke

Gabby Fluke-Mogul/Jacob Felix Heule/Kanoko Nishi-Smith — Non-Dweller (Humbler)

non-dweller by gabby fluke-mogul, Jacob Felix Heule, & Kanoko Nishi-Smith

With Non-Dweller, we have a trio of Bay-Area improvisers who certainly do not reside in one place for very long. There is an agitated freneticism about their interactions here, the performers acting like electrons seeking to release energy and break out of orbit. Each player brings a unique collection of timbres to the party with their implement of choice. Heule is a percussionist by trade yet focuses on extended techniques — mainly friction-based — as he wrests an unholy wail from the maw of his bass drum. Fluke-Mogul’s violin sways between tone generator and noise source. Nishi-Smith is a classically trained pianist who here is bowing and plucking the koto, or Japanese zither. The trio spend most of their time in sparring mode, their energies unleashed with synchrony as if in an elaborate dance. It is clear they have collaborated before. Heule and Nishi-Smith have been at it for over a decade; Fluke-Mogul joined the party in 2019. The most gorgeous moments happen when all three players are focused on friction: Heule slides across his drum, Fluke-Mogul soars with their violin and Nishi-Smith gracefully bows her koto. The energy is focused and particles collide, creating waves of tone. The players wrestle intensity into submission, and the ensuing sonorities are unmissable.

Bryon Hayes

FMB DZ — War Zone (Fast Money Boyz \ EMPIRE)

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Ever since FMB DZ got shot and moved out of Detroit, he has continued to release angry music. (He may not be more productive after the assault, but he’s certainly not less so.) War Zone is his latest effort, along with The Gift 3 and Ape Season, and DZ is back in his paranoiac mode and ready for vengeance. That’s hardly unusual in this type of music but DZ stands out because he’s a bit angrier, a bit more pressing and a bit more gifted than the next man. He doesn’t outdo himself in this tape, but rather mostly follows the blueprint of Ape Season. The standout track is “Spin Again.”

Ray Garraty

Ian M Fraser — Berserk (Superpang)

Berserk by Ian M Fraser

Ian M Fraser is kind enough to provide details about how he created and edited Berserk, although relatively few listeners are going to really know what “nonlinear feedback systems and waveset synthesis” are, let alone “sensormonitor primitives auditory perception software”. And fewer still will be able to focus on what that might mean while Berserk is actually playing, because the output of those programs and systems is immediately, viscerally clear. If a computer were actually capable of going rabid, feral, well, berserk, the human mind might imagine it sounds something like this. Over four shorter tracks and the relatively epic 8:26 of “The Cannibal,” Fraser either coaxes or allows (or both) his tools into the equivalent of something like what someone who knew very little about both genres might imagine is like a power electronics act playing free jazz or vice versa. It is absolutely viscerally thrilling (albeit probably easier to repeat at this length of 16 minutes than, say, 50) and will do the track the next time you feel like your brain needs a good hard scrub.

Ian Mathers

Human Failure — Crown on the Head of a King of Mud (Sentient Ruin Laboratories)

Crown on the Head of a King of Mud by Human Failure

It’s tough to figure out if the band’s name is meant specifically to apply to D. Cornejo (sole member of Human Failure) or to the general field of human failure, which grows ever more capacious. Whatever the intent, Human Failure makes thoroughly unlovable music, pitched somewhere on the continuum that runs from the primitivist death metal to stenchcore to harsh noise. This reviewer is especially fond (yep, somehow that’s the only word for it) of the title track of this 10” record: “Crown on the Head of a King of Mud” sloughs and slogs along for two minutes, sort of like one of the ripest zombies in Romero’s Day of the Dead (1985), wandering about and slowly falling to pieces in Florida’s tumid heat. Just as that last bit of flesh is poised to slide from bone, the song unexpectedly breaks into a run. Where is it going? What’s the rush? No one knows. Things eventually bottom out into “Disassembling Morality,” a static-and-distortion laden electronic interlude that might squeak and spark for a bit too long — but then “Your Hope Is a Noose” shambles into the frame. That zombie seems to have found some equally noisome and truculent friends. They djent and pogo around for a while, and the song has a lot more fun than seems called for by the band name. Cornejo might be pissed off by the myriad manmade disasters and outright catastrophes that burden the earthball (he’s sure angry as heck about something…). But the record ends up being sort of successful, if deafening, grinding, growling stench is on the agenda. All things considered, why wouldn’t it be?

Jonathan Shaw

Insub Meta Orchestra — Ten / Sync (Insub)

Ten / Sync by INSUB META ORCHESTRA

Ten / Sync was recorded in September, 2020; not exactly lockdown time, but certainly not out of the pandemic woods. It’s no small task to keep any 50-strong orchestra going, let alone one devoted to experimental music. So, if you already have one, then having it perform during a pandemic is just another challenge among many. So, the Swiss-based orchestra assembled three groups of musicians, numbering 31 in all, and assembled their contributions during post-production. While this did not provide the social experience that IMO’s gatherings usually impart to participants, an outcome that just isn’t the same seems awfully representative of the time, right? And since one Insub Meta Orchestra subspeciality is making music that sounds like it was performed by many fewer players than were actually present, this collection of sustained chords concealing tiny actions and apparently disassembled passages is actually very representative of the ensemble’s music.

Bill Meyer

Amirtha Kidambi & Matteo Liberatore — Neutral Love (Astral Editions)

Neutral Love by Amirtha Kidambi & Matteo Liberatore

With her own group, the Elder Ones, and in Mary Halvorson’s Code Girl, singer Amirtha Kidambi shows how far you can take a song while still giving the meanings of words and the boundaries of form their dues. But Neutral Love, like her two tapes with Lea Bertucci, explores the territory outside the tower of song. The main structures for this improvised encounter with electric guitarist Matteo Liberatore seem to be a shared agreement to exclude certain options. Song form and overt displays of chops are right out; the patient manipulation of sounds is where it’s at. Liberatore opts mostly for swelling and subsiding resonations, while Kidambi spends a lot of time finding out what’s hiding at the back of her throat, drawing it out, and then tying it into elaborate shapes. Patient and eerie, these four tracks find a place adjacent to Charalambides at their most abstract, and make it their own.

Bill Meyer

Kosmodemonic — Liminal Light (Transylvanian Recordings)

KOSMODEMONIC - LIMINAL LIGHT by KOSMODEMONIC

NYC outfit Kosmodemonic is among the recent wave of metal bands attempting to effect an organic-sounding synthesis of numerous subgenres: a slurry of sludge, a bit of black metal, a dose of doom, and a hit or two of the lysergic. When it works — as it does on a number of tracks on the band’s long new cassette Liminal Light — it’s an exciting sound. Songs like “Moirai” and “Broken Crown” manage to couple tuneful riffs, dirty tone and a muscular bottom end in ways that feel thumping, groovy and pretty weird. You’ll want to bump your butt around even as you’re looking for something to break. But the tape is pretty long, and the further afield Kosmodemonic gets from that mid-tempo groove, the more middling (and sometimes muddled) the material sounds. “With Majesty” can’t quite find its rhythmic footing in its more technical passages, and the song’s sludgier sections feel like compromises, rather than interesting maneuvers. But the record begins and finishes with really strong songs. Both “Drown in Drone” and “Unnaming Unlearning” embrace scale, letting their big riffs rip. When “Unnaming Unlearning” slips into complex sections of blackened and distorted dissonance, the drama surges. Formal experiment and manipulation of mood fold into each other. The song gets interesting, even as it’s reaching for a peak. And then it ends, suddenly, violently. It’s pretty good. Your impulse is to flip the tape and hear it again, which is just what Kosmodemonic wants you to do. Well played, dudes.

Jonathan Shaw

Sarah Louise — Earth Bow (Self-Released)

Earth Bow by Sarah Louise

Asheville-based songwriter Sarah Louise wants to be your personal nature interpreter. The titles of her recordings, from her debut Field Guide through Deeper Woods and Nighttime Birds and Morning Stars are like planetary signposts pointing to a more intimate relationship with our planet as a living organism. With each successive release, her music has also become more and more organic sounding, culminating with Earth Bow, in which Louise herself is arms deep in humus, communing with birds and insects. Recordings of creation feature prominently; katydids, spring peeper frogs, a creek and various birds are credited as providing additional singing, augmenting the artist’s own mellifluous voice. For a recording in which the track titles and lyrics are focused on nature and Louise’s experiences therein, there are a lot of digital elements. Her 12-string guitar is prominent in places, but synths are everywhere: in the background, bouncing around like shooting stars, and mimicking the various fauna that they accompany. Yet the earthly and the machine-made are not juxtaposed, they are blended. The vocals, which center the recordings, tie both elements together nicely. Earth Bow is a tasty concoction, in which a variety of ingredients are married in botanical bliss.

Bryon Hayes

Le Mav — “Supersonic (Feat. Tay Iwar)” (Immaculate Taste)

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Nigeria’s alté scene has been bubbling for a couple of years now on the backs of guys like Odunsi (The Engine) and Santi, and Gabriel Obi bka Le Mav is no stranger to the fray, having produced Santi’s “Sparky,” Ayl�� and a recurring favorite of his, singer Tay Iwar. The two have already collaborated at length (for songs off Iwar’s debut album Gemini in 2019, as well as the entirety of last year’s Gold EP), so the comfort level here is established. It shows: Iwar’s smooth-as vocals match Le Mav’s breezy piano descent and gentle rhythmic shuffle in an easygoing song that matches anything you might hear coming from Miguel, Frank Ocean or the Sun-El Musician orbit. “If it feels right, touch the sky,” Iwar suggests early on. Well, don’t mind if I do.

Patrick Masterson

Sugar Minott — “I Remember Mama” (Emotional Rescue)

I Remember Mama by Sugar Minott

At some point after Lincoln Barrington Minott had left Kingston and his early dancehall and lovers rock legacy with Studio One and Black Roots behind for cooler climates and the old world of London, he ran into producer Steve Parr at the Wackies offices. Story goes that the two decided to start up Sound Design Studio with the intent to record and mix for ads, film and music — but scant evidence of this idea exists beyond “I Remember Mama,” released on 7” and 12” in 1985 and reissued for the first time since via Stuart Leath and his long-trusted Emotional Rescue imprint. Parr does most of the work on the recording (Andy MacDonald shines on tenor sax and Paul Uden guitar in the original credits), but it’s all about the sweetness Sugar brings to the table: With backing from two accomplished performers in their own right, Janette Sewell and Shola Phillips, Minott’s naturally relaxed delivery shines through on this. “Sound Design” is a dubbier instrumental version that retains Sewell’s and Phillips’ vocals, and Dan Tyler (half of Idjut Boys) provides an even spacier, handclap-laden 11-minute remix, but while both variants are excellent, the boogie of the original is unassailable. Look for the vinyl to hit in July.

Patrick Masterson

Jessica Ackerley — Morning/mourning (Cacophonous Revival)

Morning/mourning by Jessica Ackerley

It makes sense that Wendy Eisenberg wrote the liner notes to Morning/mourning, since they and Jessica Ackerley are bound by a shared commitment to string-craft. Both have a deep idiomatic foundation in jazz guitar, but neither is willing to be confined by what they’ve learned. In the case of Morning/mourning, that means that patiently paced ruminations upon Derek Bailey-like harmonics sit side by side with frantic but rigorously scripted forays that sound a bit like Jim Hall might if he input the contents of his French press intravenously. This album’s nine tracks observe passings and new beginnings, since Ackerley pulled the recording together while in quarantine, shortly before leaving Manhattan for Honolulu, and titled some of them in tribute to a pair of guitar teachers who were taken by 2020. But in their attention to tone, harmony, velocity and structure, these pieces, like Eisenberg’s records, speak as much to intellect as to emotion.

Bill Meyer

Nadja & Disrotted — Split (Roman Numeral Records)

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It makes a certain kind of sense for Nadja and Disrotted to tackle a split together; although both bands traffic in a particularly foreboding strain of doom metal, they also share a weird sort of comfort. There’s a sense more of horrible things happening around you than to you, like you’re in the eye of the storm or maybe in a bathysphere plunged to crushing depths. There is a precision to the menace, a measured quality to the noise. And they get there when they get there; as Dusted’s Jonathan Shaw pointed out in his review of Disrotted’s Cryongenics, “Pace seems to be the point.” This excellent split doesn’t shy away from these commonalities while still highlighting the distinct timbres of each act, with Nadja settling into and then returning to one of their indelibly titanic bass riffs throughout the 19-minute “From the Lips of a Ghost in the Shadow of a Unicorn's Dream” and Disrotted somehow conjuring the feeling of a massive structure corroding and collapsing on the 15-minute “Pastures for the Benighted”. When the latter slams to a half, one last hit echoing away, the listener may find themselves feeling equally relieved the onslaught is over and kind of missing both sides’ pulverizing embrace.

Ian Mathers

Nasimiyu — POTIONS (Figureight)

P O T I O N S by nasimiYu

Nasimiyu’s songs bounce and shimmy with complex rhythms, her background as a dancer and percussionist for Kabells and Sharkmuffin coming through in the intricate interplay of handclaps, breathy beat-boxing, rattling metal implements, all manner of drums and, not least, her lithe, twining vocal lines. “Watercolor” blossoms out of a burst of choral “la”s, each note allowed to flower briefly before behind cut off with a knife-edge; these are organic sounds shaped with mechanical precision. Against this background, Nasimiyu herself enters, her voice fluttery and syncopated, a bit like Neneh Cherry. The mix is full of separate elements, the backing vocals, a synthesizer working as a bass, handclaps, Nasimiyu’s singing, but the song remains light and translucent. “Feelings,” sings Nasimiyu, “I am in my feelings,” and so, for a moment, are we. Nasimiyu is half Kenyan and half Scandinavian-American, and you can hear a bit of East Africa in the surging sweetness of choral singing on “Immigrant Hustle.” But there’s a post-modern gloss over everything, as the singer brings in sonic elements from jazz, electronica, dance, pop and afro-beat. Yet however many layers are added, the sound remains bright and clear, a bead curtain of musical sensation whose elements click faintly as they brush together, but remain essentially separate.

Jennifer Kelly

Carlos Niño & Friends — More Energy Fields, Current (International Anthem)

More Energy Fields, Current by Carlos Niño & Friends

Multi-instrumentalist and producer Carlos Niño latest album which straddles and largely crosses the line between spiritual jazz and new age ambience features friends from both worlds including Shabaka Hutchings, Jamael Dean, Dntel and Laraaji. Niño, who plays percussion and synthesizer, edited, mixed and produced the album from recordings made in 2019 and 2020 in a variety of settings. The results are largely low-key soundscapes designed to assist meditation on the fields and current of the title. Much evocation of the natural world, chiming eastern influenced percussion and layers of acoustic and synthetic keys that are lovely but tend to lull. It is the slightly disruptive reeds that prick the ears here, Aaron Hall’s plangent tenor on “Now the background is foreground,” Devin Daniels’ alto phrasing on “Together” and Hutchings’ expressive duet with Dean on “Please, wake up.”

Andrew Forell

Shane Parish — Disintegrated Satellites (Bandcamp subscription)

Disintegrated Satellites EP by Shane Parish

The normally ultra-productive Shane Parish didn’t put out a lot of music in 2020, and none of what did come out was recorded that year. It turns out that he was busy giving guitar lessons via zoom and moving from North Carolina to Georgia, but we’re well into a new year and he’s back in Bandcamp. This three tune EP doesn’t declare a new direction, of which Parish has had many, so much as an integration of his interests in American folk music and far Eastern tonalities. Simultaneously familiar and alien, but above all propulsive, it serves notice that the time for reflection has passed.

Bill Meyer

Séketxe — “Caixão de Luxo” (Chasing Dreams)

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The thing that gets your attention about Séketxe is… well, everything: how many of them there are (i.e., how you can’t really tell who’s in the group and who isn’t), how they’re all propellant, a musical bottle rocket bursting out of your speakers, confrontationally in your face on camera — and how much fun it looks like they’re having. Somewhere out there beyond the reaches of kuduro and Mystikal lie the Angolan barks and rasps of this youthful sextet, who trade verses (and a soothing harmony drizzled right across the madness at around 1:40) among one another over an Eddy Tussa sample on a beat by producer about town Smash Midas. What are they on about? My Portuguese is nonexistent, let alone my Luandan slang, but even I can tell that title translates to “luxury casket.” Anyway, it’s bonkers and if you’re looking for a jolt your morning joe doesn’t deliver anymore, Séketxe oughta do it. You’ll never catch me thanking an algorithm, but I guess it’s true the maths can serve it up right every once in a while. Séketxe is the proof.

Patrick Masterson

Tōth — You and Me and Everything (Northern Spy)

You And Me And Everything by Tōth

The title of Alex Toth’s solo debut, Practice Magic and Seek Professional Help When Necessary, alludes to his belief in music as therapy — that there’s an alchemy in the process, yet one that can’t necessarily be depended on to pull you out of an emotional hole when that hole gets too deep. On his new album, You and Me and Everything, all of his recent personal struggles are out in the open. There’s the tale of when he was so fucked up he couldn’t play trumpet at a family funeral (“Turnaround (Cocaine Song)”); there’s leaning on songwriting as a means to process the pain of heartbreak (“Guitars are Better Than Synthesizers for Writing Through Hard Times”); and there’s his ongoing battle with anxiety (“Butterflies”). While such heavy emotional terrain could prove hard-going, Toth approaches everything with a playfulness, a lightness of touch and a gentle haze to the production. Plus, he gets a helping hand from Jenn Wasner (Wye Oak, Flock of Dimes), who lends backing vocals to standout “Daffadowndilly,” which taps into the woozy gorgeousness of prime Robert Wyatt.

Tim Clarke

Mara Winter — Rise, follow (Discreet Editions)

Rise, follow by Mara Winter

For people with busy performance schedules, 2020 posed a problem; how do you stay busy and creative when you can’t do what you usually do? Mara Winter, an American-born, Swiss-based flute player who specializes in Renaissance-era repertoire and instruments, used it to forge a new creative identity. In partnership with experimental composer and multi-instrumentalist Clara de Asís, she began exploring the commonalities between early, composed music and contemporary approaches and developed a platform to disseminate documents of that research into the world. Rise, follow, the inaugural release of Discreet Editions, is an hour-long piece for two Renaissance-style bass flutes played by Winter and Johanna Bartz. The two musicians played long, overlapping tones with contrast attacks, pushing on until they grew so tired from hefting those woodwinds that they just couldn’t play anymore. Effectively the performance unit is a trio, since the two musicians had to accommodate or collaborate with the reverberant acoustics of Basel’s Kartäuserkirche. The church’s echo threw sounds back at the player, turning pure tones into blurred timbres. While the instrumentation is antique, the ideas about sound combination and endurance have more to do with Morton Feldman, Phill Niblock and Aíne O’Dwyer. The result is music that is simultaneously meditative and as heavy as a bench-pressing competition.

