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virghogh · 3 years ago

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Guessing NCT's rising signs: Huang Renjun as a Cancer rising

Welcome to my first post where I write all about why I think this idol is X rising sign! I don't know how many of these I'll do because it heavily depends on how confident I feel in my guess of their rising lol for Renjun's rising sign, it's something I've been sitting on for a loooong time just to see if anything else comes into my head. At the end of the day we really have no way to know for sure, even if the idols gives us their birth time it still has to be taken with a grain of salt! But it’s still fun theorize and to test your skills while learning at the same time. So for now I feel pretty confident sharing my thoughts on Renjun as a cancer rising.

Let’s ✨explore✨ why:

*:･ﾟ✧*:･ﾟ✧long post! *:･ﾟ✧*:･ﾟ✧

✦ Before I even decided to look up his chart layout, there were 2 characteristics of Renjun that initially led me to think he’s a Cancer rising. His eyes and his physique. His eyes aren’t necessarily as big as idols we’ve seen with moon in 1st, but they’re still very notable features of his physical appearance that he’s very well known for. They’re bigger, soft and dreamy, and sometimes look like he quite literally holds stars in his eyes. The biggest physical feature though is his, well, petite frame. Next to his eyes, renjun is also really well know for his smaller build. It’s even a well known inside joke amongst NCT, they all him “big shoulders renjun” (lol) because “for a guy” his shoulders a on the smaller side. Both of these physical attributes can also be identifying characteristics of cancer risings.

✦ So, in general I think he is a Cancer rising. But if we want to be more specific; I do think he is a 3rd decan Cancer rising which is the Pisces/Neptune ruled decan. I initially chose this because his house and planet placements just make so much more sense to me when the rising is in the 3rd decan (I'll get into that below), but after reading about the 3rd decan I also think it fits his personality really well! With the Neptune and Pisces influence, he's more on the open side of Cancer rising but more notably, 3rd decans are a lot more inclined to art/creativity and sometimes, music specifically. These people also have a very dreamy attraction about them. He also has his Venus trine ASC which can further add to this kind of creative vibe he gives off, but is also drawn to! It emphasizes the importance of aesthetics, art and creativity in his life. If you've never been on Renjun stan twt then you might not know that a lot of his fans see him as this incredibly dreamy and ethereal boy (as they should) and I can see why!

*:･ﾟ✧house and planet placements *:･ﾟ✧

Scorpio moon, Sagittarius Pluto in 5th:

✦ yea... just yes. Okay but actually, if you read my NCT Dream Hexaco x Birth Chart analyses, I talked a lot about his chart already because I really like it. As someone with a Scorpio moon, I can't help but be really interested in how his plays out. And I have to say, I am quite attached to this theory because I think his scorpio moon in 5th just. makes. sense. I'm not going to go much into the descriptions of the placements, I'm mostly going to stick to the house influence. We know that Scorpio moons have really intense emotions, they internalize everything and are just highly sensitive people to their environments. Renjun has been incredibly open about his mental and emotional struggles ever since being a kid. I've honestly never heard an idol talk about their struggle like he has. He even opened up recently about how a few years ago he had an art therapist that really helped him and lowkey changed his life. I feel like a lot of this can be reflected in his 5th house. The house of creativity, expression, creation. His 5th cusp is also in Scorpio. 5th house in water tend to be really drawn to arts and music. Having a Scorpio moon, a moon sign that can be quite guarded, in a fire house can also explain his readiness/openness to share his emotions and art. Also let's not forget his chart ruler is his Scorpio moon in 5th! What I've wrote above are big themes in his life, which we've seen.

✦ As for the Pluto in 5th. Because his 5th house is in Scorpio this would mean the 5th ruler is in 5th. I know it might not make sense at first because it's pluto and pluto is misunderstood. But it makes perfect sense to me. Pluto in 5th is a deeply passionate and creative placement. It bring so much energy to this house, and can even create a borderline obsession with themes of this house. With creating and expressing. But I could also see having this and his scorpio moon in this house bringing so much energy, it just kind of adds to the confusion and intensity of a scorpio moons emotions and processing abilities, like, emotionally overwhelming. Scorpio moons always need an outlet and they usually figure that out the hard way at some point in life. The outlet can vary based off the chart, his is without a doubt connected to his art; whatever that may be to him.

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Aquarius Uranus in 8th:

✦ This part is brief because it's more of like, additional details to what's already in his chart. Something that is really well known about Renjun too is how much he is into space and aliens and stuff like that. He, once again, has been very open about it lol on variety shows I've seen him light up every time its briefly mentioned and he'll comment on how much he finds that stuff interesting. The 8th house is weird, it can manifest in a lot of different ways. The biggest point here for me is that the house is in Aquarius with Uranus here. I know someone with this placement too and, while they're open minded to astrology and tarot etc. it's a bit more focused on logic. I can't say for sure because I don't know him, but he kind of strikes me as the kind of person that would fight to death over aliens existing, but draws the line at astrology lol. I actually do think he would be open to astrology and tarot, but he'd need the right introduction to it. Anyways, yea this placement to me explains a lot of his interest in space and things we don't understand. He's expressed his curiosity in it. I think a lot of this is coming from his Scorpio moon and Pisces mercury/venus which is why I think it's just additional support.

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Pisces Mercury/Venus in 9th:

✦ THIS HOUSE right here... so much to say. Firstly, Pisces in 9th is probably one of the main culprits for his creativity, deep thinking and curiosity in the world. And more importantly: his imagination. I've mentioned this a lot when I talk about renjun but, he's very well known for his creativity, but I want to make it clear that there is a distinction between creation and imagination. His imagination is truly... on another level. Well, planet actually since it's pisces! Again, amongst fans it's really well known his imagination is just so unqiue. This is less about the 9th house and more about the fact that he has 2 pisces placements but it still affects it lol. He's very open about his imagination and speaks about it so naturally. He shared his drawing of a bird, hybrid, thing? and how it's an animal that steals your dreams in your sleep. Anyways, Pisces in 9th aren't necessarily the travelers we'd see with an air or fire sign here, but they like to travel mentally. He's also talked about how he's just in general a very curious person and you can tell his thoughts probably travel far and wide in his down time.

✦ What's really interesting to me about this house is his mercury is here and Mercury in 9th is a very specific kind of placement. It almost always guarantees an interest and talent in learning languages. I don't know if languages are necessarily a passion for him but he definitely is interested and cares about learning language and other cultures. He also did pick up on Korean and English with ease. Which also reminds me that, he actually was exposed to Korean at a young age because I'm pretty sure he went to a bilingual school (chinese and korean). This is also a big deal to me because planets in 9th, especially sun/mercury often indicate very early exposure to languages or other cultures... so yea that checks out. This can also be proved by looking at his IC in Virgo, which puts the ruler in 9th. His mercury is also sextile Jupiter. I also wanna comment that he has his Mercury in the 5th degree, I'm not great at degree theory yet but that feels significant to me. Of course we cannot forget his absolutely angelic voice. Renjun is also very well known for his stunning vocals. Not only are Pisces placements musically inclined but Pisces mercury are known for their sweet voices.

✦ As for the venus is 9th, I feel like I have more to say on his venus being in Pisces because that's where so much of his artistic creativity and imagination come from. But venus here adds to a lot of what I've written above, adding to his curiosity of the world. What I find most interesting about venus in 9th though, is it brings another inclination to art! He might really like art from different places in the world, or just exploring all types of art being very open minded to its different forms etc. Venus here also brings ease to language learning, and these people will naturally have other cultures and people from them as a big part of their life. I feel like, in general it's not surprising at all to me that as a foreign member (being from China), that he would have 9th house influence! It can often manifest as like.., travel, other languages, cultures and parts of the world etc. are just very naturally a part of their life. Some people never really contemplate life overseas or in another country. But for 9th housers, it's never not been an option. His 9th house influence can also make him a great teacher, mentor and just overall supportive person. We've seen some of this in the content he's made with NCT. Like trying to teach his members chinese with Chenle, except he was taking it way more seriously lol but was so supportive. He's also tried to get Jeno and Jisung involved in his art making, but keeping the process very open and fun.

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Aries sun, Taurus mars in 10th:

✦ This is the last part I'm going to cover because it is really just the icing on the cake to finish this up. The 10th house is considered pretty important when looking at celebrities/idols because it's very likely a lot of what we see from them is their 10th house influence. In the chart model I'm using for Renjun, it puts his MC in the very last degrees of Pisces, so there's a chance it's in Aries but either way with his sun and mars here they are still playing a big role. So for that reason, I'm opting for Pisces MC. I also think Pisces MC fits though because first it puts the ruler in his 7th house. Meaning he could really benefit and work well in something that involves a group! Because it's Pisces in Neptune, it also adds to his very ethereal vibe and how people just seem to love him wherever he goes. He's very magnetic and can come off as artistic and sensitive. He's known for being dreamy, unreal, artistic, sensitive.

✦ Again, we know he has an aries sun and taurus mars so I'm not going to explain them here, just how they affect the house, but having his these here makes so much sense to me too. Having planets in 10th also influences what kind of "vibe" people get from you, and what you're "known" for. Mars and Sun bring similar energy of being well known for for energy, drive, and even stage presence. Not being afraid to be on stage, being good with attention and spotlight. He's known for his kind of playful and childish behavior at times. He is charismatic, bold, brave, happy and upbeat. With the sun, he is again known for his creativity and creations and also self-expression.