Bill Meyer

Wurld Series — What’s Growing (Melted Ice Cream)

What's Growing by Wurld Series

Some reviewers of What’s Growing, the second album by New Zealand’s Wurld Series, have managed to avoid making Pavement comparisons, but it’s hard to fathom their restraint. Brief opener “Harvester” feels like you’re being dropped mid-solo into a random Wowee Zowee track; the guitar tone on lead single “Nap Gate,” on the other hand, sounds like it's nicked straight from Crooked Rain, Crooked Rain. And while singer/guitarist Luke Towart doesn’t attempt to match Malkmus’ flamboyance in the vocal delivery department, their voices and wry lyrical observations bear a distinct resemblance to one another. “Caught beneath a dull blade / What a mess that would make” he sings on “Distant Business” before the song reaches its finale where guitar solos blast off from atop other guitar solos in an array of complementary textures. But besides being a ridiculously fun guitar pop record, What’s Growing is also threaded through with a British psych folk vibe replete with Mellotron flute — and the two styles blend seamlessly together thanks to Towart’s partner in crime, producer/drummer Brian Feary (Salad Boys, Dance Asthmatics). So, whether you're looking for a great summer indie rock record or you’ve ever wondered what the Fab Five from Stockton might’ve sounded like if they’d stuck to short songs and had more flutes, this one’s for you.

Chris Liberato

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every-marveler-ever · 3 years

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Tailors Can Be Scary

Fill for @tonystarkbingo 's May Flash Bingo which I am so excited to participate in!

Card 6, Square 2 - Business Suits

Summary: Peter Parker is CEO while Pepper and Tony spend their anniversary away. Tony has set some particular tasks for the CEO in training.

Pairing: Pepper Potts x Tony Stark

A/N: I was really into ‘Peter Parker is the CEO of Stark Industries for a while so this is my contribution to that branch of the Peter Parker storyline. Also, this is the first story I’ve posted onto Ao3 as well as Tumblr which is really exciting! Beware also that this is description heavy rather than dialogue I tried adding some but I’m really sorry again.

Tailors Can Be Scary

ALL SO READ THIS ON AO3

Peter didn’t expect it to happen so soon. Tony and Pepper had both warned him that at some point it would happen he just didn’t think it would be now. Tony had given him plenty of warning, at the end of every lab session he would remind Peter of what was happening in a month, a week, a day, Pepper was constantly messaging him or assuring him that he didn’t have to go through with this, they could stay instead of going to China to meet with corporate (and to Peter, it sounded that pepper truly DIDN’T want to go). It never worried Peter he continued to tell them it would be fine, that everything would be okay in their absence. Yet it still shocked him when at 7 am Happy had called him and asked why he wasn’t waiting outside the flat excited for his first day.

His first day as CEO at Stark Industries.

He had Happy and Rhodey backing him but still when his new assistant, a lovely girl named Charlie, passed him a coffee (if you were to ask Tony if what Peter had in his hand was coffee he would shake his head and deny, because no, what Peter drank was sugar and coffee syrup) and started rambling off his lists of to-dos of the day. He knew Pepper had a lot on her shoulder, but not this much.

Peter sat at his desk all day and yet he felt he was running 12 miles an hour. The day just dragged so much longer than he ever would have imagined. He signed documents, took calls, met with employees and heads of departments, solved a problem in legal and still had a long list waiting for him to finish.

“Mr Parker,” Peter didn’t mean to sigh but he really just needed some peace and quiet, no more stupid yelling at stupid board members. Despite all this, he smiles at his assistant “yes Charlie, what can I help you with,” “you have a tailoring session at 2’o’clock, Mr Hogan is waiting downstairs for you.” this made Peter blink “a tailoring session?” Charlie couldn’t help but laugh at the shocked expression on her bosses face “yes Mr Stark booked it for you so you had at least, and I quote, ‘one decent suit for his first week as CEO’ end quote.” Peter wanted to wipe Charlie’s smirk off her face.

Wiping his pants he stood up and moved around his assistant to the double glass doors.

“Garage right?” With a fond smile Charlie responds “yes Mr Parker, Mr Hogan is waiting.”

Happy drove him into town as he typed an email on his laptop during the drive, an email to Pep to tell her what he had ticked off so far, an email to Ross explaining his absence in the UN meeting at that he would call tomorrow for an update and an email finalising all the problem he had with the new legal document put forward. So many charts, number and words were following through his brain that when they had stopped in front of the tailor Peter hadn’t even noticed.

It was when he heard happy’s voice that he looked up from his laptop, “You getting out kid or are we going to be waiting here all day?” Peter just shook his head beginning to open his door “Yeah, yeah,” he continues to mutter as he figures out the door handle “I’m getting out now.”

The boutique was nothing of what Peter expected, it was high end and yet deserted with only one girl at the counter. The appointment made by Tony Stark himself he expected it to be a big place with people buzzing around at every one point, at least there was music playing. “Sir Parker, yes?” this woman had become Peter’s fairy godmother and Peter didn’t know what to say and so instead he nodded, feeling like he was in middle school all over again. “Very good,” and the woman had walked away.

Tailors were scary.

They had all the options for pins and needles, they could happily stab murder you and literally could count it as an accident. Peter wasn’t sure how many times he had been pinned in or been pricked because he moved the wrong way at the wrong time. Mr Stark never made it sounds this dangerous.

The process took an hour with the fabric being pinned to his body with stitching, sewing and everything in between. The woman, Janet Van-Dyne she introduced herself as, was polite but scary, the same way that Pepper Potts could put fear into anyone’s body with just the right glance. Peter learned to know that he already knew Mrs Van-Dyne that they were introduced to one of Tony’s many events and that apparently she already had his measurements but she wanted to be sure for the heir of Stark Industries.

If Peter wasn’t shocked before he was now.

Minus the small interaction Mrs Van-Dyne let him go back to the office reminding him to come with Tony next time to pick up his next suit (yes another suit because apparently, Tony has ordered him 6!).

Seeing Happy again he smiled and headed into the back seat. Back on his laptop, he began answering emails once again.

Laying back on his bed back at his apartment Peter’s phone rings, a ringtone saved for one man; ‘Peter your supposed to answer the phone, no stop playing with Dum-E, god Peter.’

Friday had saved the audio clip from one of the many lab sessions where Peter refused to answer a phone call from Nick Fury, to say Fury wasn’t happy would be an understatement but it made everyone understand just how Tony there was in Peter.

“Hey Pete,” the smile on Peter’s face from just hearing those 2 words was astounding “a suit really Mr Stark” “we’re back to Mr Stark now huh” “Yeah we are.”

Tony Stark gets what he wants, even if he’s in Italy celebrating his anniversary with his wife, Tony Stark can convince Peter Parker to do just about anything.

MASTERLIST - Flash Bingo Masterlist

#tony stark bingo #marvel #everymarvelerever #pepper potts x tony stark #peter parker #peter parker ceo

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jenivi · 4 years

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Arthur and the Invisibles (2007) is a one of the worst movies I’ve ever watched

I remembered watching this movie as a kid and felt pretty nostalgic about it. While scrolling for a movie to watch today, me and my bf ran into it and wanted to see if the movie lived up to how cool we remembered it from our childhood.

So for quick plot summary for those who don’t know what this movie is: Arthur is this 10 year old boy living with his grandmother in the countryside. He occupies himself with grandpa’s studies of small creatures (called the Minimoys) in their backyard. It’s also explained that his grandfather earned rubies as a gift from helping out this one African tribe, and hid it in the backyard (presumably with those creatures).

His grandfather, however, disappeared and his grandmother is in deep debt. Some guy in a suit pressures them that he will own their land if the grandfather doesn’t come back and they don’t pay their debt in 2 days. Arthur finds the secret his grandfather was hiding and finds a way to get to the miniature, underground world of the Minimoys with the help of the African Tribe (who lives somewhere in their backyard I guess???).

The rest of the movie is about the journey he takes with the Minimoys to find the rubies (and fight the bad guys who have it) and eventually find his grandfather (who was a prisoner from that bad guy). Grandpa comes back and they pay back their debt with the rubies, happy ending yay the end.

SO excusing the eerily-looking animation and how gross it made me feel (I’m mostly talking about the numerous giant-sized insects they animated with high detail)...

...the content in this movie is completely trash. Throughout the whole movie, the PACING WAS SO RUSHED AND TERRIBLE. This went for both the pacing of the plot and dialogue!! Things escalated so quickly, from one thing to the next, event-wise and with how characters felt about one another. Like you dont even know,, things happened SO FAST. And this was mostly a result of how choppy and quick the dialogue was. THEY TALKED LIKE A BAD ANIME DUB, one line after the next after the next after the next. And basically all their lines were exposition or them explaining things (like what they were holding, what they were doing, etc)??

OH and the love interest... the love interest.

Right off the bat, her personality was mildly irritating.. Her personality summarized is the stereotypical “I’m not like other girls, i don’t need you to protect me” kind of girl. And personally, I’m all for girls being independent,, like power to girls!! The problem with her is the constant remarks she makes to remind the audience that she’s “not like other girls and doesnt need protecting.” I’m sure that 80% of her dialogue in this movie is a sarcastic line towards someone that radiates negative energy. It’s just not the type of character you’d want to watch on screen because of how negative they sound. (Then as you’d expect because tropes, she becomes softer after falling in love with Arthur)

IMPORTANT THING ABOUT THE ROMANCE IN THIS MOVIE THAT MADE ME UNCOMFORTABLE: So the protag is 10 years old (I’m assuming but he looks and sounds 10). Love-interest-princess acts like she is mentally 16-18, but she’s actually 1000 years old. But it’s “okAY” because 1000 years in her world is actually 10 years in the human world. She’s voiced by Madonna by the way, if that adds anymore to image I’m trying to describe. idk man, i was just super uncomfortable seeing this girl open-mouth kiss this 10 year old kid TWICE in this movie (she initiates BOTH times).

OH and they get married after knowing each other for a day and arthur becomes king i guess

Also THESE are an actual screenshots of things that happened in this movie:

Arthur touched love-interest-princess’ chest and then took the lace off of her top, making her let out this weird scream. She has to cover her chest for the rest of the time until she gets the lace back

Arthur opens a car door for love-interest princess then gets a view of her ass?? then pogs the fvck out???

The jokes were tasteless and inappropriate for a children’s movie. There were just SO MANY moments that made me feel super uncomfortable (whether it was a joke or not). My bf and I seriously had to question if we were watching a kid’s movie.

They had a scene where they drank this green smokey drink at a club with Snoop Dog (LITERALLY IM NOT JOKING THISGUYISVOICEDBYSNOOPDOG) and green smoke came out of their mouths

Also Snoop Dog hits on love-interest-princess who is an obvious minor, and flexes that he has 7 wives

Arthur underage smoking:

Arthur’s parents come back to visit (cuz they've been away for a while) and his dad was scared of the African Tribe staying by their house. The dad runs away to the grandma and she asks “what’s wrong” then he says “five..” Grandma responds with “five what?” then he plain out screams “BLACK” with exaggerated gestures. uh EXCUSE ME????

im sure the african tribe stereotype this movie was depicting was pretty offensive in itself too...

And there was a scene where the bad guy (voiced by David Bowie) explained why he was evil. Apparently it was because people thought he was ugly and because he kissed some insect that made him contract ugly disease while he was drunk (he actually says he was drunk and the way he talked made it seem like it was equivalent to a one night stand)

and lastly, just a little nitpick but i HATE this guy’s voice (he’s the bad guy’s son). He sounds like a horrible Eggman impersonator with a lisp and with rocks stuffed down his throat. I’m sure with every word he says, saliva flies out of his mouth.

Yeah I guess you have to acknowledge it was 2007, but you can’t deny this movie is still very uncomfortable to sit through and it does not excuse some of the things that happened here.

So uh overall.. bad movie is bad and I had a bad time. You can watch it if you want to experience what I had to. I won’t stop you.

I was gonna write about the sequel on here, but I think I’ve written enough. I’ll save that for a different post if I feel like it. Just know that the sequel ends with a Kidz Bop-styled cover of Poker Face by Lady Gaga that chants the bad guy’s name in the beginning of the song (in the link they pitched the audio but it doesn’t change how bad the song is so its ok)

If you made it this far, thanks for reading to the end!!

#I SUCK AT PUTTING WORDS TOGETHER IM SORRY #i use too many parenthesis' aaa #i could have written things in a smarter and overall better manner but i tried #and its no college essay so its like whatever #i HATE THIS MOVIE thats it thanks for reading #its the kind of movie youd watch to laugh at because its so bad #i would tag arthur and the invisibles but idk if they actually have a fanbase on here #i dont want to start beef #if you like this movie power to you i guess go enjoy what you enjoy?#i just dont want to be a part of it #jenivi rant #movie review

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therappundit · 4 years

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***BEST OF 2020: The Best Rap Albums From a Historically Horrible Year***

So much has been said about this year, so on the last day of 2020 I don’t need to dive any further into exploration of what made this year so challenging (both at a personal and global level), but on the bright side I will say that two unrelated forces saved this year for me: 1.) my amazing baby daughter, and 2.) the seemingly never ending cycle of new, interesting music releases.

Before we dive in, just two points on my criteria for this list:

- must be released within this calendar year (1/1 - 12/31/20)

- must consist of at least 7 tracks

- rankings are according to a combination of my own favorite albums, and other impressive pieces of work that might not be directly up my alley, but I still found truly impressive

So for my last post of 2020...here are the Top 100 Rap Albums/Projects of 2020 (and a more than worthy list of albums that belong on that same list, further down the page):

10. HOMME by Kipp Stone

Without a doubt the most under-the-radar project on this list, and technically a mixtape and not an "album"...but that doesn't matter much to me, because this effort contains every bit of passion, every bit of perspective, and every bit of sheer love for rapping as any of the the best rap albums of 2020. It's hard to say whether East Cleveland is headed towards similar territory that Detroit, Buffalo, and Rochester now occupy, but with HOMME Kipp Stone captures the hunger, anxiety and forever shoulder-chipped struggle of having big dreams that seem more like unlikely fantasies. Kipp was buzzing a few years back, but making his grand return with this project is confirmation that he is next level talent and is more than ready to make a big splash in 2021.

9. Reasonable Drought by Stove God Cook$ and Roc Marciano

Quotes, on top of quotes, on top of quotes. Not sure what else to say about Roc Marciano's protege at this point, who came out of nowhere to close out 2020 as one of the most sought after feature-verse assassins in the business today. Yes, his bars are hilarious, but it's the outside-the-box references and unpredictable bar pairings that truly made this project such an impressive debut. Roc provided high quality instrumentals for Reasonable Drought, but it's clear that he was intentionally lurking in the background to allow the Stove God to stand on his own two. While the album is probably not at the level of Jigga's classic Reasonable Doubt debut that this project tips its' cap to, it's not hard to imagine that someday we will look back at Stove God Cook$' debut as the coming out party for one of New York City's finest MCs.

8. Àdá Irin by Navy Blue

I never imagined that one of the biggest challenges at this point would not be whether or not Navy Blue deserves to be recognized as having one of the top rap 10 albums of 2020, but rather which album to choose for the top 10!? From Earl Sweatshirt affiliate and Soundcloud producer to standout solo talent, the west coast born by east coast stationed MC/writer/producer/model/skateboarder (!?) had himself a banner year. Of his many gifts, his strongest is his ability to craft beautiful, soulful soundscapes that blend the best elements of the NYC lofi scene with shades of late 90's L.A. underground. Dealing with themes of love, loss, joy, and depression, Navy seems to possess wisdom well beyond his years, and it enabled him to craft not one, but two of the most inviting and accessible offerings from lofi circles that I have heard, and I mean that in the best way possible.

7. From King To A God (Deluxe) by Conway The Machine

He did it. Griselda's top muscle came through to deliver his most well-rounded, and arguably strongest overall project yet. Everything from the bars, to the varied production, to the bleeding soul of this project exemplifies the difference between an album and a "tape". The Machine was a machine in 2020, blitzing an astronomical number of feature verses, but FKTG was the gem he needed in his crown to solidify himself as a contender for best MC in the game moving forward. While this is not his actual Shady Records label debut (who knows when that will arrive now), this certainly feels like his major league arrival.

6. Alfredo by Freddie Gibbs and The Alchemist

Two hip-hop specialists getting together to drop a project just for fun in the middle of a pandemic...what could go wrong? Well, almost nothing, actually. Freddie arrived dripping with soul and Al slid a nice little package of beats his way, and what we ended up with was a strong partner-project to FETTI (their previous stellar collaboration alongside Curren$y), only packaged with little snippets of personal revelations and free-flowing opinions throughout. Gibbs is one of the masters of hooking you in with his voice and contagious flow, so much so that his skills as a talented writer are often overlooked. While not necessarily the incredible revelation that his collaborations with Madlib have been thus far, there's enough strong chemistry here between MC and producer to lock Alfredo down as easily one of the best rap projects of 2020. And the Grammy's would certainly agree.

5. Descendants of Cain by Ka

One of the genre's true master writers, Ka albums feel like audio literature placed over hard-nosed rap beats. Many rappers view themselves as true artists, but few can say they are capable of weaving the type of rhyme poetry that Ka seems to wield with casual ease. The truth is that it's not easy, we just aren't around to witness the care and editing that goes into Ka's work. Featuring too many stirring quotes to single out (and let us not forget an incredible surprise verse from fellow Metal Clergy-man, Roc Marcinao), Decendants of Cain is yet another impressive addition to Ka's catalogue, doing more to capture the paradoxical surroundings of environments that are equal parts harsh and loving - and often doing so through religious metaphors - than many MCs can do in a year. His lyrical paintings of the world may be bleak, but they are not without hope.

4. As God Intended by Che Noir & Apollo Brown

Apollo Brown has been one of the most revered - albeit not loudly proclaimed - underground hip-hop producers of the past decade. He has joined forces with many talented MCs to drop full partner projects, but perhaps none as under-the-radar as Buffalo's Che Noir. But what Che Noir lacked in household name status heading into 2020, she more than makes up for with conviction, writing ability, and the skills of an elite MC. The result of this collaboration is a beautiful, personal, at times painful, and at times just straight badass album, and one that deserves recognition from top rap circles. In my opinion, this is the greatest production work of Apollo Brown's career thus far, and it's hard to say where it will rank for Che Noir since she seems to be a fresh talent that is very much still on the rise - but as of right now, you have to call her one of the best in the biz today.

3. Pray for Paris by Westside Gunn

Westside Gunn is one of the masters of the volume game. That's not to say he - or anyone in camp Griselda - sacrifice quality over quantity, but it's safe to say that you know what you're gonna get with a Westside Gunn album. Welp, WSG rewrote the script with this one. What began as an art-inspired passion project between album releases ended up being the overall strongest Griselda project of 2020, and one of the year's most fascinating rap albums. Since his highly regarded Supreme Blientele album, Gunn has gradually been pulling his own lyrical content out of the spotlight, opting to play cook and curator, throwing a mixture of in-house producers and rappers in a pot with outside talent, to mirror the ambiance of a dark, gritty rap fashion show. His projects are less statements of content, than they are audio "scenes" that the listener is invited into, as if they’re Basquiat level exhibitions quantum-leaping forward in time to now live amongst a hungry, thriving rap scene in upstate New York. That's not to say that PFP isn't a lyrical feast as well, with everyone from Tyler, The Creator to Joey Bada$$ to Wale to professional dancer Cartier William having their turn in the spotlight. All thanks to Westside Gunn, the rare MC that enjoys being the host of his own party more than being the center of attention at one.

2. A Written Testimony by Jay Electronica (featuring JAY-Z)

While some are waving the Act II flag as Jay Electronica's "real" debut album, I am less interested in a cool collection of mostly-finished old songs, and much more interested in a polished, brilliantly produced project with (again, mostly) new verses from both Electronica and JAY-Z. It's easily the shortest selection on this list, but I feel like the quality of each individual song makes up for the brevity. I couldn't care less whether anyone thinks this is more of a duo-album or a solo piece, because the themes are certainly coming from Electronica's wheel house, and the fact that Hov was able to tweak his content to meet him there, is one of the things that makes AWT so special to me.

1. The Price of Tea in China (Deluxe) by Boldy James and The Alchemist

No, it doesn’t represent a seismic shift in the culture, and no it’s not *the album* that we heard blasting out of everyone’s (or anyone’s) car speakers this year, but when it came to sheer execution, and mastery over the style of music they were aiming to make, there just simply wasn’t one flaw in Boldy James and The Alchemist’s The Price of Tea in China. From the distinctly moody production, to the guest verses, to the steady hand of a wizened veteran of the street life, intent on sharing unfiltered tales of his underworld without any additional bells or whistles, it all clicks so well that I can’t picture taking the project out of my rotation. Uncle Al went deeeeeeep into his bag with this one, and Boldy seems to have returned from the industry grave to reach the highest level of recognition of his career. In a year stuffed with a plethora of high quality examples of every flavor of rap music imaginable, The Price of Tea in China is the ideal pick for album of the year, because it’s prestige is built upon it’s ability to simply be what it wanted to be without turning an ear to trends or reaching for broader recognition. TPOTIC’s broader recognition is made possible due to Boldy & Al’s artistic commitment to just making the type of music that a MC from Detroit and a legendary underground producer from Los Angeles love to make, and for that we should be very grateful.

Top 100 (all belong in the Top 25-50, but…there’s only 100 spots in the Top 100, so here we go):

11. FlySiifu by Fly Anakin & Pink Siifu

12. Song of Sage: Post Panic! by Navy Blue

13. Eastern Medicine, Western Illness by Preservation

14. Too Afraid To Dance EP by Chuck Strangers

15. Noise Kandy 4 by Rome Streetz

16. Mt. Marci by Roc Marciano

17. Burden of Proof by Benny The Butcher & Hit-Boy

18. Battle Scar Decorated by Monday Night & Henny L.O.

19. We Know the Truth (Deluxe) by Drakeo the Ruler

20. The Allegory by Royce Da 5′9″

21. Bag Talk by yungmorpheus & Pink Siifu

22. Innocent Country 2 by Quelle Chris

23. Weight of the World by MIKE

24. Kontraband by Rome Streetz & Farma Beats

25. BRASS by Moor Mother & billy woods

26. Try Again by ovrkast.

27. Shrines by Armand Hammer

28. The Smartest by Tee Grizzley

29. Good Energy by Grafh

30. Substance Abuse by Rigz & Futurewave

31. Cold Water by Medhane

32. King’s Disease by Nas & Hit-Boy

33. Milestones by Skyzoo

34. Young & Turnt 2 by 42 Dugg

35. My Turn by Lil Baby

36. Manger on McNichols by Boldy James and Sterling Toles

37. The OutRunners by Curren$y & Harry Fraud

38. Mach’s Hard Lemonade by Mach-Hommy

39. Sages by Henny L.O. & Ohbliv

40. E.L.E. (Extinction Level Event): The Final World Front by Busta Rhymes

41. Lake Water by SeKwence

42. At the End of the Day. by Fly Anakin

43. Sole Food by Deniro Farrar

44. The Oracle 3 by Grafh

45. The Blue Tape by Tree

46. lo&behold by lojii

47. Who Made The Sunshine by Westside Gunn

48. RTJ4 by Run The Jewels

49. Whitehouse Studio, Pt. 2 by Various Aritsts [Detroit]

50. Carpe Noctem by Big Ghost Ltd

51. Infinite Wisdom by Lord Jah-Monte Ogbon

52. The Throwaways by The Opioid Era

53. Anyways by Young Nudy

54. PTSD (Deluxe) by G Herbo

55. Holly Favored by Monday Night & Foisey

56. THE GOAT by Polo G

57. Dump YOD: Krutoy Edition by Your Old Droog

58. The Face of Jason by ANKHLEJOHN

59. Two4one by Jay Worthy

60. Poetic Substance by RIM & Vinyl Villain

61. ve·loc·i·ty by H31R (Maassai & JWords)

62. UNLOCKED by Denzel Curry & Kenny Beats

63. Slim E and Friends by CHASETHEMONEY

64. Alone Time by YL

65. FLYGOD Is An Awesome God 2 by Westside Gunn

66. OBLIVION by Black Noi$e

67. Sleeper Effect by Sleep Sinatra

68. Savage Mode 2 by 21 Savage & Metro Boomin

69. Thug Tear by Big Kashuna O.G. & Monday Night

70. II - The Next Wave by Quakers

71. Demon & Mufasa by Yhung T.O. & DaBoii

72. Eternal Atake by Lil Uzi Vert

73. Miles by Blu & Exile

74. IMMORTALKOMBAT by Al Divino & Estee Nack

75. The Baltimore Housing Project by Jay Royale

76. I’m Still Perfect by Baby Smoove

77. The Grotesque & Beautiful by Teller Bank$

78. Crime Scenes by Ransom & Nicholas Craven

79. Streams Of Thought, Vol. 3. by Black Thought

80. Ways and Means by Rasheed Chappell & 38 Spesh

89. Sacred Psalms by El Camino & 38 Spesh

90. As Above So Below by ANKHLEJOHN

91. Tomorrow Is Forgotten by Stik Figa & Conductor Williams

92. So Help Me God! by 2 Chainz

93. Sauce Monk Volume 3 by Sauce Heist & Camoflauge Monk

94. A Beautiful Drug by WTM Scoob

95. Don’t Play It Straight by Small Bills (ELUCID & The Lasso)

96. No More Humble Fashion by Flee Lord

97. Pharaoh Chain by Planet Asia & Tha Musalini

98. Numb by Sha Hef

99. Interstate 38 by 38 Spesh

100. Get Money Teach Babies by Heist Life & Spanish Ran

THE REST OF THE BEST (all belong in the Top 100 releases of 2020, blame 2020 for being such a stacked year for music) - in no particular order:

Assata by CV$ a.k.a. Con$piracy & Teller Bank$, Spencer for HIGHER 3 by Vic Spencer & sonnyjim, Big Bad Boldy by Boldy James & Real Bad Man, Da 5th Power by Mooch, Muthaland by BbyMutha, Act II: Patents of Nobility (The Turn) by Jay Electronica, Long Story Short by Heem, Eileen by 14 Trapdoors, Free Drakeo by Drakeo the Ruler, Da Fixtape by Da Cloth, The L.I.B.R.A. by T.I., Sinners & Saints by Rasheed Chappell & Buckwild, Black Schemata by yungmorpheus............... Polly by the Powder Keg by Chuck Chan & Pad Scientist, High Off Life by Future, Memphis Massacre 2 by Duke Deuce, LSD by The Leonard Simpson Duo & Guilty Simpson, Funeral by Lil Wayne............ RAW UNKNOWN by Spectacular Diagnostics, Nezzie’s Star by Eddie Kaine, ShrapKnel (self-titled), The Bluest Note by Skyzoo & Dumbo Station, WUNNA by Gunna, Meet The Woo 2 by Pop Smoke, Fresh Air by UFO Fev & Statik Selektah, Vito by Vince Ash, Avenues by Tony Seltzer & Adrian Lau, Spilligion by Spillage Village, GRIMM & EViL by GRiMM Doza, Closer Than They Appear by Lyric Jones, RUDEBWOY by CJ Fly, Wired Different by Ty Farris & Bozack Morris, Rocket to Nebula by Killah Priest, NO Blade of Grass by V Don, I’m My Brother’s Keeper by Yella Beezy & Trapboy Freddy................. Carhartt Champions by Tree Mason, No Hook 3 by Dunbar, Rowhouse Whispers by Ray West & Zilla Rocca, Magneto Was Right #4 by Raz Fresco, DUMP LIFE by Tha God Fahim, Jay NiCE & Left Lane Didon, FNTG: From Niggaz to Godz by Squeegie O, PANAGNL4E, Vol. 2 by Los and Nutty, Thank You For Using GTL by Drakeo & JoogSzn, Adjust to the Game by Larry June, BETTER by Deante’ Hitchcock, No Cosign Just Cocaine 3 by Ty Farris, Vangarde by Mr. Lif & Stu Bangas, MSYKM by Tsu Surf, Your Birthday’s Cancelled by Iron Wigs.................. LULU by Conway & The Alchemist, No One Mourns The Wicked by Conway & Big Ghost, Talk Soon by Nolan The Ninja, FULL CIRCLE by Medhane, Detroit 2 by Big Sean, Juno by Che Noir & 38 Spesh, Send Them To Coventry by Pa Salieu............... Marlowe 2 by Marlowe (L’Orange & Solemn Brigham), The Versace Tape by Boldy James & Jay Versace, The Balancing Act by Statik Selektah, Capital Gains by Willie The Kid, Deutsche Marks 2 by Willie The Kid & V Don, Keep Going by Larry June & Harry Fraud, The Sharecropper’s Daughter by Sa-Roc, Seven Times Down Eight Times Up by Elzhi & JR Swiftz.................... The Ghost of Fritz by Jamal Gasol, Don’t Feed the Monster by Homeboy Sandman & Quelle Chris, Anime, Trauma and Divorce by Open Mike Eagle, Brentwood by Poloboy Nunu, The Listening Session by Billy Danze & TooBusy, Midnight Sons by Zilla Rocca & Chong Wizard, A Piece of Mine by Bub Rock, The Rock Period by Bub Rock, WINTER by DJ Muggs, Bartier Bounty 2 by Sada Baby, Cincorginals by Tobe Nwigwe, Director’s Cut (Scene Three) by Ransom & Nicholas Craven, Rather Be A Real One by Vic Spencer.............. Exhibit Q by Deniro Farrar, After 12 by Che Noir, Blank Checc by Baby Money, Jesus Is My Homeboy by YL, The People’s Champ by Flee Lord, In The Name of Prodigy by Flee Lord & Havoc, Culture Over Corporate by Uptown X.O., Sell Sole 2 by Dej Loaf, Progress by Struggle Mike, Merry Wickmas by Shawny Binladen, Don’t Ask Me Where I’m From by Donsmith, Serene by VRN Hayes, In My Life by Dat Boi Vic, Ho, Why Is You Here? by Flo Milli, Limbo by Aminé........................................thank you, and cheers to a happier, healthier New Year. 🙏

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atrixfromice · 3 years

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Hey howdy folks! How you've been doing!

A lot of things have happened in a short time these days that I didn't even have time to talk about. So I will try to do a little post about it and try to resume. I spent my time last week looking for a job, with no luck yet, I think I have talked about that on my other post.

Last week, a few days ago, my mom had a very scary episode of high blood pressure when she was out buying groceries at the super market, and after that I accompanied her to the doctor. Where they that she need to take medicine for blood pressure forever or if not she risks a heart attack, and now we are trying to save to buy the medicine.

The last weekend my brother lend me his recently fixed laptop and I made a livestream to celebrate. I made some sketch but I couldn't finish anything because peeps wanted me to stream with voice and I was too shy about it. At the end they convinced me test it but then my mic was having issues and you could hear a lot of white noise in the background, and they were giving me advice to help with that but I just wanted to draw. XD

I spent a really great time at streaming though ^^ It surprised and moved me a lot that the peeps who came to my stream were a lot more compared to the usual (usually I have like 1, 3, or sometimes zero guests on my streams) they were 7 at Saturday and 9 on Sunday! And all of them were very nice and friendly and participative, and they stayed all the way to 4 or 5 hours of streaming each day. And they were nice an understanding about me being shy to stream with voice at the end.

Oh also, in these days I have been received good positive comments about one of my Nature's Guardian poster, the one with Jupiter in it.

So yesterday I tried to record voice to make a video with commentary about my original character Jupiter, like people from Disney and other animation studios do to feature their characters and concept artwork related . It was good at first, but I didn't get to finish the video because of two reasons:

First cos I discovered I have no enough artwork of him for that video. I think I only have made like two art pieces related to him! XD

And second, is cos when I started talking about that Richard Hammond's voice would be a good voice for Jupiter...I lost it all oooh mon Dieu!!! 😳 😆 And I guess that's why I didn't delete the recording, because the end was so funny! It cracked me up!! 🤣 And at the beginning it was so good! But it had a lot of background noise (cars and bikes from the street, the neighborhoods chatting, stuff like that) so I spent almost all night trying to improve the audio with Adobe Premiere, that my brother has also installed on his laptop along with photoshoop and some other art software because he used to let me to use it when I was on my graphic design career.

I think I might make a short video with that audio and post it here but I need to draw more Jupiter art first I think. I was so excited about this and I wanted to share it today, but I'd like to have more Jupiter art to share on the video at least, so I prefer to wait.

Meanwhile, have this sketch of Jupes that I did when I still had my brother's computer.

#atrix art #digital art #digital sketch #nature's guardian #nature's guardian webcomic #jupiter gecko #original characters appreciation #my original characters #my ocs

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gascon-en-exil · 3 years

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A Game of Thrones 10th Anniversary Season Ranking: Part 2

Link to Part 1

Time for the bottom half of the list. The four seasons here will surprise no one, but the order might.

#5 Season 6

You can tell what I most what to talk about here...but there's an order to these things.

S6 actually has a bunch of great ideas, but they drown beneath the most slapdash plotting and character work the show has seen yet in order to set the stage for the narrower conflicts of the last two seasons. It's notorious for bringing back characters who haven't been seen in a season or longer only to kill them off (Balon Greyjoy, Osha, Hodor, the Blackfish, Rickon, Walder Frey) or awkwardly graft them back into the main plot (Sandor Clegane, Bran). There are plot threads that ought to be compelling but are too rushed in execution, like the siege of Riverrun, Littlefinger's hand in the Battle of the Bastards, or Daenerys's time back among the Dothraki and then finally getting the hell out of Meereen. Arya hits on the only interesting part of her two-season sojourn in Braavos - a stage play, of all things - only for it to stumble at the end with a disappointing offscreen death and some incomprehensible philosophy ahead of the start of her murder tour of Westeros. There's also so much cutting off the branches, enough to be conspicuous; the final shot of Daenerys leading an armada of about half the remaining cast she assembled partially offscreen says that better than anything else. Well, not anything....

Highlight: Without exaggeration, the opening of S6E10 is easily my favorite sequence in all of GoT. The staging, the music, the mounting suspense even as it becomes increasingly obvious what's about to happen, the twisted religious references particularly in Cersei's mock confession to Unella, Tommen throwing himself out a window because he can't deal with the reality of how terrible his mother is, how Cersei gives absolutely no fucks whatsoever about murdering hundreds of people at once in a calculated act of vengeance largely prompted by her own poorly thought out actions - I love it all. It's the single most masterfully-executed act of villainy in the whole show - Daenerys torching King's Landing probably has a higher body count, but the presentation there is all muddled - and if I had any doubts about Cersei being my favorite multi-season major character they were silenced in this moment. The explosion of the Sept doesn't sit perfectly with me, because I liked the Tyrells and because of what I said about deaths like theirs and Renly's in the previous post under S2, but I think that unease only cements the strength of this sequence. It's an overused phrase in fandom these days, but GoT at its best is all about moral greyness that gives its audience room for multilayered reactions. Cersei nuking the Sept and making herself the sole power in King's Landing, which in a sense is just a more overt example of the kind of character/plot consolidation elsewhere represented by Daenerys's armada, is one of those events that's impossible to approach from a single angle if you care about any of the characters involved. And hey, it's not in the books (yet, presumably), so unlike Ned's death or the Red Wedding the GoT showrunners can take the credit for realizing this one.

Favorite death: Even leaving aside the Sept and related deaths there's a lot of good ones to choose from in S6. Ramsey is cathartic but too gory for me, Osha's was a clever callback but a little delayed, it's hard to pin down specific deaths when Daenerys incinerates the khals, and Arya only gets half credit for Walder Frey and his sons when she saves the rest of the house for the opening of S7. I'm thinking Hodor, not so much because I enjoy his character or the manner of his death but because it's a clever bit of playing with language (that must have been hell to render in other languages for dubbing) wrapped up in some entertainingly murky consent issues and some closed time loop weirdness. It's all very...extra? Is that the word for it?

Least favorite death: Offscreen deaths continue to be mostly letdowns, in this case Blackfish and the Waif. Way to botch the ending of Arya's already near-pointless Braavos arc, guys. Speaking of Arya, this spot goes to Lady Crane, whom the Waif somehow kills with a stool or something. It's a dumb way to send off an entertaining minor character.

#6 Season 8

I swear that I'm not putting S8 this high solely because of Jonmund kind of sort of happening. I've never been very interested in either of them and the sex would be far too bear-on-otter to suit my pornographic preferences, but even so the choice to close out the series with them is hilarious.