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Thank you to anyone who read all this. I don't really expect many people to because I'm mostly writing this for my own curiosity and to finally just put this theory out there! Anyways, stan Renjun best boy <33

Thoughts and feedback are always welcome <3

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#tldr I love renjun #the way this is a whole essay and took hours to write #but there’s literally nothing else I’d rather spend my time doing #it’s my time I decide how to waste it lmao #NCT #kpop astrology #NCT astrology #NCT rising #astrology #zodiac signs #kpop #NCT dream #huang renjun #renjun #NCT 127

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romanceboys · 4 years ago

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(interview) gq korea february issue 2021 — shinee minho “i’m still as passionate as ever”

1. i heard that your schedule ran until dawn today. you still look energetic. no matter how exhausted i am, my condition improves once i wake up and take a shower. because it’s like the usual morning routine. 2. you take pride in the fact that your stamina is second to none, right? it reminded me of something you said long ago. i wouldn’t go as far as to say that it’s my pride, but i do know my stamina is stronger than most. my energetic appearance is my positive characteristic as well. 3. moreover, it hasn’t been long since you were discharged from the marines. well, it seems like my stamina has gotten better. hahaha. 4. there must be a lot that you want to do. what do you enjoy doing the most these days? since it’s not the kind of situation where i can roam about freely, i’ve been spending a lot of time with my family. i was with them on christmas and new year’s. i’d barely done this since debut so i think it was a good thing. even in the military, i missed my people the most. 5. that must be why on the day of your discharge you made a surprise appearance at taemin’s music broadcast waiting room. in your military uniform. i rushed straight from pohang. the shinee members were gathered to support taemin, and the staff that had been with us for over ten years was present too. when i looked back on shinee’s activities in the military, the very fun and enjoyable memories felt vague, but on that day they became clear to me right away. this is why we’ve continued together for so long. 6. what do you talk about with your members? since we’re currently preparing for our album, we’ve been talking about us as a team a lot. things like shinee’s (future) direction and what we ought to show. 7. did you figure something out? up till now shinee has often attempted unique and novel challenges, musically and stylistically. there were times when things were derived from what we did first, or even times when we had to question ourselves “is this okay?” before taking a bold step. but because we're an idol group, we folded under inevitable stereotypes and could not ignore them. however, we now collectively agree on preserving our artistic aspect well in order to show off a more distinct musical colour. 8. agreed. can you tell us which song represents shinee’s identity? the title track of the 4th album ‘view’ was shinee’s turning point. prior to this, the group was mostly known for its strength in performance, but through this song we were able to show the type of musical colour we pursued. we tried deep house at a time when the genre was unknown to k-pop and though it was not done without reservations, we got the response we expected. it’s basically what the entire (odd) album stands for. 9. besides music or performance, is there any other scene that can portray shinee well? having overcome many obstacles, we can’t define ourselves simply by saying ‘yes, this is us.’ rather, if there were to be a documentary made on shinee, i wonder how it’d be like to have the opening scene unveil the members’ perfectly human state instead of their moments of glory. for instance, saying whatever i want to without hesitation. without worrying, without walking on eggshells. 10. are you a quiet person? though i do joke around easily, i try to be careful with my words. i’m more of a listener than a talker. 11. you lived entirely as choi minho in the military. did you live true to yourself or were you able to discover a new side? it’s both. i had a lot of time for introspection. i reflected on the time spent and thought about what was good or disappointing, it unveiled a side of me that i hadn’t even considered while working as shinee minho. rather than saying it changed me, i was able to understand myself more definitively as a person. what i could be honest about and careful with with people became clear to me, i also realised that my strengths can become my weaknesses. 12. what made you think that? i thought i had an outgoing personality, but in retrospect i was more concerned about the people around me than myself. the other party can only be at ease if i’m comfortable... i was so busy being considerate that i ended up becoming stressed without realising. 13. an upright and serious image comes to mind when we say minho, turns out there was a complicated reason for it. it’s because i wasn’t even aware of it. i believe it’s something i need to work on to become a better person. this is also why i’m looking forward to my thirties. i’m curious about the areas i’ll mature in. 14. among the expressions that describe minho are passion and giving it your all. when do you think was your most passionate era? when i debuted as shinee, practicing blindly and then promoting made me feel like i was lacking a lot which affected my confidence. after our first concert, however, i became less anxious and worried. i realised that there were many fans who supported me. all i could think of was that i had to give it my best. my passion from back then is still the same as ever. it’s my understanding that i’ve come all the way to the present without cooling down. 15. what meaning does passion hold for you? does it mean that you’re very ambitious/greedy? i used to think passion and ambition meant the same thing. i was very certain that you could achieve anything if you were ambitious enough and worked hard. i hypnotized myself into believing that because i wanted it so badly, not because i was being reckless. as i started gaining more experience, i began to differentiate between the two. if passion means doing what you can to the best of your abilities, then greed is limiting yourself when you try something new because you wonder whether you can do it well. and that is why confidence is important. if you’re confident, then you can carry greed with a positive energy. 16. have you now gotten used to acting and promoting as shinee at the same time? at first i thought i could do it even if it was difficult. turns out that wasn’t the case. killing two birds with one stone wasn’t as easy as i thought. i don’t want to let either go. instead of saying yes it’s hard or i’m disappointed in the results, i believe this is a problem i need to solve. 17. your first activity after discharge was acting. you made a special appearance in the drama ‘lovestruck in the city,’ what was your first line? “please wear this.” i cannot forget it. 18. why not? one of my favourite words is ‘first.’ your first experiences are always unforgettable. seconds are usually a vague memory. that’s why firsts are extremely meaningful. standing before the camera for the first time after discharge felt like i was starting anew. the scene wasn’t even that hard, but i was very nervous. just like the first time i acted, i vividly remember the day’s situation, people, the atmosphere, and the weather. 19. do you remember your first scene as well? it’s been more than a decade. it was a one-episode short drama; the scene was filmed inside a tow truck. i don’t remember my line very well, but the actors, the hustle and bustle of the staff outside the window, the glaring sunlight, the tow truck i sat in for the first time are all still very vivid. i try not to forget it. 20. do you remember the first praise you received for your acting? hm, many people around me say nice things, but i’ve never considered those as compliments. it’s because i don’t think i’ve done anything praiseworthy yet. so let’s just say my first praise doesn’t exist for now. 21. that is a very objective yet cool answer. then what do you think is something you need courage to do? everyday things.... like cooking. i can’t bring myself to even think about it, but i should attempt it before it’s too late. 22. by the way, you started sns. you did say in an interview that you did not see the need for socials, so what changed your mind? i received so many letters from fans in the military. i read every single one of them, and in most of them fans asked me to share my daily life through sns. though i did joke around saying that i’d rather hold a personal photo exhibition than create socials, i got one as a present for fans who spent two years waiting for me. but i’m not sure if i can manage it well. 23. do you tend to record your personal life through pictures like others? haha. not at all. i’m working towards it these days. 24. when was your sns profile picture taken? when i was three or four years old. i racked my brain over this too. whether to upload a sefie or to go for a cool vibe.

translated by romanceboys — take out with full credit (source)

#shinee #minho #interview #210121 #translations #gq korea february issue 2021 #e:the story of light epilogue

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blackswaneuroparedux · 4 years ago

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Anonymous said: I didn’t know too much about the late British philosopher Sir Roger Scruton until I followed your superbly cultured blog. As an ivy league educated American reading your posts, I feel he is a breath of fresh air as a sane and cultured conservative intellectual. We don’t really have his kind over here where things are heavily polarized between left and right, and sadly, we are often uncivil in our discourse. Sir Roger Scruton talks a lot about beauty especially in art (as indeed you do too), so for Scruton why does beauty as an aesthetic matter in art? Why should we care?

I thank you for your very kind words about my blog which I fear is not worthy of such fulsome praise.

However one who is worthy of praise (or at least gratitude and appreciation at least) is the late Sir Roger Scruton. I have had the pleasure to have met him on a few informal occasions.

Most memorably, I once got invited to High Table dinner at Peterhouse, Cambridge, by a friend who was a junior Don there. This was just after I had finished my studies at Cambridge and rather than pursue my PhD I opted instead to join the British army as a combat pilot officer. And so I found out that Scruton was dining too. We had very pleasant drinks in the SCR before and after dinner. He was exceptionally generous and kind in his consideration of others; we all basked in the gentle warmth of his wit and wisdom.

I remember talking to him about Xanthippe, Socrate’s wife, because I had read his wickedly funny fictional satire. In the book he credits the much maligned Xanthippe with being the brains behind all of Socrates’ famous philosophical ideas (as espoused by Plato).

On other occasions I had seen Roger Scruton give the odd lecture in London or at some cultural forum.

Other than that, I’ve always admire both the man and many of his ideas from afar. I do take issue with some of his intellectual ideas which seem to be taken a tad too far (he think pre-Raphaelites were kitsch) but it’s impossible to dislike the man in person.

Indeed the Marxist philosopher G.A. Cohen reportedly once refused to teach a seminar with Scruton, although they later became very good friends. This is the gap between the personal and the public persona. In public he was reviled as hate figure by some of the more intolerant of the leftists who were trying to shut him down from speaking. But in private his academic peers, writers, and philosophers, regardless of their political beliefs, hugely respected him and took his ideas seriously - because only in private will they ever admit that much of what Scruton talks about has come to pass.

In many ways he was like C.S. Lewis - a pariah to the Oxbridge establishment. At Oxford many dons poo-pooed his children stories, and especially his Christian ideas of faith, culture, and morality, and felt he should have laid off the lay theology and stuck to his academic speciality of English Literature. But an Oxford friend, now a don, tells me that many dons read his theological works in private because much of what he wrote has become hugely relevant today.