I really don't need to elaborate on why S8 is down here; everyone who's ever watched the show has done as much in the nearly two years since it wrapped up. I do however need to explain why I've ranked not one but two seasons below it. My biggest argument here is that I don't believe it's fair to critique S8 for problems it inherited from earlier seasons. A non-comprehensive list:

Mad Queen Daenerys: unevenly built up beginning from S1 and continuing in some form through every following season

The questionable racial optics of Dany's army: also seeded as early as S1 and solidified by S3 with the Slaver's Bay arc

Cersei only succeeding because she makes stupid decisions and then lucks out until she doesn't: apparent from S1, directly lampshaded by Tywin in S3, fully on display with the Faith Militant arc of S5-6

Jaime not getting a redemption arc or falling in love with Brienne: evident with his repeated returns to Cersei throughout the show as one of the most consistent elements of his character, particularly in S4 and during the siege of Riverrun in S6

Tyrion grabbing the idiot ball/becoming a flat audience surrogate mouthpiece: started in S5 around the time the showrunners ran out of book material for him and wanted to make him more of a PoV character and his arc less of a downward spiral, although I've seen arguments that changes from the books involving his Tysha story and Shae set him on this trajectory even earlier

The hardening of Sansa's character: began in earnest in S4 and never let up from there

The strange ordering of antagonists: set down by S7's equally strange plot structure - the Night King had to come first with that setup

CleganeBowl and the dumber twists: from what I've heard the whole thing of writing around fans on the internet guessing plot twists started pretty much when the book content ended, so S5-6 maybe?

Yes, there's plenty to criticize about S8 on its own merits...but just as much that was merely the writers doing what they could at that point with deeply flawed material.

Highlight: This may sound cheesy, but the better parts of S8 are almost all the cinematic ones, whether that's E2 being a bottle episode with tons of poignant character send-offs before the big battle, a handful of deaths with actual satisfying weight like Jorah's and Theon's, and an epilogue that incorporates both closure for individuals and the broader uncertainty of messy socio-political systems that GoT has always been known for before working its way back to the Starks at the very end for some tidy bookending. Even imperfect moments like the Lannister twins' death and the resolution of Sansa's character felt weighty and appropriate based on what had come before.

Favorite death: Forget about the audio commentary attempting to flatten Cersei's character; Cersei and Jaime Lannister have an excellent end. Cersei especially, as the scenes of her stumbling her way down into the catacombs as the Red Keep crashes down around her really show off how her world is abruptly falling apart and how she retreats into her own self-interest at the end in spite of her demise being at least partially of her own doing. There's some stupid moments associated with these scenes, like Jaime dueling Euron to the death and CleganeBowl, but I can excuse those when the twins end up dying exactly where you'd expect them to: in each other's arms, in a ruined monument to their family's grand ambitions that, like Casterly Rock itself, was taken from another family.

Least favorite death: Quite a few dumb ones in S8 have become forever infamous. Missandei sticks out, and for me Varys too just as much because of how the writing pushes him to do the dumbest thing he could possibly do purely for the sake of killing him off ten minutes into the penultimate episode. But no one belongs here more than Daenerys Targaryen, killed at the height of a rushed and uncertain villain reveal by a man who takes advantage of their romantic history (who is also her family, because Targaryens) to stab her in a moment of vulnerability - pretty much only because another man tells him that Daenerys is the final boss. Narratively speaking that might be the case, but even so this is the end result of multiple seasons of middling-to-bad buildup. Not even Drogon burning the symbolism can salvage that. Also Fire Emblem: Three Houses did this scene and did it better.

#7 Season 5

...Yeah, we're going to have to go there.

Sansa's rape is not a plot point that personally touches me much. It's terribly framed in the moment and the followup in later seasons is inconsistent at best, but it's not a kind of trauma I can relate to. On the other hand, in the very same episode Loras is tried and imprisoned for homosexuality, and Margery faces the same punishment for lying for her brother. That hits much closer to home, not just for the homophobia but also for the culture war undertones of the not!French Tyrells persecuted by a not!Anglo fanatic who later reveals himself to be the in-universe equivalent of a Protestant. The trial is just one part of Cersei's shortsighted scheming, just as Sansa being married off to Ramsey is part of Littlefinger's, and both of them get their comeuppance in the end...but it's unsettling all the same. I especially hate what the Faith Militant arc does to King's Landing in S5, swiftly converting it from my favorite setting in GoT to a tense theocratic nightmare that only remains interesting to me because Cersei is consistently awesome. What's more, pretty much everything about S5 that isn't viscerally uncomfortable is dragged out and dull instead: the Dorne arc, Daenerys's second season in Meereen, Arya in Braavos, Stannis and co. at Castle Black. The most any of these storylines can hope for is some kind of bombastic finale, and while several of them deliver it's not enough to make up for what comes before, or how disappointing everything here builds from S4. S4 has Oberyn, S5 has the Sand Snakes - I think that sums up the contrast well.

Highlight: S5 does get stronger near the end. As much as his character annoys me I did like the High Sparrow revealing his pseudo-Protestant bent to Cersei just before he imprisons her, and there's a cathartic rawness to Cersei's walk of atonement where you can both feel her pain and humiliation and understand that she's getting exactly what she deserves (and this is what leads into the climax of S6, so it deserves points just for that). The swiftness of Stannis's fall renders his death and that of his family a bit hollow, but it's brutal and final and fittingly ignominious for a character with such grand ambitions but so little relevance to the larger story. The fighting pits of Meereen sequence is cinematic if nothing else, and even the resolution to the Dorne arc salvages the whole thing a tiny bit by playing into the retributive cycles of vengeance idea (and Myrcella knows about the twincest and doesn't care, aww - no idea why that stuck with me, but it's cute all the same). Oh, and Hardhome...it's alright. Not great, not crap, but alright.

Favorite death: I don't know why, but Theon tossing Myranda to her death is always funny to me. Maybe because it's so unexpected?

Least favorite death: Arya's execution of Meryn Trant is meant to be another one of the season's big finale moments, but the scene is graphic and goes on forever and I can't help but be grossed out. This is different from, say, Shireen's death, which is supposed to be painful to witness.

#8 Season 7

I can't tell if S7's low ranking is as self-explanatory as S8's or not. At least one recent retrospective on GoT's ruined legacy I've come across outright asserts that S7 is judged less harshly in light of how bad S8 was. If it were not immediately obvious by where I've placed each of them, I don't share that opinion.

Because S7 is just a mess, and the drop-off in quality is so much more painful here than it is anywhere else in the series except maybe from S4 to S5 (and that's more about S4 being as good as it is). The pacing ramps up to uncomfortable levels to match the shortened seasons, the structure pivots awkwardly halfway through from Daenerys vs. Cersei to Jon/Dany caring about ice zombies, said pivot relies largely on characters (mostly Tyrion) making a series of catastrophically stupid tactical decisions, and very few of the smaller set pieces land with any real impact as the show's focus narrows to its endgame conflict. As with S6 there are still some good ideas, but they're botched in execution. The conflict between Sansa and Arya matches their characters, but the leadup to that conflict ending with Littlefinger's execution is missing some key steps. Daenerys's diverse armada pitted against Cersei weaponizing the xenophobia of the people of King's Landing could have been interesting, but there's little room to explore that when Cersei keeps winning only because Tyrion has such a firm grip on the idiot ball and when Euron gets so much screentime he barely warrants. Speaking of Tyrion's idiot ball, does anyone like the heist film-esque ice zombie retrieval plotline? Its stupidity is matched only by its utter futility, because Cersei isn't trustworthy and nobody seems to ever get that.

And how could I forget Sam's shit montage? Sums up S7 perfectly, really. To think that that is part of the only extended length of time the show ever spends in the Reach....

Highlight: A handful of character moments save this season from being irredeemable garbage. As you can guess from my screencap choice, Olenna's final scene is one of them, even if Highgarden itself is given insultingly short shrift. S7 also manages what I thought was previously impossible in that it makes me care somewhat about Ellaria Sand, courtesy of the awful death Cersei plans for her and her remaining daughter. The other Sand Snakes are killed with their own weapons, which shows off Euron's demented creativity if nothing else. I like the entertainingly twisted choice to cut the Jon/Dany sex scene with the reveal that they're related. And, uh...the Jonmund ship tease kind of makes the zombie retrieval team bearable? I'm really grasping at straws here.

Favorite death: It's more about her final dialogue with Jaime than her actual death, but again I'm going to have to highlight Olenna Tyrell here for lack of better options. She drops the bombshell about Joffrey that the audience figured out almost as soon as it happened but still, makes it plain what I've been saying about how Jaime's arc has never really been about redemption, and is just about the only person to ever call Cersei out for that whole mass murder thing. There's a reason "I want her to know it was me" became a meme format.

Least favorite death: There aren't any glaringly bad deaths in S7, just mediocre or unremarkable ones. I still think the decision to have Arya finish off House Frey in the season's opening rather than along with their father at the end of S6 was a strange one that doesn't add much of dramatic value.

#Game of Thrones #GoT

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magstorrn · 4 years

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rating the artilleryman actors from jeff wayne’s musical version of the war of the worlds*

*from the perspective of someone who’s never seen the show live but, in my defence, has sought out just about every illegally filmed snippet on youtube and I've seen both official recordings many times. some of these are based on a single recording tho so take my words w/ a grain of salt. im also not going to get everyone because for a number of the actors there’s not enough evidence to go off

david essex

summary: the man the myth the legend. there are only a couple photos of him during recording sessions but he was clearly having the time of his life, and his hoarse voice and cockney accent bring an edge to the character that’s often absent (also means his own background is closest to that of the character). obviously they didn’t kick start the stage show until about 30 years after he recorded for the role but sometimes i daydream about an actual theatre production of twotw in the 70s bc holy shit, he was already doing evita when he recorded for twotw and had starred in godspell by this time and he wouldve been absolutely magnificent.

he’s also like the only actor im aware of that properly belts the ‘it’s going to have to start’ line and it just. sounds so good. he’s also the only artilleryman actor that imo sounds good in act 1 and like someone who’s genuinely witnessed a traumatic event and is still reeling in shock. he brings this kind of manic earnest with him in brave new world and it enhances the song 100% bc he’s so completely convinced things will work out

iconic moment: the way he yells ‘just’ after the whispered section in the middle of brave new world. chef’s kiss

rating: 10/10 im biased as all hell

alexis james

summary: the true mystery of this man is that he looks so old and so young at the same time (put it down to the incredibly fake weird sideburns and the receding hairline) and that he didn’t seem to do any more work in this vein post-2006. deserves credit for being the first stage show actor in the role, running around for 12 minutes straight pretending to use a massive pencil compass and digging at the stage, and for pulling things off pretty damn well. the almost surgical slit at the knee of his pants irritates me and im glad they didnt do it again

iconic moment: singing the entirety of brave new world with a pseudo american accent for no reason at all. im 99% sure he’s english

rating: 7/10

jason donovan

summary: the day that jason moved from the artilleryman role to the parson role was the finest day of his life as well as mine. he’s absolutely outstanding as nathaniel but tbh i think in the artilleryman role he’s just... bad (and doesnt have NEARLY enough fake blood everywhere). a lot of the lines sound like theyre cut short or like he can’t quite hit the note he’s aiming for, and there’s times when he just sounds completely off, or barks his lines for no reason. like alexis james he was part of the pre-new gen era so he has like two props and he has to pretend to use these for over ten minutes and i salute him for that. speaking of salutes i love how he randomly embellishes some of his lines with a salute

iconic moment: *high pitched australian accent* iT’S You. the MAn from mayBury HILL

rating: 4/10

ricky wilson

summary: ricky wilson was the first artilleryman for the new gen era which was iconic enough in itself, but then he also gave us the black eye, goggles, waxed moustache, the glass of water trick, rolled up sleeves, and so much more. also the tragic victim of the bottle of whiskey line, but he salvages it by just swigging from the bottle right then and there. act 1 RW kinda has the vibe of a man who’s just unexpectedly watched his football team of preference lose badly rather than witnessed a massacre, but by act 2 he sounds like he just came up with a plan to save civilisation at 3am while blind drunk and he’s going to tell you about it whether you like it or not. also pioneered the trend of stripping his coat at the start of the song. he definitely sounds better in the visual recording than on the album as he barely sounds like himself on the latter (why is he like the only actor from the stage show that’s also on the album?? ill always wonder). even then though he seems very jittery and nervous and like he’s trying to overcompensate by being super energetic and the way he basically screams all his lines gets annoying after long enough

that said his swagger and confidence are completely unbeatable and while i wouldnt trust him as far as i can throw him, he deserves a spot in the artilleryman hall of fame, although im still unsure to this day whether he’s using the spade correctly

iconic moment: *hip thrust* WALLOP

rating: 9/10

shayne ward

summary: again this is based on like a single recording but he can SING and i wish he showed off more than he does. he also sounds properly panicky/shaky in the first act which i always appreciate since he’s been Through It and a lot of performances don’t get that across. he’s giving it his all/aiming to give the best performance he can and it shows! he also has a ton of bruises/so much fake blood everywhere and his shirt’s in tatters and it’s great. the high notes sound fantastic also

iconic moment: stripping off the coat about ten minutes before any other artilleryman actor im aware of, and yeeting it off the stage

rating: 8/10

adam garcia

summary: i would say that bc he’s australian i have no choice but to stan but ive already been rly mean to jason donovan so that doesnt stand up anymore. anyway i basically regard adam garcia as the spiritual successor to david essex - similar sound, similar vibes, similar musical theatre background, similar genuine earnest with that edge of manic desperation and oncoming insanity. his facial expressions and gestures and pure enthusiasm throughout BNW are my favourite thing, and he maintains more of a long-sleeved pirate vibe as opposed to the ricky wilson rolled up sleeve vibe. unlike ricky wilson i also think he might’ve actually used a spade before

he also does so so much running around, and has more props than ever - the chair, the blackboard, the goggles, the gun, the spade, but at least he’s kept busy for the long instrumental sections, although i think it’s awful he gets cut off at the end of his song by life begins again while he just like, keeps digging? his singing is rly consistent and really quality, although i think he unfortunately sounds pretty bad in act 1. the whole losing his mind thing in act 2 salvages it tho

iconic moment: *obvious david essex impression* holidees

rating: 9/10

honourable mentions to daniel bedingfield (can’t find a recording anywhere), michael falzon (i can’t find a full recording of him), and taron egerton (doesnt get to sing in the audio drama but his character is clearly gay)

#news from the common

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dweemeister · 4 years

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2020 Movie Odyssey Award for Best Original Song (preliminary round)

Yup, it’s back (bullet indentations are not working, so this post will look very ugly on your dashboards)!

Tagging a few folks who have participated before in this annual tradition/folks who I would like to extend an open invitation to (please contact me if you’re interested so I can sort you in a group ASAP... you will also be tagged for the final unless you tell me you are not interested): @birdsongvelvet, @bitch-genius, @dog-of-ulthar, @idontknowmuchaboutmovies, @loveless422, @lvl9gay, @neverwasastoryofmorewhoa, @phendranaedge, @poncho-honcho, @sayaf, @shadesofhappy, @thethirdman8, @uncoolforelimb, and @wehadfacesthen.

Hello everybody. For my fellow Americans, I hope your Thanksgiving was a good one. For the non-Americans reading things, I hope you are doing well, as always! Many things have fallen to the wayside in this unforgettable year. So in hopes of providing some sense of continuity and normalcy, here - as you have agreed to - is the Preliminary Round for 2020's Movie Odyssey Award for Best Original Song (MOABOS). This is the eighth time it has been contested and the seventh consecutive year it has been open to involvement from family, friends, and tumblr followers.

For those new to this, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time this calendar year (the "Movie Odyssey") with an Oscar-like ceremony. I choose all the nominees and winners from each category, save one: Best Original Song. It is the only category I can think of that does not require you to watch several movies in their entirety. I consider MOABOS as a sort of cinematic-musical thank-you for your moral support in various ways.

An unspecified number of songs have already advanced to the final round. 24 songs will contest this prelim in two groups - Group A and Group B. In a year when COVID-19 has closed theaters (and which I refused to go to an indoor theater even when they reopened), a year that I did not feel compelled to watch the newest releases on streaming services, there is not a single 2020 entry for 2020's MOABOS. That is, obviously, a MOABOS first - no other MOABOS edition has lacked a shortlisted song from a film released that same calendar year. And as of writing this sentence, I have not seen a single film released in 2020. Despite the lack of 1930s songs, this year's shortlisted songs might be the oldest on average. In other news, this year's field is a modest improvement from the record monolingual field of last year's (which contained only English and two Vietnamese-language entries). 2019's preliminary was the most chaotic we had ever seen, with shocking last-day stumbles and surges from certain songs ("I Dug a Ditch" from Thousands Cheer) that riled up a lot of participants. It's 2020 - will there be a repeat or even more drama at this stage?

INSTRUCTIONS Please rank (#1-12) at least six of your group's songs. Please consider to the best of your ability: how musically interesting the song is (incl. and not limited to musical phrasing and orchestration); its lyrics; context within the film (contextual blurbs provided for every entry for those who haven't seen the films); choreography/dance direction (if applicable); and the song's cultural impact/life outside the film (if applicable, and, in my opinion, least important factor). Imperfections in audio and video quality may not be used against any song. I encourage you to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself! The top five songs in each group automatically advance to the final round. I reserve the right to pick 0-2 songs from one or both groups that finished outside the top five in their respective groups to contest the final round.

The deadline for submission is Saturday, December 12 at 11 PM Pacific Time. That is 9 PM Hawaii/Aleutian Time. That deadline is also Sunday, December 13 at 1 AM Central Time / 2 AM Eastern Time / 7 AM GMT / 8 AM CET / 9 AM EET. This deadline - as we have seen in the last few years - may be pushed back if there are a large number of people who have not submitted in time. However, I very much do not wish to extend the deadline because the final round is more intensive and usually involves more participants. Tabulation details are in the “read more” below.

Please participate in the group you have been sorted into, if you have not yet been sorted into a group and would like to participate, please contact me. You can access most, not all, of your group’s songs in these YouTube playlists: (Group A) / (Group B). Again, please note that not all of your group's songs are in the playlist for various reasons.

Happy listening. Feel free to listen as many times as you need, and I hope you discover music and movies that strike your interest. The following is formatted... ("Song title", composer and lyricist, film title):

GROUP A

“Blue Shadows on the Trail”, music and lyrics by Eliot Daniel and Johnny Lange, Melody Time (1948)

Performed by Roy Rogers and the Sons of the Pioneers

This is the introductory song to the final segment of Melody Time. That segment is dedicated to the legend of Pecos Bill, and this atmospheric song leads into the telling of that story.

“Born Free”, music by John Barry, lyrics by Don Black, Born Free (1966)

Performed by Matt Munro

Winner of the Academy Award for Best Original Song

This version with lyrics appears in the end credits. The main theme in the song is introduced in the opening credits and is incorporated extensively in John Barry's score across the film. Born Free, based on the non-fiction book of the same name is about two white Kenyan conservationists who raise an orphaned lion cub and eventually release her into the wild.

“But the World Goes 'Round”, music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli

In this musical, USO singer Francine Evans (Minnelli) has been performing in New York City nightclubs, hoping to someday become a major recording star. This song appears as she is recording that very hit that will propel her to stardom.

“Exsultate Justi”, music and lyrics by John Williams, Empire of the Sun (1987)

Performed by orchestra and chorus under the direction of Williams

Lyrics in Latin

In this historical epic, affluent British school boy Jamie Graham (a young Christian Bale) is living with his parents in Shanghai when the Japanese invade. Jamie is separated from his parents and placed in an internment camp. Soon before the end of WWII, the prisoners are moved elsewhere, but Jamie hides and stays put. This song plays as Jamie bikes around the empty camp and continues to play as he encounters liberating U.S. troops. Jamie is dirty and malnourished when found; one can argue that this song is used ironically. It plays once more over the end credits. "Exsultate Justi" is a variation on a theme John Williams develops over the course of the film and harkens back to Jamie's past, attending Anglican services with parents.

"Farewell to Storyville", music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Performed by Louis Armstrong and his band, Billie Holiday, and company

In New Orleans, the Storyville district was a den of drinking, gambling, jazz, and prostitution. The district was the home to a heavily black populace. The U.S. military, about to establish a Naval base nearby, forces the city to close the district for good. This song is a jazzy dirge to a center of jazz - a musical genre looked down upon by many of the city's upper-class whites due to its ties (real and imagined) to crime.

"Hawaiian Sunset", music and lyrics by Sid Tepper and Roy C. Bennett, Blue Hawaii (1961)

Performed by Elvis Presley

In a musical packed end-to-end with songs, Chadwick "Chad" Gates (Elvis) has taken a job with a tour guide agency - and this includes performing during a luau for tourists. "Hawaiian Sunset" appears as one of the dinner show's numbers.

"Is There Still Anything That Love Can Do?", music and lyrics by Yôjirô Noda, Weathering with You (2019, Japan)

Performed by RADWIMPS

Lyrics in Japanese (translation)

Weathering with You is a romantic fantasy anime about a high school boy who runs away from his rural home to Tokyo, where he meets a girl who can manipulate the weather. It has been inexplicably raining for weeks without interruption in Tokyo, so they form a business to help clear the inclement weather for special events. The melody of this song is heard throughout the film's score. It does not appear with lyrics until late in the film. The song is played under the boy's seemingly impossible attempt to save her from an unwilling human sacrifice.

There is so much plot in this damn film (it's all Makoto Shinkai's fault) - I can't explain the context of the song or this movie in a reasonable amount of space.

“Mad Monster Party”, music by Maury Laws, lyrics by Jules Bass, Mad Monster Party? (1967)

Performed by Ethel Ennis

(opening credits version) / (soundtrack version with no sound effects)

In this Rankin/Bass stop-motion animated film, Baron Boris von Frankenstein (Boris Karloff in his final Frankenstein-related role) has discovered a formula that can destroy matter. Dispatching his bats to send the news, he summons the various members of the Worldwide Organization of Monsters to inform them of his discovery. This song is performed over the film's opening credits and the various introductions for the monsters as they receive their summons.

“My Dream Is Yours”, music by Harry Warren, lyrics by Ralph Blane, My Dream Is Yours (1949)

Initially performed by Doris Day; later reprised by Hal Derwin

Singer Martha Gibson (Day) has abruptly left New York City for Los Angeles to become a star on the radio. In a film where personal sacrifice is central, she stresses over how to bring her son out west with her, the direction of her career, and her tumultuous love life. "My Dream Is Yours" is the song that makes Martha a star, laying out the film's themes in its lyrics. I was unable to find Derwin's reprise, but no matter as the reprise is rather inconsequential.

“Ride the Wild Surf”, music and lyrics by Jan Berry, Brian Wilson, and Roger Christian, Ride the Wild Surf (1964)

Performed by Jan and Dean

Ride the Wild Surf is a surfing film that, unlike most surfing films of this time, is a drama. It follows three surfers (Fabian, Tab Hunter, Peter Brown) who have come to Oahu at the end of December to ride the large waves of Waimea Bay (made famous internationally by this song, this movie, and the Beach Boys' "Surfin' USA"). This song appears in the film's closing credits. The video provided is a montage of surfing footage that appears in the film.

“That’ll Do”, music and lyrics by Randy Newman, Babe: Pig in the City (1998)

Performed by Peter Gabriel

Nominated for the Academy Award for Best Original Song

This song begins at the end (and through the end credits) of Babe: Pig in the City, the second and last film in this series about a sheep-herding pig who perseveres amidst other animals and humans with ulterior agendas. The title is derived from the famous quote said by Arthur Hoggett (James Cromwell) to reassure Babe: "That'll do, pig. That'll do."

“Waqt Ne Kiya Kya Hassen Sitam”, music and lyrics by S.D. Burman, Kaagaz Ke Phool (1959, India)

Performed by Geeta Dutt (dubbing Waheeda Rehman)

Lyrics in Hindi - roughly, "Time Has Inflicted Such Sweet Cruelty On Us"

Song begins at 1:03:31 and ends at 1:07:51

Make sure to turn on the video’s English captions

In this romantic tragedy told in flashback, Suresh Sinha (Guru Dutt) is a director looking back on his life. Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. This song is the most explicit statement of that love in this film. How much of the scene's set-up is observable by the characters is up to the viewer's interpretation.

Group A participants include: @addaellis, @introspectivemeltdown, @memetoilet, @myluckyerror, @plus-low-overthrow, @shootingstarvenator, @themusicmoviesportsguy, @theybecomestories, @umgeschrieben, @underblackwings, @yellanimal. Seven others - including myself and my sister - are currently slated to be voting in Group A.

GROUP B

“Angela”, music and lyrics by José Feliciano and Janna Merlyn Feliciano, Aaron Loves Angela (1975)

Performed by José Feliciano

(English-language version) / (Spanish single version)

Played over the opening credits to this teenage drama that is partly a blaxploitation film, partly an interracial coming-of-age romance. The movie wasn't a hit, but the Spanish-language version of this song was received well in Latin America.

“Aren’t You Kind of Glad We Did?”, music by George Gershwin, lyrics by Ira Gershwin, The Shocking Miss Pilgrim (1947)

Originally performed by Betty Grable and Dick Haymes

(soundtrack version with Judy Garland and Haymes) / (modern arrangement far more faithful to how song sounds in the film)

Cynthia Pilgrim (Grable) is the top typewriting student from a business college in this period piece where the typewriter is the newest invention to sweep the business world. This song appears as Pilgrim and her boss, John Pritchard (Haymes), are about to go out on a date for dinner after talking about how society looks down on women in public without a chaperone.

“The Blues are Brewin’”, music by Louis Alter, lyrics by Edgar De Lange, New Orleans (1947)

Performed by Louis Armstrong and his band and Billie Holiday

(in-film version) / (Billie Holiday single)

After being evicted by the U.S. military from the historic Storyville district of New Orleans (the Navy had just opened a base in the area, and would not tolerate places of gambling, jazz, and prostitution nearby), the characters played by Armstrong and Holiday tour the country with a jazz band in tow. This song appears within a montage showing the passage of time.

“Dekhi Zamaane Ki Yaari / Bichhde Sabhi Baari Baari”, music by S.D. Burman, lyrics by Kaifi Azmi, Kaagaz Ke Phool (1959, India)

Performed by Mohammad Rafi (dubbing Guru Dutt)

Lyrics in Hindi - roughly, "I Have Seen How Deeply Friendship Lies / I Have Seen People Abandon Me One by One"

Part 1 (3:44-8:27) / Part 2 (2:16:29-2:20:42)

Make sure to turn on the video’s English captions

In this romantic tragedy, Suresh Sinha (Dutt) is a washed-up director looking back on his life. In the first part, the song leads into the rest of the film - which is almost entirely a flashback. In brief, Suresh is unhappily married to a woman whose in-laws look down on him because, to them, working in films is contemptible to their social class. Suresh meets a woman, Shanti (Waheeda Rehman), on accident and she is soon cast as the lead for his next film. They fall in love, but it is never consummated for various reasons. Eventually, his career crashes after a box office bomb and her career is ascendant. Leading into the second part of the song, Suresh is penniless and working as an extra at the movie studio. Shanti recognizes him, wants to help, but he refuses to revive his career on the back of her success. Kaagaz Ke Phool has elements of autobiography, and Suresh's fate has parallels with what happened to Dutt after this film was released.

“End Theme from Lone Wolf and Cub: Baby Cart to Hades”, music by Eiken Sakurai, lyrics by Kazuko Koike, Lone Wolf and Cub: Baby Cart to Hades (1972, Japan)

Performed by Tomisaburo Wakayama

Lyrics in Japanese (translation)

Video provided is not safe for work (NSFW) due to stylized violence

Ogami Ittô (Wakayama) is a former, disgraced executioner for the Tokugawa shogunate who wanders the land with his young son. He is intent on exacting revenge on the clan that murdered his wife. This song is played non-diegetically after Ittô has slain dozens of a corrupt governor's bodyguards and walks onward, pushing his son in a babycart, away from the dead left in his wake. This is the third of six films in the Lone Wolf and Cub series.

"Happy Endings", music by John Kander, lyrics by Fred Ebb, New York, New York (1977)

Performed by Liza Minnelli and company (that's Jack Haley - who played the Tin Man and was, at the time, Minnelli's father-in-law - roughly seven minutes in)

(use in film) / (soundtrack version)

It is highly recommended one sees how this song is used in the film. Bear with me: this song is part of a movie within a movie. Within that movie within a movie, there is another movie. "Happy Endings" is the title end song to a film called Happy Endings within New York, New York. Singer Francine Evans (Liza Minnelli) has made it big as a recording artist and caps off her hit film, Happy Endings, with this song. We see Francine's ex, played by Robert De Niro, in the audience as the film ends. "Happy Endings" is a homage/deconstruction to midcentury Metro-Goldwyn-Mayer (MGM) musicals. It serves the film as "The Broadway Melody" does to Singin' in the Rain (1952) or the 17-minute ballet does to conclude An American in Paris (1951).

"Here They Come (From All Over the World)", music and lyrics by P.F. Sloan and Steve Barri, The T.A.M.I. Show (1964)

Performed by Jan and Dean

The link above provides the entire film. You only need to watch from 0:00-4:11. If you like music from this era or want to hear more, this film is highly, highly recommended.

This is the opening credits song to a concert film recorded over two days in Santa Monica, California on October 28 and 29, 1964. The Teenage Awards Music International (T.A.M.I. - yes, I know it's an awkward name) Show included many of the most popular musical stars of that time - almost all of them name-dropped in this song. Jan and Dean, a surf music duo, served as hosts (and performed during) the show. You folks are lucky that this is the only original song from this film!

“Moonlight Swim”, music by Ben Weisman, lyrics by Sylvia Dee, Blue Hawaii (1961)

Performed by Elvis Presley

In a musical packed end-to-end with songs, Chadwick "Chad" Gates (Elvis) has taken a job with a tour guide agency. On his first day, he drives his first clients - a school teacher (who not so secretly is attracted to Chad) and four teenagers (one of whom becomes smitten) - to their destination.

“On the Boardwalk (in Atlantic City)”, music by Josef Myrow, lyrics by Mack Gordon, Three Little Girls in Blue (1946)

Performed by Carol Stewart (dubbing for Vera-Ellen), June Haver, and Vivian Blaine

(original soundtrack) / (Dick Haymes single)

In this rarely-seen musical (20th Century Fox wasn't very good at promoting its back catalogue compared to some other studios, and the situation is worse now that they are owned by Disney), three chicken farmer sisters (Vera-Ellen, Haver, and Blaine) decide to travel to Atlantic City in hopes of marrying a rich husband after learning their aunt's inheritance is not nearly as much as they want. They sing this song as they arrive and check into their hotel suite - which they apparently have not looked up the rate for.

Those who listened to the soundtrack version... FYI, $9.25 in 1902 is $280 in 2020.

“Personality”, music by Jimmy Van Heusen, lyrics by Johnny Burke, Road to Utopia (1946)

Performed by Dorothy Lamour

(in-film performance) / (live radio performance)

In the fourth film of the Road to... comedy series, Bob Hope and Bing Crosby's characters have just overpowered two Alaskan thugs with a history of murderous violence. As they enter a saloon dressed up as those two thugs, all of the patrons - in a town that only knows the thugs by reputation - shut up in terror. They are treated to a performance by Sal (Lamour), who is trying to find a map of a gold mine that the real outlaws supposedly have. A visual narrator (Robert Benchley) interrupts the scene before the song briefly.

“Please Don’t Stop Loving Me”, music and lyrics by Joy Byers, Frankie and Johnny (1966)

Performed by Elvis Presley

(in-film performance) / (single version)

Johnny (Elvis) and girlfriend Frankie (Donna Douglas) work on a Mississippi River riverboat as performers. Johnny is addicted to gambling and believes that another woman is spurring on his recent run of good luck. During a fit of jealousy-as-acting, Frankie accidentally shoots Johnny during a bit of musical theater (someone switched out the blanks for real bullets). This song occurs after Johnny has recovered from the accident.

"Wichita", music by Hans Salter, lyrics by Ned Washington, Wichita (1955)

Performed by Tex Ritter

This is the opening title song to this Western. It is one of many Wyatt Earp movies set before the famous Gunfight at the O.K. Corral. Earp (Joel McCrea) arrives in an otherwise lawless town of Wichita, Kansas where gunplay is rampant. In a radical move, Earp orders to seize the firearms of anyone living in or entering town - which doesn't sit well with some outlaws. This song is incorporated throughout the film's score.

Group B participants include: @cokwong, @emilylime5, @halfwaythruthedark, @maximiliani, @thewolfofelectricavenue, and @voicetalentbrendan. Twelve others - including me and my sister - are slated to be voting in Group B.

Contact me however you wish if you have questions or comments regarding MOABOS' processes or something specific about a song or a few. Please let me know as soon as possible if you are having difficulty accessing one of the songs (especially if it is region-locked) or if there is an error in the playlist.

I thank you all for your support for the Movie Odyssey, the blog, and for me personally - no matter how long I’ve known you or in what capacity. You will be contacted for the final round regardless of your participation here. If turnout in one group is lagging behind compared to another, I will ask some of the more senior participants to participate in the other group, too. No pressure if you cannot get to this, although I will be checking in as the deadlines get close. Stay safe and socially distanced, everyone.

TABULATION This preliminary round uses a points-based, ranked choice method which has been used since the first time I asked friends, tumblr followers, and family to help out. A respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. The winner is the song that ends up with the most total points. The tabulation method used in this preliminary is used only as a tiebreaker in the final round (more on how the final is tabulated when we get there).

This tiebreaker will look slightly different this year.

Tiebreakers for above: 1) total points earned; 2) total #1 votes; 3) average placement on my and my sister's ballots; 4) tie declared

#2020 Movie Odyssey Awards

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taww · 3 years

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Review: Legacy i·V2 Class D Stereo Amplifier

Legacy iv2 stereo amplifier

The Audiophile Weekend Warrior (TAWW)

TAWW Rating: 5 / 5

Class D power going toe-to-toe with Class A refinement

PROS: Nonexistent noise and distortion; tube-like midrange purity; full tonal balance with stellar bass; effortless power delivery; top to bottom refinement.

CONS: Ever-so-slight reductions in top-end extension, low-level resolution and dynamic life; slight mechanical buzz; binding posts could be nicer.

Class D (a.k.a. switching) amps have been around for decades, but really started to hit the audiophile scene in the early 2000′s. My first experiences around that time were a mixed bag, to say the least. A PS Audio HCA-2 sent my way for review blew its output stage when I powered it up. (In retrospect, my subwoofer setup may have been the culprit.) I wrote a review of the original NuForce integrated amp which, despite some sonic promise, felt like an unfinished product. The $30, battery-powered Sonic Impact "Class T" amp became a budget sensation, beguiling even some SET tube lovers, but its magic quickly ran out if you demanded more than a few watts from it. (The magic also ran out for its chip manufacturer Tripath, which went bankrupt.) And then there was a first-generation Bang & OIufsen ICEPower module, packaged inside an integrated amp by a high-end marque. It sounded pretty bad - dry, grainy, lifeless. How much was due to the ICEPower module vs. the rest of the amp is impossible to say, but it wasn't an auspicious introduction to the technology. Given this checkered past, it's little wonder Class D has been battling a reputation for sonic mediocrity with audiophiles. But new technologies make progress quickly, and the increasing number of rave reviews for the latest and greatest from Hypex, Pascal, ICEPower and others had me wondering... has Class D finally "made it" sonically? My time so far with the ICEPower-based Legacy i·V2 (USD $4,785) has been a pretty convincing yes.

Description

I won’t get into all the history and technical details of ICEpower technology - for that, I recommend this excellent audioXpress article. Of note is that ICEPower, after starting off as an independent subsidiary of Bang & Olufsen, split off into its own entity in 2016. The ICEedge controller chip at the heart of the Legacy amp’s 1200AS modules had been under development for 7 years and represents the latest and greatest iteration of ICEpower’s proprietary technology. It can scale in power from 50 to as many as 7,000 watts, and unlike some of those earlier Class D amps I tried, it has an array of sophisticated control and protection features to ensure smooth, bulletproof operation. In many months with the amp I’ve experienced zero clicks, thumps, signs of oscillation or other hiccups.

A kilowatt of clean power from this one board!

The i·V2 implements the ICEdge 1200AS modules as-is without any bespoke customizations to the circuit. (Note that this is the higher-performance mono 1200AS module, not the less expensive 1200AS2 stereo module that’s much more common.) Some other brands add their own input stage, but Legacy chief Bill Dudleston has opted to keep things stock and simple. You might be wondering, why can't I buy these modules myself then, slap them in a Chinese enclosure from eBay, save thousands of dollars and call it a day? The simple answer is ICEPower only sells them to OEMs, and forbids direct sales to consumers. But Mr. Dudleston also mentioned grounding of the modules as an area of special care, saying they were able to achieve a few dB's of additional noise performance through careful experimentation. At this level of power and performance, the little things matter.