Scruton was a man of parts, some of which seemed irreconcilable: barrister, aesthetician, distinguished professor of aesthetics. Outside of brief pit stops at Cambridge, Oxford, and St Andrews, he was mostly based out of Birkbeck College, London University, which had a tradition of a working-class intake and to whom Scruton was something of a popular figure. He was also an editor of the ultra-Conservative Salisbury Review, organist, and an enthusiastic fox hunter. In addition he wrote over 50 books on philosophy, art, music, politics, literature, culture, sexuality, and religion, as well as finding time to write novels and two operas. He was widely recognised for his services to philosophy, teaching and public education, receiving a knighthood in 2016.

He was exactly the type of polymath England didn’t know what to do with because we British do discourage such continental affectations and we prefer people to know their lane and stick to it. Above all we’re suspicious of polymaths because no one likes a show off. Scruton could be accused of a few things but he never perceived as a show off. He was a gentle, reserved, and shy man of kindly manners.

He was never politically ‘Conservative’, or tried not to be. Indeed he encouraged many to think about defining “a philosophy of conservatism” and not “a philosophy for the Conservative Party.” In defining his own thoughts, he positioned conservatism to relation to its historical rivals, liberalism and socialism. He wrote that liberalism was the product of the enlightenment, which viewed society as a contract and the state as a system for guaranteeing individual rights. While he saw socialism as the product of the industrial revolution, and an ideology which views society as an economic system and the state as a means of distributing social wealth.

Like another great English thinkers, Michael Oakeshott, he felt that conservatives leaned more towards liberalism then socialism, but argued that for conservatives, freedom should also entail responsibility, which in turn depends on public spirit and virtue. Many classical liberals would agree.

In fact, he criticised Thatcherism for “its inadequate emphasis on the civic virtues, such as self-sacrifice, duty, solidarity and service of others.” Scruton agreed with classical liberals in believing that markets are not necessarily expressions of selfishness and greed, but heavily scolded his fellow Conservatives for allowing themselves to be caricatured as leaving social problems to the market. Classical liberals could be criticised for the same neglect.

Perhaps his conservative philosophy was best summed up when he wrote “Liberals seek freedom, socialists equality, and conservatives responsibility. And, without responsibility, neither freedom nor equality have any lasting value.”

Scruton’s politics were undoubtedly linked to his philosophy, which was broadly Hegelian. He took the view that all of the most important aspects of life – truth (the perception of the world as it is), beauty (the creation and appreciation of things valued for their own sake), and self-realisation (the establishment by a person of a coherent, autonomous identity) – can be achieved only as part of a cultural community within which meaning, standards and values are validated. But he had a wide and deep understanding of the history of western philosophy as a whole, and some of his best philosophical work consisted of explaining much more clearly than is often the case how different schools of western philosophy relate to one another.

People today still forget how he was a beacon for many East European intellectuals living under Communist rule in the 1980s. Scruton was deeply attached in belonging to a network of renowned Western scholars who were helping the political opposition in Eastern Europe. Their activity began in Czechoslovakia with the Jan Hus Foundation in 1980, supported by a broad spectrum of scholars from Jacques Derrida and Juergen Habermas to Roger Scruton and David Regan. Then came Poland, Hungary and later Romania. In Poland, Scruton co-founded the Jagiellonian Trust, a small but significant organisation. The other founders and active participants were Baroness Caroline Cox, Jessica Douglas-Home, Kathy Wilkes, Agnieszka Kołakowska, Dennis O’Keeffe, Timothy Garton Ash, and others.

Scruton had a particular sympathy for Prague and the Czech society, which bore fruit in the novel, Notes from Underground, which he wrote many years later. But his involvement in East European affairs was more than an emotional attachment. He believed that Eastern Europe - despite the communist terror and aggressive social engineering - managed to preserve a sense of historical continuity and strong ties to European and national traditions, more unconscious than openly articulated, which made it even more valuable. For this reason, decades later, he warned his East European friends against joining the European Union, arguing that whatever was left of those ties will be demolished by the political and ideological bulldozer of European bureaucracy.

Anyway, digressions aside, onto to the heart of your question.

Art matters.

Let’s start from there. Regardless of your personal tastes or aesthetics as you stand before a painting, slip inside a photograph, run your hand along the length of a sculpture, or move your body to the arrangements spiraling out of the concert speakers…something very primary - and primal - is happening. And much of it sub-conscious. There’s an element of trust.

Political philosopher, Hannah Arendt, defined artworks as “thought things,” ideas given material form to inspire reflection and rumination. Dialogue. Sometimes even discomfort. Art has the ability to move us, both positively and negatively. So we know that art matters. But the question posed by modern philosophers such as Roger Scruton has been: how do we want it to affect us?

Are we happy with the direction art is taking? Namely, says, Scruton, away from seeking “higher virtues” such as beauty and craftmanship, and instead, towards novelty for novelty’s sake, provoking emotional response under the guise of socio-political discourse.

Why does beauty in art matter?

Scruton asks us to wake up and start demanding something more from art other than disposable entertainment. “Through the pursuit of beauty,” suggests Scruton, “we shape the world as our own and come to understand our nature as spiritual beings. But art has turned its back on beauty and now we are surrounded by ugliness.” The great artists of the past, says Scruton, “were painfully aware that human life was full of care and suffering, but their remedy was beauty. The beautiful work of art brings consolation in sorrow and affirmation…It shows human life to be worthwhile.” But many modern artists, argues the philosopher, have become weary of this “sacred task” and replaced it with the “randomness” of art produced merely to gain notoriety and the result has been anywhere between kitsch to ugliness that ultimately leads to inward alienation and nihilistic despair.

The best way to understand Scruton’s idea of beauty in art and why it matters is to let him speak for himself. Click below on the video and watch a BBC documentary broadcast way back in 2009 that he did precisely on this subject, why beauty matters. It will not be a wasted hour but perhaps enrich and even enlighten your perspective on the importance of beauty in art.

vimeo

So I’ll do my best to summarise the point Scruton is making in this documentary above.

Here goes.....

In his 2009 documentary “Why Beauty Matters”, Scruton argues that beauty is a universal human need that elevates us and gives meaning to life. He sees beauty as a value, as important as truth or goodness, that can offer “consolation in sorrow and affirmation in joy”, therefore showing human life to be worthwhile.

According to Scruton, beauty is being lost in our modern world, particularly in the fields of art and architecture.

I was raised in many different cultures from India, Pakistan, to China, Japan, Southern Africa, and the Middle East as well schooling in rural Britain and Switzerland. So coming home to London on frequent visits was often a confusing experience because of the mismatch of modern art and new architecture. In life and in art I have chosen to see the beauty in things, locating myself in Paris, where I am surrounded by beauty, and understand the impact it can have on the everyday.

Scruton’s disdain for modern art begins with Marcel Duchamp’s urinal. Originally a satirical piece designed to mock the world of art and the snobberies that go with it, it has come to mean that anything can be art and anyone can be an artist. A “cult of ugliness” was created where originality is placed above beauty and the idea became more important than the artwork itself. He argues that art became a joke, endorsed by critics, doing away with a need for skill, taste or creativity.

Duchamp’s argument was that the value of any object lies solely in what each individual assigns it, and thus, anything can be declared “art,” and anyone an artist.

But is there something wrong with the idea that everything is art and everyone an artist? If we celebrate the democratic ideals of all citizens being equal and therefore their input having equal value, doesn’t Duchamp’s assertion make sense?

Who’s to say, after all, what constitutes beauty?

This resonated with me in particular and brought to mind when Scruton meets the artist Michael Craig-Martin and asks him about how Duchamp’s urinal first made him feel. Martin is best known for his work “An Oak Tree” which is a glass of water on a shelf, with text beside it explaining why it is an oak tree. Martin argues that Duchamp captures the imagination and that art is an art because we think of it as such.

When I first saw “An Oak Tree” I was confused and felt perhaps I didn’t have the intellect to understand it. When I would later question it with friends who worked in the art auction and gallery world, the response was always “You just don’t get it,” which became a common defence. To me, it was reminiscent of Hans Christian Andersen’s short tale “The Emperor’s New Clothes”, about two weavers who promise an emperor a new suit of clothes that they say is invisible to those who are unfit for their positions, stupid or incompetent. In reality, they make no clothes at all.

Scruton argues that the consumerist culture has been the catalyst for this change in modern art. We are always being sold something, through advertisements that feed our appetite for stuff, adverts try to be brash and outrageous to catch our attention. Art mimics advertising as artists attempt to create brands, the product that they sell is themselves. The more shocking and outrageous the artwork, the more attention it receives. Scruton is particularly disturbed by Piero Manzoni’s artwork “Artist’s Shit” which consists of 90 tin cans filled with the artist’s excrement.

Moreover the true aesthetic value, the beauty, has vanished in modern works that are selling for millions of dollars. In such works, by artists like Rothko, Franz Kline, Damien Hirst, and Tracey Emin, the beauty has been replaced by discourse. The lofty ideals of beauty are replaced by a social essay, however well intentioned.

A common argument for modern art is that it is reflecting modern life in all of its disorder and ugliness. Scruton suggests that great art has always shown the real in the light of the ideal and that in doing so it is transfigured.

A great painting does not necessarily have a beautiful subject matter, but it is made beautiful through the artist’s interpretation of it. Rembrandt shows this with his portraits of crinkly old women and men or the compassion and kindness of which Velazquez paints the dwarfs in the Spanish court. Modern art often takes the literal subject matter and misses the creative act. Scruton expresses this point using the comparison of Tracey Emin’s artwork ‘My Bed’ and a painting by Delacroix of the artist’s bed.