Speaking of enclosures, the i·V2 has an extremely solid all-aluminum chassis with rose gold accent trim and plenty of ventilation around the modules. It's reassuringly hefty at 30lbs/13.6kg, so you wouldn't immediately guess it's a class D amp were it not for the 610W continuous (1000W peak) power rating. There's zero flex anywhere and while I have no idea how sensitive the modules are to vibration, knocking on the chassis gives a satisfyingly dull thud - much superior to anything you'd get on eBay or from lower-priced ICEPower resellers. There's a meter on the front, however this is neither a power meter as on McIntosh, nor a bias meter as on Pass Labs, but a measurement of the available AC power line voltage. There's a small pot on the rear panel to center it, and once calibrated it stays motionless during operation. I'm not really sure of the purpose of it, perhaps to monitor if your power lines are sagging when pulling in excess of the 1200 watts that the i·V2 is capable of delivering. The overall look is nicely done though probably a matter of taste... my wife not-so-affectionately nicknamed the amp "JARVIS" [sic] because the triangular meter reminded her of the yellow mindstone on the forehead of Vision, JARVIS's superhero embodiment in the Avengers movies. In what seems to be the fashion these days, the power/standby switch is located under the front panel, and there's an additional power switch at the AC inlet. One set of very standard 5-way insulated binding posts is provided along with balanced XLR and unbalanced RCA inputs. At this price point, I would have liked nicer posts, e.g. Furutech or WBT Nextgen. Not that there's anything wrong with the provided ones, and perhaps these posts were necessary to meet the extremely high power spec, but they feel decidedly prosaic and less pleasant to turn vs. the now-ubiquitous WBT's. A 12v trigger input rounds out the package.

Can’t get enough of rose gold? The i·V2 has you covered.

Setup

I tested the amp in two very different systems: the main reference rig, consisting of PS Audio DirectStream DAC ($6k), Gryphon Essence preamp ($17k) and Audiovector SR 6 Avantgarde Aretté ($25k) speakers; and a second system with RME ADI-2 DAC ($1200), Pass Labs XP10 preamp ($5k) and Silverline Prelude Plus ($2k). As you can imagine, really critical listening was done with the reference rig, but the second setup helped feel out how l the Legacy worked in a less expensive system. Interconnects are my usual mix of Audience Au24 SX and DH Labs Air Matrix; speaker cables were Audience Au24 SX or Furutech DSS-4.1. With the big rig, the Furutech was an excellent match; in the smaller system I used the Audience. I used only the balanced XLR inputs of the amp, so if your results differ from mine and you're using unbalanced RCA, that may be a factor. My system has been fully balanced for several years now and there's been no looking back.

The i·V2 is somewhat sensitive to the choice of power cord. I say "somewhat" because it certainly won't sound wrong or bad with a given cord, the stock one included, but nuances of its presentation can change - bass response, hall perspective, top end extension and soundstage proportion were the most noticeable aspects. For most of the time I was admittedly lazy and used a trusty Audience powerChord SEi without further thought. One day I finally swapped one of @mgd-taww's proprietary cords and found it to make a nice difference, which warranted some further tinkering. I found the otherwise superlative Furutech DPS-4.1 to not be a great match - it delivered tons of detail and a huge soundstage, but sounded slightly hollow tonally and lost some of the i·V2's endearing smoothness. The Audience Forte F3 (currently $149) was the big surprise - I actually preferred it to the more expensive powerChord. Audience graciously provided me with a set of Forte F3 cords a few years back when they debuted, but I haven't spoken much about them as I hadn't gotten them to click in my system. With most gear, the Forte was lighter, airier, but lacking some substance and transparency vs. the big-brother powerChord SEi. But with the i·V2, the Forte was surprisingly even better balanced and focused than the powerChord, with a more present midrange, more mid-bass punch and a bit more attack and air on the top end. Some systems and ears may still prefer the more laid-back perspective and silkier top end of the powerChord, but I really liked what the Forte did. At such a reasonable price point, it's a no-brainer upgrade over stock.

Direct connection from the RME DAC worked, but a preamp was much preferable.

A quick word about preamps: you need one with this amp. The RME DAC didn't sound particularly good driving the i·V2 directly and greatly benefited from the Pass Labs XP10. Moving up to the Gryphon Essence preamp was even better, and the i·V2 was more than resolving enough to reveal the Gryphon's substantial advantage in musical resolution and extension at the frequency extremes over the Pass Labs. As mentioned, many purveyors of Class D amplifier modules add their own flavor to the sound with an extra input stage (e.g. PS Audio adds a tube input buffer to the Stellar M1200) and this is one interesting way to go, but my preference would probably be to stick with a vanilla but more neutral ICEdge module as in the i·V2, then tune the system with a proper preamp.

Another setup observation: yes, Class D runs extremely cool vs. traditional amps, but they do still generate some heat and I was a bit surprised that the i·V2 always ran slight warm to the touch, similar to the Bryston 4B Cubed. And sure enough, I measured around 58W of power draw at idle - virtually identical to the Class AB Bryston, or an Ayre AX7e integrated for that matter. The big difference is that the i·V2 will deliver the vast majority of its musical power thereafter into the speakers and not the heatsinks, and temperature rose very little even during some heavy listening sessions. It will never get burning hot, but please don't stick it in an enclosed cabinet - as always, ventilation is still required. If you plan to keep the amp in standby, rest assured it draws only around 0.3W, and sound is delivered almost immediately upon power-up. It does require a few minutes to start sounding its best, but certainly warms up much faster than Class A or AB amps that generally require an hour or more to get close to their full potential.

I do wish the binding posts were fancier...

Finally, while the amplifier is absolutely dead quiet through the 92.5dB-efficienty Audiovector speakers, I noticed a slight buzzing sound from the amplifier modules themselves. It wasn't really audible from the listening position, but you could definitely hear it by the equipment rack. It's comparable to the slight buzz from a toroidal transformer that's dealing with a little DC on the power line, but I'm unsure that is the cause here vs. some intrinsic noise from the ICEPower's switching supply. None of my other components are having this issue at the moment, though in fairness, the Gryphons' exceptional quality transformers that are fully potted and enclosed set a benchmark for mechanical quietness. Not a major issue, just mentioning for completeness.

The Sound

Looking back at my listening notes from the first couple hundred hours of the i·V2's time in my system, it was apparent that I really needed to give the amp more time to break in. I should have known better, as my experience with audio gear employing high-speed switching circuits like DACs and Class D amps is they take a very long time to settle in. The DirectStream DAC needed at least 500 hours to sound its best, and despite cranking the Legacy amp into a 4-ohm dummy load for dozens of hours at a time with my break-in playlist, it took a couple hundred more hours before the Legacy started to click in the reference system. The second system is more forgiving and sounded good earlier on, but I'd still make sure to give the amp many, many hours before passing judgement.

Once that was out of the way, listening impressions were consistent and roundly impressive. Among the Legacy's more enviable characteristics: super low distortion; dead-quiet silence; terrific bass response; seemingly endless power on tap; smooth tonality with no discernible coloration; a surprisingly silky treble and full mid-bass; and a relaxed, slightly laid-back perspective that's a bit less immediate than my Class A amps, but still resolving and involving. Let's delve in...

Head to head with the mighty Gryphon Essence

Tonally, the Legacy struck me as slightly mellower than my reference Gryphon Essence, at least with the Audiovector speakers. I hesitate to say the Legacy is "warmer," or the Gryphon is "brighter.” The Legacy, along with the Gryphon or the Bryston 4B Cubed have less overt tonal coloration compared to, say, the Pass XA30.5 (distinctly but not excessively warm), Valvet A4 Mk.II (more forward in the upper midrange) or Ayre AX7e (crisper and lighter). The upper frequencies were very slightly less prominent with the Legacy than the Gryphon, even though I’d never call the Gryphon bright or the Legacy rolled-off. There’s just a little less air in the soundstage, and instruments with strong HF energy like Donald Byrd’s trumpet in “Witchcraft” (Byrd in Hand, Qobuz 16/44) felt slightly curtailed vs. the ultra-open Gryphon. It might have more to do with the amps’ approach to harmonics than their inherent brightness, which I’ll get to later.

The midrange is smooth and balanced, with a purity that's a step above my aural memory of the Pass and Bryston. As with the treble, it has a sense of warmth and silkiness not for what it adds to the signal, but for what it doesn't. It’s so exceptionally free of any audible distortion that even the lovely Valvet sounded a tiny bit grainy and coarse by comparison. Given that I lauded the Valvet for its midrange purity relative to the Bryston 4B3, which in turn I also liked for its midrange quality, that’s saying something.

Class D amps typically have great bass, and the Legacy didn't disappoint. Earlier in the review period, it easily surpassed the Gryphon in weight and punch, making the Gryphon sound slightly anemic on tracks like Billie Eilish's “all the good girls go to hell” (Qobuz 24/44). It was also more neutral and controlled than the Pass while having even more punch. The Gryphon still has more texture, depth and musical resolution with my speakers, and more recently it has retaken the lead in overall bass response for reasons I'm still trying understand. Either the Gryphon has finally fully broken in its enormous bank of supply capacitors, or improvements to other aspects of the system (e.g. a 20A power line) have favored it. Given that many love the bass performance of Pass Labs and the Gryphon is considered world-class in that regard, the Legacy has to be considered superb, with both the power and refinement to satisfy music lovers across a wide spectrum of genres and tastes.

What really stands out about the i·V2 is how it can combine all of the above qualities with over 600 watts of continuous power, yielding a balanced presentation that's utterly composed regardless of volume level or material. The way it scales its refinement beyond ear-splitting levels makes most every traditional amp seem shouty, edgy or strained by comparison. While the Bryston 4B3 sounded better the louder I played it, it wasn't as smooth and detailed; the Pass XA30.5 got a bit lumpy and loose at the limit; the Valvet gets a little edgy and coarse at moderately high levels; and even the mighty Gryphon Essence can get subtly brighter as you ask more power of it. The Legacy is an effortlessly smooth operator, and I certainly didn't have a speaker on hand that could faze it in any way.

Tradeoffs

Resolution of fine detail is where the Class A stalwarts pull away from the Legacy. There’s a few aspects of reproduction where this exhibits: top-end extension, harmonic resolution, very low level detail and soundstaging, which I’ll attempt to detail...

The top-end is what I would call slightly soft. It's not rolled-off, nor did I find it "dark" as I've seen some people call it. It's more that a level of sparkle and sheen that is subtly omitted from the sound. Instruments like cymbals, triangles and trumpets still have realistic tonality, they just feel slightly softer around the edges. This also affects the feeling of harmonic completeness - the highest overtones of woodwinds are somewhat curtailed. This led my oboist wife to comment that the i·V2 made oboists she was personally familiar with sound even smoother and sweeter than real life, whereas the honesty of the Gryphon Essence gave a more realistic representation.

The Valvet A4 Mk.II and certainly the Gryhon Essence, and by aural recollection the Pass XA30.5, also capture a bit more of the ambient signature in a recording - the "hall" sound, the sense of performers in a space. It’s not that the Legacy is very lacking in this respect, but similar to early SACD players, it does still have a touch of the “velvet curtain” effect where below a certain threshold, subtle parts of the signal seem attenuated. This can also makes listening at very low levels a tiny bit muffled. Resolution is still excellent, at least on par with amps around the $5k price point, e.g. the Bryston 4B Cubed. A pair of Benchmark AHB2’s could be interesting competition, but I haven’t heard it, and it doesn’t have anywhere near the current capability of the Legacy.

The last area where I found the Class A amps superior was dynamic contrasts. Despite the Legacy being the most power amplifier I have ever used by a long shot, it actually didn't sound more dynamic at typical volume than the 50 watt Gryphon, or the 55 watt Valvet monoblocks. Sure, it will play much louder than they can, but loudness isn't the same as dynamics. The Gryphon and Valvet both had a bit more life, a bit more contrast in colors... I hate to say it, but more “PRAT.” I'd put the Legacy somewhere between these amps and the Bryston 4B Cubed, which had a greater tendency to flatten dynamic nuances. (Note: my speakers are quite efficient and tame, so I’d imagine this could be a very different story into something significantly under 90dB/watt and/or presenting a tougher load.)

One more caveat to the above observations: it might be more speaker-dependent with the i·V2 than a typical linear amplifier. Interestingly, I found the i·V2 to kind of be the opposite in terms of speaker interactions and tonality to what I usually experience with my systems. The reference Audiovector speakers, with their ruthlessly revealing AMT tweeters and critically balanced tonality tend to be less forgiving of amplifiers than the much more affordable Silverlines with their soft-dome tweeter. However I actually found the i·V2 to bring out just a bit of upper midrange and lower treble prominence with the Silverline (not a bad thing per se), while sounding comparatively mellow with the Audiovectors. Load-dependent performance is a well-known challenge with the Class D topology, and while designers have found increasingly sophisticated means of mitigating it, it is probably still a factor here, albeit a much more nuanced one than in the past. I have to wonder if this variability is why one still hears of such wildly varying opinions of Class D amps... in any case, an audition with your preferred speakers is highly advisable.

Further Musings...

The Legacy i·V2's exceptional performance forced me to check my notions of fidelity. In terms of measured performance, it’s among the best I’ve experienced (along with the Bryston 4B Cubed), and my ears registered its sound as correspondingly pure and distortion-free. Could the Legacy's slightly smoother, less bright and less overtly dimensional perspective actually be more accurate than my other amps? It's been shown (by e.g. Nelson Pass) that some judicious 2nd order harmonic distortion can add a sense of dimensionality to a recording, which explains why tubes can sound so "holographic". In the tube case, I find this to be a euphonic (albeit lovely) deviation from the original recording. The Gryphon Essence is also a soundstaging beast, and while it’s far more neutral than any tube amp I’ve heard, could some of its dimensionality also be additive rather than accurate? Could something similar be said of the i·V2 slightly soft treble - is this actually the absence of distortion that exists in virtually all other systems, including the ones used to master recordings? Listening to a bright pop album, e.g. Dedicated by Carly Rae Jepsen (Qobuz 24/44), the i·V2 was certainly more listenable than the crisper and more sibilant Gryphon. On the other hand, the Gryphon has a bracing immediacy, a feeling of being pulled into the mix and enveloped by the music. The i·V2 by comparison is a little tame, a little reserved, perhaps even a tad muffled. Is that extra dynamic verve and contrast I hear from the Gryphon and other Class A amps real, or an artifact? Which is more accurate?

Because of the infinite number of variables in the recording and playback chain, there's likely no clear-cut answer. While no one buys a Gryphon or Pass Labs for the best specs, there’s no denying that the latest crop of Class D amps are on another level of measured performance from old-school Class A machinery. On the other hand, I do feel the i·V2 subtracts a few things from the signal. How much does that matter to your ears in your system? It's a close enough call that I can imagine circumstances of some preferring the Legacy to the Gryphon. For me personally, while I could happily live with the Legacy, I do inevitably find myself returning to the Gryphon for those extra nuances - the fineness of instrumental textures, the palpability of the soundstage, the dynamic inflections - the things that make hifi more evocative of the real thing.

I recently attended a lovely performance by The Cleveland Orchestra in their summer home, Blossom Music Festival. (Hurray for the return of live concerts!) When I returned home that evening, the Legacy was hooked up in the system. I put on a live recording of the Philadelphia Orchestra - not at all equivalent in venue or performance to what I had just heard, but bear with me - and it struck me that the tonality of the i·V2 was actually quite evocative of the real thing. Live orchestral performances have a ton of energy, and yet they sound so smooth and sweet compared to typical reproduced sound. The i·V2 captured that silkiness to a greater degree than I’ve heard in my system, but was lacking some of the edge and vitality. Switching to the Gryphon gave me more of the excitement of the live event, but tonally it wasn’t quite as spot on. At this point, we’re probably approaching the limits of conventional reproduced sound, so some tradeoff will be necessary. Which one is “better” may depend on your frame of reference. E.g. if you like the neutrality and balance of solid state amps, you'll likely find little missing from the Legacy's presentation; if you favor the tonal color, dynamic verve and larger-than-life presence of tubes, you may find the Legacy a little dull. The very fact that I'm having to finely parse these matters of fidelity and taste is a testament to the overall excellence and refinement of the i·V2. To accomplish that that with 610 watts on tap for under $5k is a significant milestone for Class D technology, and a remarkable feat of engineering.

I must mention the obvious ecological benefits of Class D over Class A - we are drawing literally hundreds fewer watts, we don't need to keep it running or warm it up for extended periods to sound good and we are generating far less waste heat. The electric bill and thus cost of ownership will also be appreciably less. On the flip side, the jury is still out on how long these amps will last, vs. a Gryphon or Pass Labs or Bryston that one can easily imagine humming along for 20+ years. As such, and as is often the case with newer and more commoditized tech, I'd expect resale value to be significantly lower than those marques. Just a couple extra things to consider when you're plunking down a not-inconsiderable amount of money on a piece of kit.

Conclusion

The Legacy i·V2, and Class D amplification more broadly, are emblematic of larger shifts in high-end audio technology. Just as solid state and digital audio took a while to hit their stride and gain legitimacy in the exalted (ok I'll say it, snobby) circles of the high-end, we've hit a point of maturity with Class D where technological sophistication and subjective fidelity can go hand in hand. The fact that I strained my ears comparing the i·V2 to a $24k Class A reference that is far and away the best amplifier I have ever heard in my system is all the proof I needed. For under $5k, the Legacy i·V2 delivers a balance of refinement and power that is unmatched by any conventional amplifier I'm aware of near its price point, and competitive in absolute terms with the better amplifiers under $10k and beyond, regardless of technology. It's a cut above what I heard from the Bryston 4B Cubed, and while I haven't had the Pass Labs XA.8 series in my own room, I would not hesitate to line it up against them. Many may still prefer the more overt musicality of the hot-running Pass behemoths, but my feeling is it'll be more a matter of personal taste or system matching, as opposed to one of absolute fidelity.

I have a few burning questions on my mind now. The first is how Legacy's implementation of the ICEdge 1200AS compares to other ones on the market - could you get similar or even better performance for less? The next one is how does the Legacy/ICEdge stack up against other Class D implementations from Hypex, Purifi, Pascal and others? And finally, I've also heard a lot of wonderful things about the Class H Benchmark AHB-2 from ears I trust. It too is compact, cool-running, superbly specified and relatively affordable, but utilizes a sophisticated implementation of traditional linear amplification technology. I would love to compare and contrast the Legacy with that amp.

In the meantime, I strongly endorse an audition of this amplifier without prejudice. It's a remarkable achievement in amplification - highly recommended!

#review #class d #amplifier #audio #audiophile #hifi #legacy #iv2

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stuckinapatriarchalbullshitland · 4 years

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for the f anon. do you have a time line when camren broke up and then made up again? have you got any information on what really happened to camila in 2015/16? did she have a mental brake down? did her anxiety ocd take over? like we know it was bad because her mom was with her everywhere. and she had to be separated from ot4. but privately surely the girls especially lauren and dinah was there for her? how many times was she in hospital. because after every visit the side effects are visible.

I know I took ages to answer this, anon but here’s F answer: (Long ass post coming)

Hello, dear Anon.

I’m gonna answer your questions in order.

2014: Become official in early April and broke up in late November. Small parenthesis. They were both 17 years old in April 2014. Oh, hello to you too ‘Used to This’!

2) Camila suffers from one of the variants of OCD since she was 8, and despite seeing a therapist since 2013, her OCD was diagnosed at the end of 2015. C also suffers from anxiety, panic attacks, mood disorders, and depression (all linked to her OCD). These are things that we’ve been able to witness with our own eyes on more than one occasion. She’s always tried to bottle everything up and not show herself 'weak’ in front of people, in front of us fans. The last thing she wanted was to let people know how much she was really struggling, and therefore, she always tried to disguise it as best she could. Many times, even using her humor as a shield. Picture certain events like a time bomb. Picture her depression as a progression ready to explode:

And the list goes on… Anxiety consumed her life for a long time. Now comes and goes.

4) 3 times. But, as we saw with Dinah in that 2017 video, they may have given her intravenous therapies when she needed it. It’s common, especially for overworked artists.

I (Interviewer): “This one an interesting one. Are Camila and Lauren dating?”

L: “No”

C: “Ugh, Jesus Christ”

I: “Yeah, I know” at the same time as what he says, C laughs awkwardly as a result of her comment “It comes down on Google 'cause people are googling it!”

L: “No! It’s amazing how people continue to do that”

Okay. Love u, guys. Stay safe, please. With love, Faby.

#f anon

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doomonfilm · 3 years

Text

Results : The 93rd Academy Award Film Nominations (2021)

After weeks and weeks of speculation, rumination over nominees, streaming service deep dives, high-priced rentals and brain-bending predictions, the moment of truth has finally arrived. This year, despite the ceremonies being split between the Dolby Theater in Hollywood and Union Station in downtown Los Angeles, the presentation was wonderfully cohesive. Several stars stepped up to preface each award, present the nominees and name the winners, and in-between these moments, Questlove had my dream gig as Academy Awards DJ. For one of the first public forays in a world creeping closer to a post-COVID-19 reality, the show came off exceptionally smooth and well-presented.

Cicely Tyson, Ian Holm, Max Von Sydow, Cloris Leachman, Yaphet Koto and many more were recognized in light of their respective passings in 2020 courtesy of Angela Bassett and a moving Stevie Wonder selection, As. Tyler Perry and the Motion Picture & Television Fund each received the Jean Hersholt Humanitarian Award for their long-established efforts, especially those during the COIVD-19 pandemic. Announcements were made for a Steven Spielberg-directed update of West Side Story, the long-delayed In The Heights and Summer of Soul, the directorial debut of Questlove (who also provided his DJ services for the evening). The show even had a couple of hilarious moments, including Daniel Kaluuya embarrassing his mother on national TV and a quiz show turned censor’s nightmare involving Questlove, Lil’ Rel Howery, Andra Day, Kaluuya and Glenn Close. Several of the evening’s awards also allowed for stars and crew to voice their opinions, concerns and wishes about cultural ills, the lack of inclusion and how we should treat our fellow man.

While we all look forward to seeing what surprises each Academy Awards ceremony holds, what we really come for are the awards. This year, I put in the work more than ever, and even I found myself surprised by some of the evening’s outcomes. Here are my thoughts on the evening and the winners.

Best Picture

Winner : Nomadland Prediction : Minari

While I’m not surprised that Nomadland took the top award of the night, I am a bit sad that Minari ended up having to walk away almost empty-handed in light of this, especially seeing that Another Round took the Best International Feature award. Hopefully Minari can find an audience in light of this snub, but despite how bitter I sound, I am happy for the success that Nomadland has found this award’s season.

Best Director

Winner : Chloé Zhao, Nomadland Prediction : Chloé Zhao, Nomadland

Chloé Zhao has been the belle of the ball this award’s season, and her successful run culminated in a strong showing at this year’s Academy Awards ceremony. With her next venture being a step into the MCU via The Eternals, let’s see if she can bring her sensibility (and award-winning credibility) into the world of the popcorn flick.

Best Actor

Winner : Anthony Hopkins, The Father Prediction : Chadwick Boseman, Ma Rainey’s Black Bottom

As Joaquin Phoenix said so prophetically prior to handing out this award (and I loosely quote), “it’s a shame that only one person can win”. That being said, as great as Anthony Hopkins was in The Father, it’s amazing to me that this award did not go to Chadwick Boseman. Some might say that giving it to him posthumously would not be sincere, but cards on the table, Boseman gave a powerhouse performance that deserved continued recognition right up to the top award. The Academy Awards has a long history of “interesting” choices, and this is one of the most memorable to date.

Best Actress

Winner : Frances McDormand, Nomadland Prediction : Viola Davis, Ma Rainey’s Black Bottom

After Andra Day upset the balance at the Golden Globes, I had my doubts that the formidable Frances McDormand would garner any awards for Nomadland, despite her stellar track record. Viola Davis looked like the frontrunner headed into the night, as she was poised to make Oscar history, which further narrowed McDormand's chances. Once Nomadland won Best Picture, however, it seemed like the wave had shifted, and sure enough, the statue went to McDormand. This was a monster of a cateogry, and her win was certainly a well-deserved one.

Best Supporting Actor

Winner : Daniel Kaluuya, Judas and the Black Messiah Prediction : Lakeith Stanfield, Judas and the Black Messiah

In one of the most controversial categories leading into the evening, Daniel Kaluuya and Lakeith Stanfield found themselves battling one another in the Best Supporting Actor category, which raised the question of whether or not Judas and the Black Messiah even had a lead. This was further muddied by what seemed like a sure-thing victory for Chadwick Boseman in the Best Actor category (which ended up being quite the surprise category, to say the least). With Kaluuya having the momentum coming into the night via a series of previous wins for his role as Fred Hampton, his win on the night was not a surprise victory, and his presence definitely helped make the show a memorable one.

Best Supporting Actress

Winner : Yuh-Jung Youn, Minari Prediction : Yuh-Jung Youn, Minari

In what ended up being my favorite moment of the night, Yuh-Jung Youn helped save Minari from a wholly disappointing showing with her formidable victory in the Best Supporting Actress category. Her acceptance speech was what the Oscar ceremony is all about, with her sincerity and appreciation being massively sincere, including a wonderful acknowledgement of getting to meet award presenter Brad Pitt.

Original Screenplay

Winner : Promising Young Woman Prediction : Promising Young Woman

Had Promising Young Woman walked away empty-handed, it would have been a pure travesty. Its subject matter, however, not to mention its unforgiving approach, made it a tough choice for any of the top awards outside of Best Original Screenplay, but in my opinion, it is exactly those same aspects that made it the shoo-in win for this category. Hollywood has a long way to go before it can be honest about the type of people it supports, but giving a film like this one a spotlight can help make that a reality.

Adapted Screenplay

Winner : The Father Prediction : The Father

As one of the last films I ended up seeing in my pre-Academy Awards research, I was very curious to see how The Father would end up in regard to successes, and this was one of the categories that felt like a sure thing. The passion and time spent on this play turned screenplay is evident for anyone who has seen this incredibly moving film, and while its other award of the night was definitely a shockwave of a closer, this award was certainly well-deserved and possibly expected.

Animated Feature

Winner : Soul Prediction : Soul

If there were a sure thing for the evening, this was the category. Soul was the heavy favorite going into the night, and it did what it set out to do, which was win over everyone who had the pleasure of seeing it, including members of the Academy.

Production Design

Winner : Mank Prediction : News of the World

My curiosity of what kind of showing that Mank would have on the evening kept me in anticipation leading into the show, and while it didn’t garner any of the big awards, I am happy that the work put into capturing a bygone era was rewarded via its technical awards. This one came as a surprise to me, but it was certainly not a bad choice.

Costume Design

Winner : Ma Rainey’s Black Bottom Prediction : Emma

This award not only stood as a show of inclusion (something that the Academy has had to be aware of in the recent past), but a harbinger of possible results in the top acting awards. Anytime that a film like Ma Rainey’s Black Bottom starts cleaning up in the tech spots, I start to look at it like a sort of consolation prize, and after the film’s leads not receiving awards for Best Actor or Best Actress, it seemed that this practice is still in effect.

Cinematography

Winner : Erik Messerschmidt, Mank Prediction : Erik Messerschmidt, Mank

As mentioned before, the aspect of Mank that really stood out to me was how David Fincher made his film feel authentically of the era it presents to us. This immersion was created with the visuals and the sound, but with Sound of Metal being such a standout film centered around auditory stimulus, Mank felt like a longshot for that, but a sure shot for Best Cinematography.

Editing

Winner : Sound of Metal Prediction : The Trial of the Chicago 7

Sound of Metal had a very impressive night, and while it won the award everyone expected it to, seeing it win the Best Editing award as well only stands as a testament to how well put together the film is (no pun intended).

Makeup and Hairstyling

Winner : Ma Rainey’s Black Bottom Prediction : Pinocchio

As mentioned in my Best Costume Design thoughts, while this award was well-deserved, it felt like a possible setup for a letdown later on in the evening, It’s tough to think of an award in terms of what it may mean for a future loss, but that’s the way the award show cookie crumbles.

Sound

Winner : Sound of Metal Prediction : Sound of Metal

If Soul didn’t exist, then this award would’ve been the one that felt like the most obvious choice. Capturing the world of deafness in film is not only incredibly difficult, but daring as well, as audio is one of the key aspects to creating the immersion needed to appreciate a film, but the sound design of this film brought us into a world many of us may never experience directly, and for that, it deserves to be awarded.

Visual Effects

Winner : Tenet Prediction : Love and Monsters

Tenet couldn’t go empty-handed this awards season, and with much of the competition being on a different cinematic and studio level (outside of Disney’s Mulan), Tenet certainly had the highest profile. It is cool, however, to see a film (and director) so dedicated to practical and in-camera effects win the highest award in the game.

Score

Winner : Soul Prediction : Mank

In what continuously became the most hilarious occurrence to me from award show to award show, Trent Reznor and Atticus Ross once again found themselves playing second banana to Trent Reznor and Atticus Ross. While I have no issues with Soul winning this award, I think time may find that Mank’s incredibly period-authentic original score was overlooked in its brilliance.

Song

Winner : Fight for You (Judas and the Black Messiah) Prediction : Fight for You (Judas and the Black Messiah)

After a disappointing snub at the Golden Globes, it felt like H.E.R. my find herself walking away empty-handed for her standout work in the creation of Fight For You. The song is not only a strong performance and recording by its own merit, but it captures the spirit and essence of Judas and the Black Messiah in a way that the other nominees fall short of.

Documentary Feature

Winner : My Octopus Teacher Prediction : Collective

While a compelling film, I find myself baffled at the continued victories that My Octopus Teacher has racked up for the year. Despite my lack of connection to it, it is impossible to ignore how deep and vast the film’s connection to the populous at large has been, and with an Oscar under its belt (along with the numerous other statues it has collected), it stands to likely grow a bigger and more supportive fanbase.

International Feature

Winner : Another Round (Denmark) Prediction : Better Days (Hong Kong)

Not only was Minari robbed of wins in both the Best Picture and Best International Feature category, but the film that did win the Best International Feature category felt like a bit of a superficial choice. With a film about bullying, a film about the failures of the healthcare system and a film about the lack of humanity during war all in the running (and all pitch-perfect films, to boot), a film about a group of entitled alcoholics being a poor influence to kids became leader of the pack. Categories like this one are a chance to broaden American awareness of international art and culture, but this award feels like one of the bigger missteps of the evening.

Animated Short

Winner : If Anything Happens I Love You Prediction : Genius Loci

While Genius Loci was the more moving piece to me, If Anything Happens I Love You is certainly a film with a nuanced and artistic approach to an American epidemic that is public shootings (a school shooting, in this case). While my heart feels the loss of this choice, my head is happy that such a moving and heartfelt film may get the chance to touch the lives of a broader audience.

Documentary Short

Winner : Colette Prediction : Do Not Split

First and foremost, all respect to Colette for the story it tells and the spotlight it puts on both its titular figure and the way that people of multiple generations dance around facing the Holocaust head on. All that being said, Do Not Split was way too important of a film to go unawarded, especially in light of rising violence against members of the Asian-American community.

Live-Action Short

Winner : Two Distant Strangers Prediction : Two Distant Strangers

Definitely one of the categories that got the winner absolutely right. Sadly, the film becomes more and more relevant with each passing day, with several Police-based shootings having taken place since the George Floyd trail conclusion. Bravo to Joey Bada$$ and company for making such a brave and bold piece of art.

I ended up predicting of 9 the 23 films correct, which is not nearly as good in comparison to how confident I felt going into the night. There were lots of surprises throughout the evening, especially in the final stretch, and I’m sure these decisions will be debated heavily for the next few weeks. Luckily, we’ve got ourselves plenty of months to start taking in the 2021 releases, and with two-thirds of the year left to look forward to, it’ll be fun when we all reconvene to do this again in 2022.

#ChiefDoomsday #DOOMoNFILM #AcademyAwards #Oscars

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alien-richie · 5 years

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Keep In Touch Part 1:

• So there's gonna be some BenxBev RichiexEddie and MikexStan (and Bill who's awful at romantics), but we'll get into all of that later.

• Richie, Ben, Bev, and Mike start a cover band in high school when they're like 15-16 (probs the summer after their sophomore year.) Richie sings and plays rhythm guitar, Mike plays guitar (and occasional piano), Bev does some vocals and backing vocals and plays bass, and Ben plays the drums.

• They start off just doing covers and having fun for a while and posting videos/audios of their covers and/or garage/barn performances on YouTube, and they get an okay but not huge following online. They aren't famous or even really that popular by any means, but that doesn't mean they aren't any good.

• So a little after the band situation starts, Richie and Eddie start dating (finally), and it goes pretty well up until their senior year when everyone's getting ready for college and shit. Eddie's always being guilttripped by his mom, and Richie (and the other Losers) have to keep reminding him that life will be so much better for him once he's away from his mother and just Derry in general.

• Now, in Richie's head, he saw all of them going to the same college or at least colleges that are somewhat close to each other. Obviously, a bit too much to ask for for seven people with mostly differing life plans.

• Bill talks about going to a college in England towards the end of their Junior year which upsets Richie and the two get into this huge fight, and they pretty much don't talk to each other for the rest of their high school careers, but obviously they're forced to be around each other because of their friends.

• Senior year's going along, and Richie's still in this unrealistic (and kinda unhealthy) mindset that the rest of the Losers are going to go with his basically unspoken plan of sticking together for their college years.

•Eddie starts talking about going to college in New York, Ben and Stan plan to go to colleges in Nebraska and Georgia, and Mike and Bev end up wanting to go to the same college in Florida, purely by coincidence, and Richie is left in the dark about ALL of this because everyone is scared of upsetting him.

• Anyways, the band is still going strong through their Senior year. Richie actually started writing original songs (with occasional help from the others). They're upbeat and punk/alternative and sometimes about Eddie just to see him blush in the front of the little crowds at the small parties they had in Mike's barn where they performed. These songs are recorded and posted on YouTube and get just as much love as the rest of their stuff, in fact, it actually gets them a little more attention. Again, not Famous or really that popular, but good, y'know?

• Then around Spring break, Richie finds Eddie's acception letter in his backpack while digging around for his inhaler or something, and he flips. They fight, Eddie goes off telling him how unrealistic it would be for all 7 of them to go to the same place when they all have mostly different directions they want to go in. Richie refuses to accept that and feels betrayed.

And Eddie breaks up with Richie.

• Richie doesn't go to school for the rest of the week and avoids the Losers for a couple weeks after that, staying at home and pouting.. and crying.. and drinking and smoking pot and writing.. a lot. And then he only ever really hangs out with Stan and Bev, Ben, and Mike to practice and play and record and write.

• His songs get kinda more self depreciating but not concerningly so, they're still upbeat and kick-ass, and bitter/angry sometimes.

• One day Richie asks what'll happen to the band after they all split up and Stan, Bev, Ben, and Mike all look at each other and then at the floor and they say they'll try to still help Richie by sending mp4 files through emails, but that they have no idea how busy they'll be. Richie hides the pain that time, just smiles and tells them it'll be fine, and he'll work something out. They don't believe it for a second but go along with it.

• Graduation comes around, and they throw this huge party and perform with their band and then get completely wasted, but Eddie leaves halfway through the band's set during a particularly bitter song, telling everyone his mom called him (a lie.) Richie just drinks the pain away until he's behind the barn with Bev and Stan, throwing his soul up and crying into their chests about everything and wishing they could just be in high school forever and basically has a breakdown because he doesn't want to lose the rest of his best friends. He's already lost two, he can't handle anymore, and Bev and Stan try to reassure him that even while they're all at college, they'll still keep in touch and talk with him, but Richie isn't having it, he just keeps crying and begging them not to leave him.

They never talk about it after that night.

• Over the next couple weeks the Losers all start getting ready to leave for their respective colleges. Richie decides to just use his savings to move to LA and spend all of his time working and making music on his own with any possible help he gets from Ben, Mike, and/or Bev between their studies. It didn't matter, he could mix it by himself or just hire someone to play an instrument if he needed it or just make new friends in LA and get them to make music with him.

• They promise to keep in contact with each other (aside from Richie and Eddie.. and Richie and Bill.) Stan's kinda pissed at Richie as well for just being stupid and kind of an asshole about everything all year, but he still sees him as a close friend.

Like/reblog for part two cuz I have a lot more lmao

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kinetic-elaboration · 4 years

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September 4: 1x13 The Conscience of the King

Past midnight and I’m tired but!! The Conscience of the King!

This was a wild ep. A lot to untangle about it.

Dramatic Shakespeare! Jim’s very invested in the performance.

I legit thought that the guy next to him was McCoy the first time I watched this. I hadn’t seen much ST at the time and that’s my excuse but also in my defense he has a similar facial structure and it’s dark.

“What do I do about my log???” New hydration game: drink whenever someone mentions their logs.