The subject matters are the same. The unmade beds in all of their sordid disdain. Delacroix brings beauty to a thing that lacks it through the considered artistry of his interpretation and by doing so, places a blessing on his own emotional chaos. Emin shares the ugliness that the bed shows by using the literal bed. According to Emin, it is art because she says that it is so.

Philosophers argued that through the pursuit of beauty, we shape the world as our home. Traditional architecture places beauty before utility, with ornate decorative details and proportions that satisfy our need for harmony. It reminds us that we have more than just practical needs but moral and spiritual needs too. Oscar Wilde said “All art is absolutely useless,” intended as praise by placing art above utility and on a level with love, friendship, and worship. These are not necessarily useful but are needed.

We have all experienced the feeling when we see something beautiful. To be transported by beauty, from the ordinary world to, as Scruton calls it, “the illuminated sphere of contemplation.” It is as if we feel the presence of a higher world. Since the beginning of western civilisation, poets and philosophers have seen the experience of beauty as a calling to the divine.

According to Scruton, Plato described beauty as a cosmic force flowing through us in the form of sexual desire. He separated the divine from sexuality through the distinction between love and lust. To lust is to take for oneself, whereas to love is to give. Platonic love removes lust and invites us to engage with it spiritually and not physically. As Plato says, “Beauty is a visitor from another world. We can do nothing with it save contemplate its pure radiance.”

Scruton makes the prescient point that art and beauty were traditionally aligned in religious works of art. Science impacted religion and created a spiritual vacuum. People began to look to nature for beauty, and there was a shift from religious works of art to paintings of landscapes and human life.

In today’s world of art and architecture, beauty is looked upon as a thing of the past with disdain. Scruton believes his vision of beauty gives meaning to the world and saves us from meaningless routines to take us to a place of higher contemplation. In this I think Scruton encourages us not to take revenge on reality by expressing its ugliness, but to return to where the real and the ideal may still exist in harmony “consoling our sorrows and amplifying our joys.”

Scruton believes when you train any of your senses you are privy to a heightened world. The artist sees beauty everywhere and they are able to draw that beauty out to show to others. One finds the most beauty in nature, and nature the best catalyst for creativity. The Tonalist painter George Inness advised artists to paint their emotional response to their subject, so that the viewer may hope to feel it too.

It must be said that Scruton’s views regarding art and beauty are not popular with the modern art crowd and their postmodern advocates. Having written several books on aesthetics, Scruton has developed a largely metaphysical aspect to understanding standards of art and beauty.

Throughout this documentary (and indeed his many books and articles), Scruton display a bias towards ‘high’ art, evidenced by a majority of his examples as well as his dismissal of much modern art. However on everyday beauty, there is much space for Scruton to challenge his own categories and extend his discussion to include examples from popular culture, such as in music, graphic design, and film. Omitting ‘low art’ in the discussion of beauty could lead one to conclude that beauty is not there.

It is here I would part ways with Scruton. I think there is beauty to be found in so called low art of car design, popular music or cinema for example - here I’m thinking of a Ferrari 250 GTO, jazz, or the films of Bergman, Bresson, or Kurosawa (among others) come to mind. Scruton gives short thrift to such 20th century art forms which should not be discounted when we talk of beauty. It’s hard to argue with Jean-Luc Godard for instance when he once said of French film pioneering director, Robert Bresson, “He is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music.”

Overall though I believe Scruton does enough to leave us to ponder ourselves on the importance of beauty in the arts and our lives, including fine arts, music, and architecture. I think he succeeds in illuminating the poverty, dehumanisation and fraud of modernist and post-modernist cynicism, reductionism and nihilism. Scruton is rightly prescient in pointing the centrality of human aspiration and the longing for truth in both life and art.

In this he is correct in showing that goodness and beauty are universal and fundamentally important; and that the value of anything is not utilitarian and without meaning (e.g., Oscar Wilde’s claim that “All art is absolutely useless.”). Human beings are not purposeless material objects for mechanistic manipulation by others, and civil society itself depends upon a cultural consensus that beauty is real and every person should be respected with compassion as having dignity and nobility with very real spiritual needs to encounter and be transformed and uplifted by beauty.

Thanks for your question.

#ask #question #sir roger scruton #scruton #art #aesthetics #beauty #architecture #music #paintings #film #cinema #personal

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princip1914 · 3 years ago

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A few thoughts on writing longfic

I’ve had this post brewing for a while and I figured since today is a Friday I might as well let it out into the wild.

First off, this is not writing advice. I don’t feel qualified to give writing advice. This is a few observations I’ve made over the course of trying to write something that feels, well, long. Fandom is full of excellent authors writing long chaptered fic, but I don’t see a lot of people talking about how they go about producing such fics. I remember feeling like long fic was really out of reach for me when I started writing again in the summer of 2019 after not writing for years and years and I wanted to talk a bit about how that changed for me. Of course, this post comes with all the caveats that there is no need to ever write long fic if you’re not feeling it. Some of my favorite authors write mostly or only oneshots! But, if you are interested, here’s my lengthy, self indulgent, and entirely personal take on ~the longfic process~ below the cut.

First, to get this out of the way: long fic is anything that feels long or complicated to you, the author. “I’m working on my long fic” can mean that you’re branching out from microfiction to write something that’s 2k long, or it can mean you’ve got a multi-part 800k epic. There’s no objective measure of if something is “long fic,” Your own personal definitions can also change as you grow in confidence or change your focus as a writer (a little over a year ago when I finished Doubt Thou the Stars are Fire topping out at 31k, that felt very very long to me. Now it feels….still long, but not very very long.)

Here are a few specific things that helped me write something long. I don’t know if they will be interesting for anyone else, but at the very least writing these down has been a fun way for me to reflect on my own process.

Practice exercises. Ok, this is going to sound exceedingly obvious, but writing one shots prepares you for writing chaptered fic. Here’s what I mean more specifically: if you know you want to write (as a totally hypothetical example) a chaptered fic set in America in the summer that relies heavily on a nature metaphors, is written out of chronological order, and features a melancholy tone--it helps to write a few one shots like that before you embark on the Big Fic. Just like artists tend to do sketches before starting a big piece, it’s very helpful to write something small that gives you a feel for the ~vibe~ of what you’re trying to do in the long fic. It’s helpful for all the usual reasons--you get to know a specific version of the characters which helps plan out a character driven plot for the long fic--but it’s also helpful because you will learn if the tone and mood of the fic has enough staying power to capture your interest for the long haul. For instance, I have a few unfinished chaptered fics that have a humorous tone. I wish I had done more short humorous fics before starting them, because I would have realized that I don’t currently have the mental stamina to hold up a humorous tone for the length of a chaptered fic (hopefully that will change and I will finish Last Days some time this century!).

Plan it out ahead of time. I used google sheets for The False and the Fair. I do not think God intended google sheets to be used for fiction, but that was not going to stop me. On a more serious note, I think the best tool for planning fiction is the one you’re the most comfortable with--the notes app in your phone, handwriting, word, google drive, sheets, chalk board, summoning circle, the blood of your enemies, etc. The reason I chose to use sheets is that I knew from the very beginning that I wanted certain things to happen at specific places in the story--for instance, I wanted the first kiss to happen at the end of the first third of the story and I wanted the “reveal” about the mine accident to happen at the end of the second third of the story. But, I didn’t know what was supposed to go in between those elements. A traditional outline for a story at this point in development might have looked like:

Meet cute

Kiss

Reveal

Ending

But, what my brain needed was to preserve the blank spaces in between these story elements, and specifically to preserve the right amount of blank space between these story elements so that it didn’t end up, for instance, that the first kiss was halfway through rather than a third of the way through. In this way, I found google sheets an invaluable tool for pacing in the early parts of the planning process. I simply made 30 rows assuming 30 chapters, and started plugging in the elements I knew I wanted in the locations I wanted them. Then I filled in the blank spaces by asking myself “how do we get from X plot element to Y plot element in Z amount of chapters.” I’m not a mountain climber, but I’ve often thought about the first things that go into the spreadsheet in terms of mountain climbing terminology. In climbing, a crux move, which can be anywhere along the route, is the most difficult move of the route: if you can’t do it, you can’t do the route. I think of the first things that go into the planning spreadsheet as the crux moves of the story, the most important pieces around which everything else turns. It was not an accident that those were also all the first scenes of the fic that I wrote; if I couldn’t do those scenes, I couldn’t do the story the way I planned it so I wanted to know early on if I needed to make changes.

Make changes if you have to: even though it helps to have things planned in advance, don’t resist the story if it tries to change on you while you’re writing it. Usually the feeling that you have to make changes stems from having a plot that is not entirely character driven. As you write the story, the characters reveal themselves and sometimes the plot has to change to change with the characters’ motivations. Here’s an area where fanfic writers have a leg up on everyone else: if you write fic, you already know the characters really well. That means, (in my experience anyway) it’s less likely that you’ll have a surprise character development which leads to a rethinking of the whole plot. Less likely, but not completely unlikely, unfortunately.

Lie to yourself: The False and the Fair was supposed to be 90k words. I thought that sounded reasonable, a little less than 3x the longest fic I had ever written. Now it's 161k and will probably top out a little over 170k. Ooops. But I never would have set out to write something that long. I wouldn’t have thought I could do it, even though anyone more experienced looking at my plans for the fic probably would have laughed at the idea I could cover all those plot points in 90k. Ignorance is bliss. Protect your ignorance.

Scrivener: Long fic for me means “fic that is long enough you can’t hold all the parts of it in your head at once.” That’s where Scrivener comes in (or another app if you’d rather, but I really like Scrivener for the ability to see the project either linearly or as condensed notecards). You can put together an organizational scaffold in Scrivener that allows you to move back and forth between the forest and the trees. So, for instance, you might be going for a jog and come up with the perfect line of dialogue for chapter 27 when you’re only up to chapter 5 in terms of writing progress. With Scrivener, you can go home, and put that dialogue in the “bucket”/index card/whatever for chapter 27 without compromising your ability to see chapter 5 clearly or muddying up your google doc. You can then use the fact that you’ve started writing bits and pieces of the later chapters in conjunction with the tool of lying to yourself that, actually, you’ve written a lot more of the fic than you realize and that when you get to chapter 27 it won’t be as hard as chapter 5 because you’ve put in the groundwork already. In my experience, this lie turns out to be true about 50% of the time, which is better than 0% of the time.

Digestible mini arcs: The False and the Fair was originally broken up into thirds. I thought it would be 90k and 30k was the longest I had written, so thirds seemed to make sense. Also, 3 is a nice, time honored storytelling number. I think it’s good to give yourself seemingly achievable milestones along the way to completion. These milestones (for me anyway) lined up well with the “crux moments” I’ve described. If you’re someone who likes to write out of order, writing your way to an already written milestone can feel like sailing to an island where you get to rest for a bit from the stormy seas before setting out for the next island in the archipelago.

“It's all part of the process”: I’m categorically incapable of describing things without resorting to running metaphors, and so I apologize in advance, but I am now going to do the insufferable thing of comparing writing a long fic to running a marathon. Here’s the thing with a marathon. You are not going to feel good every step of the way. We all know this. It’s a marathon, it’s supposed to hurt a little bit, especially at the end. In the same way you literally cannot write something novel length or even novella or long short story length without, at least at some point, feeling bad about yourself and your writing. But you also can’t run a marathon if the whole thing is agony, and for most people, it’s not--your meat sack shuffling along the course is subjected to the slings and arrows of all sorts of weird body chemistry that only happens when you push it to its limits. So, you’ll be in agony and then the endorphins will kick in for a while and you’ll be thinking “this isn’t nearly as bad as everyone said,” and then you’ll drink some water at a rest stop and feel like a God for half a mile before you crash and you’re in agony again until that one perfect song comes up on the playlist...and you get the idea. Writing something long, for me at least, is a bit like that. There are massive ups and downs. The key for me is to just understand it’s all part of the process, a necessary step on the way to the finish line. If the fic is 10 chapters long, at some point you have to write chapter 5. Just like you have to write chapter 5, at some point you also have to go through a bit of despair before reaching the end. It is unfortunately non-optional. In fact, despairing is something you can check off your list each time you’ve done it. Cut dialogue tags, check. Feel awful about my writing for thirty minutes, check. Write ending section, check. Often I feel that the stress and shame and fear that come with bad emotions while writing are worse than the bad emotions themselves. It really helps me to remember these emotions are all part of the process and nothing to worry about. If I didn’t have them, then I would worry!

I certainly have plenty more to say about writing, but this ramble has gone on long enough. If you’re interested in any of this stuff, please feel free to send me an ask.

I would also love to know more about everyone else’s writing processes, so feel free to pop into my ask box to talk about your own approach too! I am very interested in this stuff!

#long post #writing #fic #princip's fic #princip writes #princip's musings #longfic #how make words go

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fermented-writers-block · 3 years ago

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Submitted by @sepublic:

So a while back, my pal @fermented-writers-block aired a theory. To sum up the abridged version, they suggested that if the Boiling Isles was allegorical to an Underworld, and the Human World to… Well, itself, then what of a third realm above? What if there was a parallel to an angelic realm, one populated by the show’s equivalent to a race of angels/Valkyries? They speculated that Emperor Belos himself may have been one of them, cast out… And he desires the portal and access to the Human World, in order to access this hypothetical Angel Realm!

In our discussions, we came across the idea that the Human World functions like neutral territory. It is the realm between realms, the buffer/barrier between the Angel Realm and the Demon Realm. It is where the two come together, and where influences from both have leaked in, to inspire real-world myths; A callback to Eda’s line in the first episode! The Portal, as speculated by my pal, potentially is rooted in the Human World, giving it equal access to the Angel and Demon Realms respectively- As a result of the Human World being between both of them respectively!

If the three realms were bus seats, the Angel Realm might be the Window Seat, while the Demon Realm is the set right next to the aisle where people walk up and down across the bus… And the Human World is sandwiched right between! This of course means that in order for either the Demon or Angel Realm to access one another, it would be through the Human World… With only the Human World maintaining access to BOTH realms, instead of just the one!

Ergo… Given the theory that Belos intends to reconnect to this Angel Realm, it makes sense that he wants to access the Human World! To him, it’s merely a stepping stone, not his destination… The ladder he needs to reach the top, it’s his stopping point before he can progress on to the end! He has no interest in the Human World, as he claims, beyond utilizing it as a passageway to something far grander and more interesting.

But now… onto a certain idea behind Belos.

To put it simply; Fermented Writer’s Block and I think that Belos could potentially be a Satanic/Lucifer allegory. A Fallen Angel, in a sense. From a Doylist perspective, this would settle Disney’s concerns over depicting Heavenly characters as negative, as the only truly negative Angel in this sense would be a literal Satanic allegory. It’d be like Doom, in a sense!

I’ve discussed… a LOT in the past, the idea of Luz and Belos being counterparts. Even if we don’t have much within canon, there IS the association with Light, as well as the ability to communicate with the Titan to some degree. Luz’s name literally means Light… And Lucifer means Light Bringer! It’s in the name, Luz-ifer! If Belos is a twisted counterpart to Luz’s guiding light, then perhaps he’s a more literal take on the Satanic allegory…

Specifically, the idea of an Angel who was cast out of their world and fell, plummeting into a realm beneath that of the Human World! We’re already making allusions with Lilith’s name, after all. And I’d LOVE to see The Owl House tackle some more classic, eldritch takes on the Angels of old and their original interpretations, such as the Seraphs!

After all, people have noted the similarities between Belos and the idea of Christian Imperialism. If Belos were a literal ‘angel’, or the show’s equivalent, this would be a fitting twist! Fermented Writer’s Block also observed that on one page of the Unauthorized History of the Boiling Isles, Belos is depicted with almost mechanical wings, in addition to the book being somewhat burnt. What if this could imply burnt wings on Belos’ part? Especially given Belos’ mechanical, industrial motifs and deteriorated nature...

If Belos WERE a Fallen Angel, then perhaps his Wings motif amidst the Emperor’s Coven imagery is intentional. Not only does it hearken back to his true origins and identity… But it could also allude to him having burnt wings, which in itself is symbolic of a Fallen Angel, as someone who was outcast and can no longer fly! The dude IS associated with Fire, to a degree… His throne room is lit by blazing braziers. Amity and Boscha are associated with his Coven System, in a sense… Amity is indoctrinated into its values and wants to join the Emperor’s Coven, while Boscha’s ideas of hierarchy and elitism reflect Belos’ values rather well. Both characters are associated with Fire… Which, helps to serve as a unifying motif among them- Especially with Lilith, who has blue fire and was leader of the Emperor’s Coven!

It’s a contrast to Luz and her Ice, and what she stands for… Her Light is reflective, while the Light of characters like Belos is harsh, dangerous, and off-putting. If Luz were more comparable to a night star, shining amidst the darkness and providing guidance- Then Belos is like the Sun, harsh, bright, demanding attention from all… But also too powerful to be personal with, something to be regarded from a distance, and never closely looked at. This would fit into Belos’ enigmatic nature, and the idea of him heralding Day, while Luz is Night… After all, Owls are nocturnal! And if Belos is a coming dawn, then that could tie into Angelic motifs… Amidst Luz’s Night bringing an end to his Light! It’s a take on that age-old term, about the Sun never setting on the British Empire… And THAT empire is emblematic of colonialism and imperialism as a whole!

It could also allude to the myth of Icarus- A mortal who flew too close to the sun! Of course in this scenario, Belos was in fact an Angel… But there’s still the recurring theme of wanting more, of one’s circumstances not being enough, of being guided by arrogance- It’s shared between Lucifer and Icarus both, to varying degrees. Perhaps Belos tried to lead a revolt in the Angel Realm, or got too arrogant… Either way, he was cast out- He flew too close to the Sun he wished to embody, and so his wings were burnt. Clipped of the thing most emblematic of his identity, no longer able to fly and ascend… Belos fell to the Earth, and then even deeper.

It’d tie into Belos having earthen motifs, as someone who can no longer fly. Him having angelic aesthetics, underscored by demonic motifs and growls, fits into the idea of Lucifer having been a beautiful angel, only to become the literal Devil and leader of Hell and all of its horrific demons! Belos already has a decayed, deteriorated condition to him that implies he’s not in the best health. Perhaps his burnt wings are the cause of this- Or at least another symptom of whatever injuries he suffered in the past? Not only that, but returning to the Icarus motifs… If we want to get meta, we can ascertain that Dana Terrace has read Fullmetal Alchemist. She knows of Hiromu Arakawa’s artstyle, citing it as something Luz would emulate back home- And there’s that other post comparing Father and Belos!