So Tarsus had only 8,000 people--that’s not very many. They must have been very isolated and new. And Kodos killed 4,000.

The Karidian players are part of the “Galactic Cultural Exchange Project.”

One of my problems with believing this Kirk/Lenore romance outside the usual honeypot aspects is that she is a little young for him perhaps??? I say as if I didn’t know couples with a bigger age gap but--she’s only 19 so it’s different.

So Kodos faked his death, fairly immediately had a daughter, and then changed his identity. Her age being exactly 19 is probably just about keeping math simple but I would like to read more into it than that.

Major plot hole that there’s a PICTURE of Kodos in the database. Like???? Then everyone knows what he looks like? The idea that only 9 people have the secret knowledge to bring him to justice and yet also everyone with an internet connection can see his photo is just nonsense.

Kirk, being charming at a party. I feel like his flirt game isn’t so strong at first (here, have this glass I’ve already sipped from?) but it gets stronger as their conversation goes on. He doesn’t have the greatest lines but his attitude is so charming and attractive it legit does not matter what he’s saying.

I used to feel, at least, that Lenore was one of his real, legit love interests, probably because of the ending and because it was one of the first eps I saw so I took it as more face value, but on a rewatch... not really sure. At any rate this initial flirting is all about the Strategy.

I find it somewhat disturbing that Lenore played her father’s wife.

The Astral Queen??

Lenore is really bad at judging Kirk, like from beginning to end. If this were airing now and I were in the fandom, I’d be getting into internet fights with people about how her analyses of him are biased and shouldn’t be taken at face value because they clearly have no connection to how he actually is. “Where’s the brash young man from the party?” Was there ever a brash young man? Is he in any way different on their walk versus inside??

A dead body, what a mood killer.

I like the aesthetic of this planet, though.

Wow, wtf, Kirk, your friend’s widow is crying and you give her a five-second hug and then literally push her off screen? Gotta hurry it up ma’am!

So he just has to say ‘over and out’ and the communicator cuts the transmission and he can call someone else. Very high-tech.

Spock is displeased. A little suspicious. A little jealous.

How did you know she was coming on the ship? “I’m the Captain.”

Spock should appreciate how sneaky Kirk is being with all his schemes. It’s not Menagerie level but still.

Riley! I wish he were in more eps. He’s one of my favorite minor characters. I realize he’s only in this one because they accidentally cast the same actor twice but still--he had potential. I see he’s been taken out of Navigation. And given a backstory in Engineering, and then moved to Communications. But he keeps the gold shirt. Busy fellow.

“Star Service.”

So he transferred Riley to protect him because he figured... no one knows where Engineering is?

I love this Spock and McCoy scene. McCoy being so laid back and Spock being like “I am suspicious of this suspicious situation.”

Vulcan was never conquered though??

“Your personal chemistry wouldn’t allow you to see that” sounds an awful lot like a veiled “you’re gay” reference.

Someone finally comments on the romantic lighting that follows Kirk around.

Wow, how did all this “surging and throbbing” talk get past the censors? Tone it down, Lenore.

Kirk claims he eventually really liked her, but this is like the last positive scene they have and he’s still CLEARLY fishing for information.

Love that cut from Lenore and Kirk making out to Spock alone on the bridge at night, brooding. (No one needs to steer the ship at night I guess?)

Poor Riley, stuck by himself in Engineering during the late shift. “You’ve been a bad boy.” I love when the crew gets to just hang out and be friends. Also interesting that Uhura has borrowed Spock’s harp.

Spock: “Riley can’t die because KIRK.”

This is a great triumvirate scene. I love how they play off each other, and how they simultaneously care about each other and about their jobs and doing the right thing.

I do find it weird that McCoy is so anti this whole investigating Kodos thing. Like, this isn’t some crazy vengeful path that Jim’s on or whatever he’s implying. Jim’s actually being pretty careful and slow in his actions? And there is someone actively killing people, like--the threat is imminent? It’s just a weird side to represent. I get the balance they’re trying to portray with the three sides but McCoy just doesn’t have a good argument and Jim doesn’t really need to be pulled back--if anything, he needs to be pushed, as Spock is pushing him.

“Logic isn’t enough. I’ve got to feel my way.”

Double red alert sounds like double secret probation.

Spock shushing the Captain.

Throw the phaser out the window.

Lol after all this hullabaloo about being extra sure and all this scheming to get people on his ship--Kirk just comes out and asks Karidian if he’s Kodos. Well that’s one way about it!

Kodos, like his daughter, fundamentally misunderstands Jim. I know he seems very ‘starship captain with his technological tests’ or whatever but--to call him not human?? He is the MOST human!!

Kirk does understand life or death decisions but he would never have made the decision Kodos made.

I’m with Spock, this is not ambiguous. This man is clearly Kodos. I’m glad there was a character actively saying that the alleged tension in this “who is he really?” plot line is not actually real.

This guy is such a manipulative drama queen oml.

I feel like the morality of this situation is not as gray as some characters are trying to make it. Like, no, Lenore, no one’s crying a river for Kodos lol.

The Kodoses again are either not good at reading Kirk or are deliberately trying to gaslight him into incorrect beliefs about himself because he has literally been nothing but human and merciful this entire time!!! An inhuman person would be like “logically he has to be Kodos” and an unmerciful person would be like “and he needs to die” and just like killed him 10 minutes into the ep.

This is the downside of audio logs--private things don’t stay very private.

Riley’s on the loose! Very IC of him.

I love that the ship has a theater, btw.

Riley must have been very young on Tarsus. No more than maybe 6, 7 years old. Knowing what I know about people’s inability to actually remember things or identify people with any accuracy at all, I don’t actually believe he recognizes Kodos’s voice. But what were we saying about how Kirk is unmerciful and in human?

Riley sure backs down fast when Kirk says so.

This Lenore and Kodos scene is probably the best in the whole ep. Really laying bare their fucked up relationship and how absolutely, tragically, irredeemably mad she is. The drama! I love a true wild woman.

The irony! The Shakespearean over-the-top-ness of it all!

You know at least one person in the audience thinks this is just a really weird play.

Leave it to McCoy to ask all the wrong questions lol. He wants to know if Jim liked the girl--who the fuck cares? He knew her for one day. Maybe he was briefly legit interested in her for a few minutes there, but she’s certifiable AND she tried to kill him, so that’s that on that.

The real important thing we should be talking about here is how Jim feels about the death of a man who killed 4,000 people and traumatized him for life.

And Spock stays away entirely, instead of walking over the chair as he usually does. Giving Kirk space to sort out his feelings, perhaps?

So yeah there’s a lot to unpack in this ep.

I think I once ran across a tumblr post that said this ep implied Kirk was slated to be on the to kill list but honestly it’s pretty clearly the opposite--Kodos killed exactly who he wanted to kill, so if Kirk’s alive, Kirk was supposed to live. (I guess they thought the implication came from Kirk being one of the people to see him? But we have no idea what the circumstances of that were, or why the people to see him included a couple of teenagers and a small child.) Also I think I heard once that there was a deleted line about Kirk saying he was one of the people considered worth saving.

This ep is really wild because introducing Tarsus into Jim’s background really changes a lot and introduces a lot into his character and yet it’s basically just done for plot purposes, to make sure the main character stays at the center of the story. But truly it must have transformed him to witness that at ~15.

Overall we hear very little from Kirk directly here. We know he wants to be sure Karidian is Kodos, and he goes to a lot of trouble to be sure, even though it’s quite obvious there’s no mystery to these massive coincidences. We know from his actions--bringing the players aboard, using Lenore, transferring Riley--that he’s deeply affected by this. And sometimes people (who don’t know him well) talk about him, mostly incorrectly (though in a way where I wonder if the writer was trying to get us to think this stuff is true of him? for the dramatic effect?) But for all that, he doesn’t talk about his feelings much at all.

Another take on this ep that I also saw on tumblr and liked a lot was that Kirk is so optimistic and hopeful in part because of Tarsus, because he saw that Kodos rushed to kill people when he really didn't need to, when he didn't think the supply ship would come in time--but then it came early. So the lesson to take from that is, to always be hopeful, to always believe in the last minute save, to always prioritize people's lives and safety first because anything could happen.

I feel like we're supposed to feel bad for Kodos in some way because he left all the mass murdering behind ages ago BUT it doesn't work so well because we're also supposed to believe, imo, that he was the killer, not Lenore. Like, Spock wants Kirk to act as if this man is Kodos and be proactive, but he's not doing it because he's a vengeful person--he's doing it because Kodos, he thinks, is threatening Kirk. Spock never goes beyond that to advocate, for example, a vengeance killing versus giving him to the authorities versus idk just yelling at him or something. So this idea that interfering with Kodos in any way is just being mean is sort of bizarre--there's an active threat here.

Plus sorry but committing genocide 20 years ago isn’t something we just sweep under the rug. He was the mastermind of something truly horrendous and he got away with it! I’m not going to feel bad for him!

And on top of that the idea that he was just killing people to save other people is one thing--at least morally gray I GUESS lol. But he was targeting people for his own eugenics purposes!! He even says this is part of "the Revolution." The famine was an excuse. He wanted to kill them.

Like I realize most of the people getting on Kirk's back for literally everything are the Kodoses, who are nuts and evil, but I feel like he took a lot of shit for doing nothing wrong.

My mom was wondering how Lenore knew her father was Kodos. I’m not entirely sure but I will say I love her and how just unrepetentedly mad she is. I prefer Lenore to most TOS women because I often feel like the show doesn't......really know how to write women. With Lenore there was no attempt to make her anything but off her rocker nuts. And the twist that she was the killer was effective.

She has that very classic insanity, which is the person who has only one thought and it consumes them. Only one purpose. I think she must have been raised separate from literally everyone but her father--he's been a traveling actor her whole life, so she never socialized, she never went to school, she had no other family. He's very private so she never had, like, a social circle. So he's her WHOLE WORLD. And then maybe she got suspicious as to why that was, and discovered his past. And then she felt that this past threatened him, and anything that threatened him threatened EVERYTHING. So she became...this person we see here.

And, as my mom also pointed out, the ‘body burned beyond recognition’ story is so suspect. With all their future tech? There was no way to id it? Also, what was the official explanation as to how that happened? We know 4,000 people were killed; we know a supply/rescue ship came early, and we know Kodos died and his body wasn’t identified. But what’s the rest of the sequence of events? Was there a riot or revolt and he was killed? Did he kill himself? It’s unlikely he burned to death on accident. The point is that he did not fake his death by himself.

One downfall of this ep is that it is very complicated for only 50 minutes. So much stuff is cut short or cut out--a lot of the backstory, most of Kirk’s feelings, but even stuff like Riley backing down so fast, or Tom’s widow getting literally pushed off screen while she’s grieving. The idea that Lenore and Kirk were supposed to have a real romance somehow? And, the eugenics angle is obviously a huge part of the story but it’s barely touched upon.

According to the trivia on amazon, the original script explained Kirk's presence on Tarsus as being related to Starfleet--he was just out of the Academy and stationed there. That would make him older than other episodes assume him to be--about 42, versus 34-36. But I like it better having him be a teen bc then we don't expect him to know all the stuff that went down later, the aftermath etc. My mom suggested he might have been doing the high school version of a study abroad year, since he’s so smart. This would also explain why his family doesn’t seem to have been on Tarsus, even though if we take his age from other episodes, he was not an adult.

This may be an unpopular opinion, but I don’t think AOS Kirk was on Tarsus, if in fact Tarsus happened at all in the alternate universe. I just see no evidence in his character that would make me think he’d had that experience.

Next up is Balance of Terror, yet another favorite episode. I mean Mark Lenard?? Romulans?? Can’t go wrong with that.

#star trek tos #the year 2020 #2020: fandom thoughts #2020: star trek #wow this got long i am so tired now it's 2am

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incarnateirony · 5 years

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I’ve talked about changes in the show over time, such as complexity of storytelling (x) but I think another point missed in our show’s growth path, and why some people struggle in different eras, comes down to episodic versus serial format.

I know there’s people that would argue SPN has always been serialized, but realistically... like, no.

Let’s reflect to season 1. Season 1, beyond a launched premise and finale, the plot was: Oh look a ghost, where’s dad. At any point in the season while this aired in the early 2000s where it could be hard to catch up, you could pretty much catch the beat of what’s going on. Oh look a ghost, where’s dad. And then, plot twist-- they FIND DAD!

Season 2? The demon has plans for me. Start and end with the demon, all things are self standing episodes about the demon adventures. Season 3? Dean’s dying and there’s no way to stop it.

All of these points are beaten into people’s skulls with a sledgehammer almost every single episode with a reminder that, in binge watch form, almost gets annoying like, YES, DUDES, WE GET IT, THE DEMON HAS PLANS FOR SAM OKAY? But that was written for the time. A time when DVRs were shiny premium features.

Yet again from the linked post I reach to season 4+, which is when storytelling started getting a bit more intricate. We still had the recurring It’s The Apocalypse lines, but the plotline proactively shifted beyond the premiere and finale, episodes started having to chain together. The characters didn’t remain relatively in stasis through the season. Season 5 continued this.

Arguably, even season 6 did. And 6 actually held its viewership fairly well for being shoved into the death slot. It had its problems or whatever, but ultimately, we didn’t go back to this early form episodical until season... 7.

Oh shit, I missed what’s going on. Oh what is it? Still Dick Jokes and Leviathans. The plot twists were how to kill it and actually killing it. That’s about it really. What’d I miss? Dick Jokes. I’m good. The mytharc was essentially a monster of the week and, beyond other elements I’ve commented on about why it failed -- it lacked at least the overcurrent of “Where’s the Colt” that bounced around the first few seasons. If anything, the concept of “The Colt” was maybe the serialized element, but such a fundamentally simple concept that anyone tuning in could pick up on it.

But season 7 experienced a crash. Loss of serial storytelling. Loss of compelling monsters. Loss of Castiel. The attempt to revert it back to the old seasons was so much more than “removing Castiel.” It was setting back to simple days, where people didn’t have to follow closely.

But season 8 came, show ownership transitioned. Carver’s chance to save SPN came hand in hand with it uploading to Netflix where people were binge watching through. That annoying HEY--LOL WHERESDADTHEDEMONHASPLANSFORMEDEANSDYINGDICKJOKES loop just screams out at you when you’re watching something like that. Appealing to the serialization crowd was key. And Carver did so, swimmingly.

The difference between Carver and Dabb’s SPN is that Carver remained fairly linear and forward-moving in his storytelling; callbacks happened, as I’ve said, but they tended to be fairly, well, self-standing and straightforward. Dabb works in subtle spiral storytelling where most folks don’t even detect the callbacks until they put a literal audio track haunting it, making a spinning vortex of past story elements and lessons coming to a head. Neither of these is necessarily better than the other, though I would argue that Dabb’s is more fitting for an ending era.

*I also hold that S12 was a mess but don’t particularly blame Dabb since he kinda got bussed and thrown new kids but that’s a whole other story

But when it comes down to this VIOLENT disconnect of people that not only seem to prefer seasons 1, 2, 3, 7 -- but even adamantly deny any sort of deeper connections between the episodes, and storytelling, or get confused -- beyond the obvious reason of “tinhats that hate Misha Collins”, there’s a different section: people who just prefer episodic storytelling, which is like, almost extinct in the day and age of everything being written to binge watch on Netflix.

Back then, SPN *didn’t* take thinking about it much. You tuned it in, watched an episode with a vague premise in the theme of the season, and then tried to tune in at the end of the season to see how that premise worked out. By Carver and more loudly, Dabb’s SPN, if you aren’t not only watching episodes in sequence but trying to figure out how they bind together, where the subtle interplay is, where the unreliable narrator is, or the lying characters are, or the lowkey elements of authentic narrative subtext are -- you can’t just treat it like clicking in and watching an episode or two and bouncing around anymore. It isn’t built for that. It’s built for a Netflix run.

Loyalists from binge watching may tune in live, but it’s even now in a digital era where it leads on the app and general digital, and the world is leaning that way, so if you wanna watch a few episodes in a burst there to catch up, you can, and it’s ez-bre-z. This isn’t high end DVR anymore, this is anyone with an internet connection, which is... uh... *checks* Just about the entire US. And most of the world.

Episodes do have contained lessons and morals -- a habit the authors said they picked up in season 2 -- but now they’re also spread around differently. It’s not just for the inevitable Dean’s Dying lessons, it’s for any number of nuanced elements the characters are dealing with, or may even deal with next season, or in remembrance of last season, because the seasons themselves -- 13-14 especially -- are heavily bonded.

And there are some people that miss the simplicity of a show with minimal serial storytelling and the freedom to bebop around however they want without having to think about it much, and I mean, I guess that’s fair, and the old seasons are there when you want them. But there’s a whole list of reasons the show will never go back to that: proven importance of Misha Collins, the inherent digital audience of SPN and the connected nature of serialization to it, whatever it is-- even if SPN wasn’t ending in season 15, even if it went to season 25, that wasn’t going to go in reverse.

But it also has heavy overlap with people who refuse to understand the inherent differences in this storytelling and try to invalidate those that do. The “it’s not that deep” crowd, the “it would just be cooler if” crowd, they were literally here for an SPN they didn’t really have to think about or pay attention to beyond glossing what was put on a pedestal to them again and again, and I mean, that’s fair, that’s how the show started. But it hasn’t been that for a long-assed time, and they’re still trying to treat the show like it was then, and it’s just not working out.

They refuse to understand or see more because they don’t want more, they forcefully, choosingly watch the show with a great deal of reductionism when they do watch, and try to apply the same logic.

The same way that I wouldn’t apply the same meta analysis to Dabb as I would to Carver, I wouldn’t to Gamble, or to Kripke, or even chapters of their time between, because these things changed, the story delivery shifted. The show grew up. It fell down for a bit, but it got back up.

It’s fine to not want complicated story or to have to think about your TV, but if I had a ring of infinite wishes, I’d wish that the people with this mindset would realize the nature of their mindset and instead of bugging fans that prefer the modern nature of the show or hassling the crew they would go on to something that makes them happy in the same vein.

Ironically, you’re gonna have a hard time finding that on the CW, which is geared digital. Check other networks. Like, if this is you, if this describes you, look on other networks that are less about digital marketing. You may find something you actually enjoy that way.

Honestly those not incest/tinhat invested that hate Misha may honestly have just strapped their frustration at this change that he was the first known advent of to it alongside the bulk of other hate, this wouldn’t surprise me at all. Misha added tremendously to the complexity of the serialized storytelling and it would be easy to seed a grudge.

And that’s the thought of the day.

#supernatural #spn #thoughts #narrative #episodical #serial #structure

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