If Belos is like Father, then there��s once again that idea of using a portal to access a heavenly ‘realm’, through the Sun, in order to access a ‘God’ figure, or beings around that level. Not only that, but Fullmetal Alchemist, from its very beginning, made a very pointed reference to the myth of Icarus, likening its main protagonist Edward Elric to him! If Father is in some ways a foil to Ed, just as Belos could be to Luz… Then it makes sense for Dana to have been inspired by Icarus by virtue of his tale being important to the themes of Fullmetal Alchemist! And if Belos IS a Satanic allegory… Well, Lucifer’s name literally means Morning Star. As Belos’ antithesis, Luz brings the sunset to his Day of Unity. They’re both outcasts to the Demon Realm, but from different worlds respectively.

Now, there’s a question- Who are the Angels? What do they look like? And where does the Owl Deity factor into all of this? Well, this gets me onto my NEXT part;

I think the Owl Deity could be the closest thing to ‘God’ in this universe, AKA an all-powerful deity who reigns above all! A while back, a background artist for the show released some art he did, depicting Luz and King resting beneath a spire. If one looks closely at the top, they can see a depiction of Belos himself! And right above it is candles, surrounding an Owl… An Owl above all. Perhaps we’re looking too deeply into this. But it brings to mind a pun, about the God of All Things… Also being the God of ‘Owl’ Things!

If the candles are lit, then this suggests fire’s association with the heavens, which fits into biblical depictions of Angels! Not only that, but Belos is right beneath the Owl… And right beneath him is a fleshy stump, indicative of his own motifs… And it’s connected to what appears to be a giant eye right beneath him! Eyes are a big motif in the Boiling Isles –and amongst biblical angels- so perhaps the fleshy stump, akin to Belos’ constructs, is symbolic? That he’s bridging the gap between the demonic world below, and the heavenly world above?

Regardless, the next portion of this theory suggests that the Owl Deity is a supreme being. Perhaps a neutral mediator between both the Angel and Demon Realms, with the Human World as neutral ground. Perhaps a weapon, utilized by the Angels? Or a powerful deity they managed to sway… More on that later. Regardless, it DOES make one consider the Clawthornes’ connection to the Owl Deity, specifically Eda’s. Her house DOES have the only known depictions of this enigmatic being, after all.

And THAT house was likely fashioned, at least partly, from a tower! Towers are known for their reach towards the skies… Could a Clawthorne Ancestor have been connected to the Owl Deity as a worshipper? A follower? Maybe they were ALSO an Angel, like Belos, albeit not fallen… Or at least, much more well-intentioned! It could bring a dark twist to Lilith’s line about Eda being with her ‘real’ family… Unbeknownst to her, Belos, being a fallen Angel, is arguably ‘family’ in the sense that the hypothetical Clawthorne Ancestor was ALSO an Angel! After all, it might better explain how Eda has access to the Portal. Not to mention that golden, blazing Owl Wraith she summons during her final battle with Lilith… Birds ARE a Clawthorne Motif, after all! And Angels have bird wings.

If Belos IS similar to Father from Fullmetal Alchemist, then it makes sense that there’s a ‘God’ he plans to usurp as a Lucifer allegory. The Owl Deity could be this god, or at least associated with the Heavens that Belos seeks to conquer and return to. That of course gets us into the symbolism behind the angelic motifs of the Emperor’s Coven. Now, when Belos first arrived in the Demon Realm, he would have been acting VERY contrary to the Boiling Isles’ values about magic at the time, and he clearly had to utilize plenty of force and genocide to make people comply. In other words, this is a dude who cares not about conforming to others, but making others conform to him…

So it doesn’t make as much sense for Belos to change his aesthetics to an Angelic one, to appease the Boiling Isles residents if he’s clearly averse to everything else they do! Especially if Angels, or what lingering memory of them there is, is seen as negative by the Boiling Isles… The point being, this alludes to Belos being genuine about his Angelic motifs, and not adopting them to appear more palatable to others; Because all of his behavior suggests otherwise, that he forces others to adapt to him, rather than the other way around!

Not only that, but if the Emperor’s Coven is Belos’ attempt at reinstating his ideal form of heavenly rule/environment on the Boiling Isles… And if the Owl Deity is a god to be conquered, then how fitting is it that his subordinate wears an Owl Mask? Perhaps it’s meant to arrogantly symbolic… That the Owl figure that Belos once looked up to, now serves him! Of course it’s only in symbols; But the idea is there, that the image and motif of Owls has been appropriated, not as a holy being above Belos, but instead as an image belonging to a subservient minion.

Now, this all leads into another question- What about the Titan? What does the Titan have to do with this? And for that matter, what of the giant Titan remains, scattered across the Boiling Seas- We know others exist, but OUR Titan is the only known intact corpse! Well…

In Understanding Willow, Hooty briefly mentions his backstory. It’s hard to discern, but he mentions how it all began with a hunt, and how there were blood-red skies before Eda and King’s dialogue cuts him off and drowns out the noise. There IS the idea of Hooty being a lobotomized and weakened reincarnation of the Owl Deity, or at least a spawn of it… Or having SOME association with it, moreso than most characters! We don’t know what killed the Titans, or why OUR Titan’s corpse is intact. There could be Doylist answers to this, maybe it’s meant to be a mystery that’s never explored, but left to a sublime imagination…

But if not, then this is where I get into a crazy idea here;

Angels are depicted as adversarial with Demons. The Titans would’ve been the first Demons, of the Demon Realm. We know one of them had Magic... And if Belos is any indication as a fallen angel, there may be a heavenly aversion to magic. Hooty recalls it all beginning with a hunt…

What if the Angels hunted down the Titans? It’d explain their sudden extinction… As for why our Boiling Isles (BI) Titan is still intact, well. Perhaps it was a lone survivor! Perhaps its Magical ability permitted it to last longer than others, before it too succumbed to death after the genocide. For all we know, its Magical ability was what drove the Angels to commit genocide upon the Titans, for fear of an uprising! Either they failed to target the Titan actually responsible for finding magic, or they kept them from spreading their craft to others by killing off anyone else who would be willing to learn.

If Hooty has a connection to the Owl Deity… Well, remember when he mentioned being haunted by his actions forever, in Adventures in the Elements? What if the Owl Deity led this ‘hunt’ against the Titans… Either as a creation of the Angels, or as a neutral mediator who was swayed to their ideas of magic being dangerous! Either way, there seems to be a recurring theme of regret and remorse… Perhaps when all was said and done, the Owl Deity rejected its actions, and banished itself to the Boiling Isles? Maybe the Clawthorne Ancestor was connected to/IS the Owl Deity… As for how the Owl Deity died, maybe it simply willed itself out of existence in shame. Maybe it succumbed to injuries from the water. Either way, the Titan didn’t erase all traces of it, which could imply some forgiveness on its part… That, or the Titan was too dead to act in outright vengeance, who knows?

Regardless, the story goes- A Titan discovers Magic, is deemed a threat by the Angels. The Angels lead a mass extermination of its kind, with the Titan the sole survivor. The Owl Deity helps lead the hunt, but comes to regret its war crimes, and dies amidst the BI Titan’s corpse, laying the foundations for the Owl House. As I said, the BI Titan also eventually dies, alone and traumatized, as the Angels head back home.

Owl Deity culls rest of titans, is about to finish the Titan when it realizes the horror of what it did

Either the Titan took it out in a pyrrhic victory, or - more likely - the Owl Deity, being an entity focused on balance and neutrality, allowed itself to be killed/seriously wounded as way to “rebalance” things as much as it can for its nigh complete genocide

We know that Belos claims to enforce the will of the Titan. Well, if he’s a fallen angel… What if he’s persuading the Titan to help it get revenge? What if as a fallen angel, he arrived on the Boiling Isles and approached the Titan’s spirit, proclaiming himself as trustworthy, in an Enemy of my Enemy situation? Belos would point to him and the Titan as being wounded and rejected by the angels to some extent. Belos would have insider knowledge on his kind. If the Angels swayed the Owl Deity, what if Belos swayed the Titan to his side by offering it the chance to strike back at the Heavens for its crimes, and avenge its fallen brethren?

When Belos claims to enforce the Titan’s will, he’s not completely wrong- It DOES feel justifiable anger, though clearly Belos is capitalizing and manipulating this anger, and then passing off the Titan’s actions as solely its own, and not at all a product of Belos’ own manipulations in any shape or form. You know how I likened Belos to Father… And my past theories about Belos resurrecting the Titan, on the Day of Unity?

Hooty mentions it all began with a hunt, with blood-red skies. What if the skies are blood-red once more, on the Day of Unity? As the realms converge or whatnot… What if Belos’ weapon to defeat his Angelic brethren is none other than the resurrected Titan, wielding full access to the powers of Magic, and with vengeance in its heart? What if Belos resurrects the Titan on the Day of Unity, possibly with its body underneath HIS control as a parasite… We could have a scene mirroring that iconic moment from Fullmetal Alchemist, where a continent-sized Father rises from the ground and reaches out to the Heavens, accessing them with the Portal! Just replace Father’s gigantic form with the Titan’s resurrected, magic-fueled body!

Now, this does lead into the idea of settling the Angels as antagonists, once Belos is done and over with. Perhaps a resurrected Owl Deity will be instrumental, with the help of Luz and the others? If she’s the Night to Belos’ Day, then perhaps she needs to set the sun on Belos’ reign, on his Day of Unity! It all begins and ends with blood-red skies, after all. Perhaps with the help of a resurrected Owl Deity, Luz can appease the Titan, or at least sway it to not turn to vengeance and jeopardize the Boiling Isles inhabitants in the process. She has experience with calming down vengeful entities in the past, as seen with Inner Willow… And Luz CAN communicate with the Titan!

Especially if the Angels have grown to also regret their actions, as a parallel to characters like Lilith! Or at least, the Angels can be held in line and prevented from further massacres, with the resurrected Owl Deity. If the Owl Deity is regretful of its actions, then perhaps we could get a scene calling back to Understanding Willow… Where Belos, at the last second, sways the Owl Deity to his logic, and suggests vengeance and annihilation of the Angels! The Owl Deity, frighteningly, agrees for a moment, reminding the Angels that its genocide of them is merely finishing what THEY started, after all…!

But then Luz steps in. Alongside the others, such as Amity and Willow, Lilith and King, Eda, and so forth… She persuades the Owl Deity to have forgiveness in its heart, especially if the Angels show remorse and a desire to fix mistakes! It’d hearken back to the theme of having justified anger, but otherwise channeling it productively into fixing mistakes, rather than simply harming the one responsible for them! It’s about a productive way of tackling issues, rather than focused on punishment; Again, a theme as far back as the first scene, when Luz is punished with the Summer Camp, VS actually having her emotional issues properly addressed, and being given the chance to fix the damage.

Our protagonists could all call back to similar incidents, with Lilith citing how Eda sparing her gave her the chance to fix the damage, or at least remedy it… Instead of JUST dying as retribution! How Willow chose to still retain her feelings, but also spared Amity so the girl could change and improve as a person, instead of just killing her off and calling it a day. It’s about not only recognizing damage, but working to properly fix and recover from it- Recovery is the key word! Fixing the damage together, as Luz said- Productively fixing what was caused, instead of beating oneself over it, the way Amity and Lilith initially did!

This could lead to the Owl Deity, especially if it has Hooty’s memories, being swayed back to a good stance. It’d contrast Belos and his inability to grow, heal, and recover from his emotional and physical wounds! Either way, perhaps the Owl Deity could make peace with the Angels, or at least ensure they genuinely change their attitudes and behaviors. Belos is stopped, and the Titan can finally be laid to rest, its spirit perhaps still communicating with whoever is willing and eager to learn Magic, the same way it did!

Now, this does leave the question- Who was Belos during the Titan Genocide, if he was an Angel? Was he even alive back then? This gets me into the speculation that Fermented Writers Block made, of Private New Guy being an allegory to Belos… If Hooty was haunted by his actions that night, well. Perhaps Belos was just another young recruit, another generic Angel in the hunt- But he was inspired by the Owl Deity, maybe even saw it as someone to emulate? And that’s part of why he’s so power-hungry and bloodthirsty, because of his ‘idol’…

Yet ironically, Belos is merely projecting his idea and desire for what he wants the Owl Deity to be, VS what it actually is- A repentant, remorseful entity with a lot of guilt! Tying into the idea of characters projecting ideas/expectations onto others that just don’t exist, confusing fantasy with reality… Maybe like Private New Guy, Belos tried to seize power in the Angel Realm, and it’s why he was banished? And hey, going into even MORE mindless speculation- What if Owl Mask was MORE than symbolic of the Owl Deity, but outright the same kind of being? Perhaps they’re Belos’ attempt at recreating the Owl Deity albeit young and/or imperfect, an additional asset to conquer the Angel Realm, in addition to a resurrected Titan. Who knows?

Mind you… ALL OF THIS is one hell of a stretch. It’s an incredibly unlikely theory, that hinges on a LOT of factors… But it’s fun food for thought, is it not? And hey, if you never pick up a shovel, one will never find gold even if it IS there! It’s an extension of the Angel Realm theory, while tying together a bunch of other details here or there, and hearkening to past themes, morals, and lessons. I’m sure that even if this isn’t what Dana and the others have planned, what we WILL get will certainly be just as enjoyable- But until then, it can’t hurt too much to guess a bit, and maybe have some outlandish fun or there, right?

#the owl house #TOH #the owl house theory #toh theory #the owl house speculation #the owl house meta #emperor belos

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pixelsareforsquares · 4 years ago

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To Become with Others

A reflection on the importance of intra-action in my performance practice.

I am sitting.

I am sitting in a rehearsal space.

It’s a big space.

And it’s mostly empty.

I could…

I could do a lot of things,

here

in this big open space.

I stand up.

I walk across the room.

I try moving my body a bit.

It feels good but it’s not what I’m looking for.

I try filling the void with my voice, which feels good too, but…

But

The stakes are low.

I try writing things on big pieces of paper. I hope it will fill the vastness around me, but...

But all it does is echo the expanse of my mind. So I try moving these big pieces of paper around, my generous handwriting seems flimsy against their broadness. And sitting somewhere in all this space is the thing I’ve tried so hard to bat away, with my body or with my voice or with my writing. Thinking if I fill it, it won’t have the space to exist.

“But if I were a real artist I would know what to do."

What am I supposed to do here?

How can I best use this space for my research?

What can I uncover?

Here.

Alone.

Who am I without anyone else?

via Somatic_based_content_only on Instagram. 19.04.21

This scenario repeated itself during a workshop with Dagmar Slagmolen, director of the Amsterdam-based music theatre company, Via Berlin. Over the past few months my research has focused on vulnerability and its role in audience participation. My aim is to create a method for accessing and utilizing my own emotional vulnerability to better connect with my audience in order to enhance and expand the participatory experience. In our initial meetings, Dagmar was very excited about this project, particularly my interest in the links between shame and vulnerability. The piece I am creating in order to explore some of these techniques, focuses around my personal sexual history and hopes to buff out some of the shame which is so deeply ingrained in the patriarchal narratives surrounding sexuality in western society. In the days prior to the physical workshop, I discussed my work with Dagmar and the three other workshop participants, which helped me condense and clarify my research so far. I was then given the task of continuing to think about and experiment with vulnerability during the workshop.. Therefore, after a brief talk with Dagmar upon arriving in the studio, I was left with, none other than….. space and time to experiment.

Spaces which I had time to experiment in

Sitting in this studio, I became increasingly aware of a considerable obstacle. Explore vulnerability with who? Myself? Can one even be vulnerable with one’s self? Vulnerability is an act of revealing, an act of (emotional) exposure (Brown 2012). I find this an impossibility considering the omnipresence of the self. At least for me personally, the idea of exposing my self to myself seems nonsensical, as my emotional vulnerabilities exist in relation to others. This notion of impossibility seems to parallel the more ambiguous feeling that I described in the introduction, which creeps in whenever I undergo a solo studio practice in order to create work. The work I make is not only the presentation of a skill or story or technique, but the intra-action of space, time, set parameters and most importantly, other people. While I may use studio time to learn or refine certain physical techniques, this is usually a small element of my practice. Just as I cannot experiment or rehearse my vulnerability alone due to the fact that the very notion of my vulnerability is conditional to the presence of others, so is it impossible for me to experiment or rehearse a performance which is reliant on inter and intra-actions with people around me.

Pieces of paper, large and small

If all the world’s a stage, then when and where do we rehearse? When and where do we experiment? According to performance scholar Richard Schechner, the extended childhood particular to humans is a rehearsal, where we learn the behaviours which we ‘restore’ each day in our performance as adults (2013, 29). However, as restored behaviour may be combined and adjusted in a multitude of ways, and as our co-performers, sets and scenery are invariably interchanged, one’s performances of restored behaviour are thus in eternal flux. The performance of everyday interactions is a constant improvisation structured through certain social parameters. Each experience becomes the rehearsal for the next. It is an act of becoming, an intra-action of the players, the space, the audience etc. Scholar and physicist Karan Barad defines intra-action as “a mutual constitution of entangled agencies” (2007, 33). As I understand intra-action, it negates the idea that anything can be independent from anything else. If I think about it in the context of interactions with others, I understand that my presence and actions do not come from a self that is independent of those around me, but instead materializes through my relationships with others. Moreover, because of the multiplicitous constellations of people, places and things that come into contact throughout daily life, this diffracts into exponential infinity.

As much of my practice relies on such intra-action between myself and the other persons in the performance space, I must then question the where, how and why’s of rehearsal in my practice. Improvisation has always been wildly fulfilling to me, and even more so when I have an audience. This overused saying of ‘dance like no one's watching’ has never made sense to me. It is the eyes of others that grant me the ability to take the risks that make for an exhilarating performance. It is here where I get an embodied sense of intra-action between the audience, and myself where our relationship invokes a disassembly of any and all facades of self.

Some reflections on my relationship to improvisation as a 14-year-old

As I better understand this relationship, it also becomes clear as to why cabaret has remained at the heart of my practice. While I may wear the same costume and perform to the same music for any given act, the stage which I step on is always different, anywhere from a small piece of cleared floor with an audience member given a light with which to illuminate it, to a circus tent in the middle of a music festival as swarms of drunk people wander in after a headliner rock band. I have given myself the same task and the same tools in each however, I must remain nimble and responsive to my audience’s and surroundings. In an interview with José Esteban Muñoz, Nao Bustamante, describes a similar working method “It’s very important for me to maintain a fresh space.. I have these 12 positions that I hit within the piece… and then within those 12 positions anything can happen, and I just allow myself to watch myself, watch the audience, watch the interaction, focus on that particular moment or balance” (2002). My performance is not one of set actions, but a response (to a response to a response…) within a microcosm of intertwined energies in a room. In speaking about the work of Bustamente, Jack Halberstam writes, ‘Her body must respond on the spot and in the moment of performance to the new configurations of space and uncertainty" (2011, 144). As I have noted in previous reflections on my practice, a frequent piece of feedback I receive is along the lines of ‘It was so great to watch you when everything went wrong’. This is usually in reference to some technical difficulties that I’ve had to fix before or during a performance, crouching awkwardly on the floor in whatever absurd costume I’m wearing. These moments are moments of failure in which holes of uncertainty are pulled and stretched and the audience engages in a different way than they have rehearsed. We are together in a liminal space of both watching and non-watching. I think that the reason why I seem to be adept at such moments is because I invite my audience to continue to engage with me as I make plain my failure. “It’s those moments of failure that also build empathy for the character” (Bustamante 2002). The intra-action between myself, the audience, the liminal space of performance/not performance and failure coalesce to create a space of vulnerability and empathy that is near impossible to recreate alone with myself in a rehearsal space.

“For I do not exist: there exist but the thousands of mirrors that reflect me. With every acquaintance I make, the population of phantoms resembling me increases. Somewhere they live, somewhere they multiply. I alone do not exist.” (Nabokov, 2011, 118).

A phrase I have repeated many times in collaborations over the years is, ‘It’s not about me’, which is both entirely true and entirely not all at once. It is, of course, always about me. I am always present, inescapable even, as the protagonist of my own life story. However, I am also unsure, as indicated by Nabokov above, and in relation to Barad’s concept of intra-action, if there is any essence of self that is able to exist independently of the world and the people in it. A friend from many years ago always talked about how everyone we encountered was only a reflection of ourselves, which is something I still ponder on often. In contrast, the artist, Ann Liv Young, under the guise of her persona Sherry (whose work I investigated recently in relation to my own) suggests that the opposite is true. She is a reflection of others, rather than vice-versa. Sherry is a highly confrontational and contradictory semi-autobiographical character which Young uses to create improvisational participatory work. During performances, she maintains that Sherry is merely a reflection of her audience, making statements such as, “I only work with what’s in the room. I am very boring. I am essentially a mirror” (Good Sherry, 2018). These proclamations are used particularly at moments when her audience seems uncomfortable with what Sherry is saying or doing. Young and I are both interested in using vulnerability in our work, however I find that Young as Sherry wants to draw out vulnerability from her audience, while using Sherry to deflect her own vulnerability. Whereas the methodology of my approach is more about creating space and leading by example. However, when one uses intra-action to examine these relationships we see that they may both exist concurrently or not at all. One is both a reflection and reflects others. If everyone we encounter is standing with a metaphorical mirror in order to call into our existence, then we too must be holding a mirror to realize all other’s existences. Similarly to the elusivity of an objective truth, the idea of a self, independent of the world around it, slips from the realm of possibility. The self is in a continual flux of intra-actions with what is outside of us. Thus, as I explore my practice and how I might better engage with vulnerability within it, I understand the centrality of intra-action, particularly with other human beings and come to understand how important the methods of performance-as-research and performance-as-practice are to my work. Moreover, while I may have engaged with both of these methods in my practice for many years, it is an element which I have often wished I could pull back from. However, by switching my focus in order to better understand how and why I use performance-as-practice, I will be able to explore the full depth and range of how performance-as practice might be used to its full potential within my practice.

Reflective reflections. Some props I acquired.

vimeo

....becoming something with others.

Barad, K. M. (2007) Meeting the universe halfway: quantum physics and the entanglement of matter and meaning. Durham: Duke University Press. Brown, B. (2012) Listening to shame. (TED2012). Available at: https://www.ted.com/talks/brene_brown_listening_to_shame (Accessed: 15 November 2020). Felden Krisis (@somatic_based_content_only) • Instagram photos and videos (no date). Available at: https://www.instagram.com/somatic_based_content_only/ (Accessed: 25 April 2021). Halberstam, J. (2011) The queer art of failure. Durham: Duke University Press. Muñoz, J. E. (2006) ‘The Vulnerability Artist: Nao Bustamante And the Sad Beauty of Reparation’, Women & Performance: a journal of feminist theory, 16(2), pp. 191–200. doi: 10.1080/07407700600744386. Nabokov, V. V. and Nabokov, D. (2011) The eye. New York: Vintage International/Vintage Books. Available at: http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=722896 (Accessed: 25 April 2021). Schechner, R. and Brady, S. (2013) Performance studies: an introduction. 3. ed. London: Routledge. Tactical Aesthetics (2019) Ann Liv Young: Everybody has a responsibility to respond (excerpt from ‘Good Sherry’). Available at: https://www.youtube.com/watch?v=KqEJyWxWzzs&ab_channel=MGM (Accessed: 3 March 2021). Video: Interview with Nao Bustamante [videorecording]. (2002). Available at: https://hdl.handle.net/2333.1/5dv41nv8 (Accessed: 25 April 2021).

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tillidontneedfantasy · 4 years ago

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A Track-by-Track Breakdown of Taylor Swift’s 8th Studio Album: ‘folklore’

Taylor Swift’s 8th studio album, folklore, starts off with the lie, “I’m on some new shit.” Perhaps to someone who hasn’t been paying attention this would seem to be true. But to those listening, folklore is the essence of her skill and success throughout her entire career stripped down for all to see, but more refined, enhanced, and impressive than ever.

Even prior to her pop-world domination with 1989 (2014), Taylor’s storytelling ability has always been her most compelling strength as a writer. In 2010, she released her third album, Speak Now, penned fully solo to prove to the cynics that she does, in fact, write her own music. And it’s damn good. Widely considered her best song, “All Too Well” from Red (2012) is a five and a half minute epic about love had and lost, all in walks through autumn trees, almost running red lights, dancing round the kitchen, and a scarf reminiscent of innocence, unreturned.

Yet her pop prowess over the last six years perhaps leads to her storytelling being overlooked to those more focused on the music. There is a particular genius in writing a successful pop song, let alone three successful pop albums, that still has hard-hitting lyrics underneath the synth. Take the excellent “Cruel Summer” from Lover (2019) for example. The song is just under 3 minutes, and the production is so enthralling and infectious that it can take such a hold on you, you might miss the tale being told along with it about a fraught summer relationship that was actually just the beginning of her own love story.

But without the pop production, her stories on folklore demand attention. Swept up by a strong wave of creativity and inspiration, Swift secretly wrote and produced this album in around three months with Aaron Dessner of The National, one of Swift’s favorite bands, and long-time collaborator and friend Jack Antonoff. A surprise album is a new endeavor for Swift, as she generally spends months meticulously planning an album rollout. It is refreshing, and as a dedicated, long-time fan of Taylor, it is thrilling. Due to the album cover where she is standing in the woods, and the genre of the album itself, there have been think pieces regarding the “man in the woods” trope and what it means that Taylor seems to be embodying it. As a result of over-exposure, people are unable to stop focusing on her image and the way she presents herself. It’s understandable, as she is a very smart and deliberate businesswoman, and clearly cares about how she is perceived. But with this album, it is clear that none of that was at play. We are in the middle of a pandemic. Her mother has been battling cancer for years. Isolate a creative person in a dangerous world and they will dream up an escape. She understands more than ever how precious each moment is, and does not want to waste another one. The woods being the landscape for the photo-shoot is most likely attributed to the fact that it is the safest place to have one under these circumstances. She’s not pretending she removed herself from society and became enlightened, she didn’t dabble into a more alternative sound to prove anything; she is just sharing stories she wants to tell that she is proud of, and nothing more.

Of course the music of the album is important, but the lyrics are the heart of it all, and I wanted to focus on them. Upon its release, Taylor explained in a foreword that the album was a mixture of personal and fictional accounts. The beauty of stories is that once they are shared, they never live one single life; each person who consumes a story interprets it uniquely, and the story becomes a multiverse, with different meanings and outcomes than what initially drove the pen to the paper. As explained by Swift in a YouTube comment prior to the album’s release, three songs on the album are all one story, which she has dubbed “the teenage love triangle.” The three points of the triangle are “cardigan,” “august,” and “betty.” But if someone had not seen her say that, they might not have figured it out. Maybe they’d interpret each song as their own story, and connect it to their own. Taylor knows this. It is why she loves storytelling and is why she is so good at it. The album itself is a mirror ball, shimmering with every version of the stories being told, reflecting a bit of each person who listens. These are my interpretations, but they can mean whatever you make of them.

1. the 1 The melody of this song helps set the scene; picture yourself skipping rocks on a lake, reminiscing on the one that got away. “the 1” is about learning to assimilate into a life without them, resentfully accepting that they might be moving on, too. She ruminates on what went wrong and what could have been. In a very Swift fashion, she puts the blame on herself when she sings, “in my defense, I have none / for digging up the grave another time.” Perhaps this song is fictional, perhaps it’s a revisit of a past feeling or relationship, but its relatability makes it feel real and present. She searches for explanations, restraining herself from asking, “if one thing had been different, would everything be different today?” But it’s good she didn’t ask, because she’d never find the answer, anyway. Best lyric: “We never painted by the numbers, baby, but we were making it count / You know the greatest loves of all time are over now.”

2. cardigan (teenage love triangle, part 1: betty’s perspective) “When you are young they assume you know nothing,” Swift sings in her smooth low-register on this Lana del Rey-esque single. “But I knew everything when I was young,” she asserts. They say wisdom comes with age, but there is wisdom lost, too, of what it felt like to be young; but she has held onto it. In this track, the narrator (Betty) is looking back on her relationship with someone she once loved (James, as name-dropped in “betty” later on in the album). Her insight on his character was always spot on; she knew he’d try to kiss it better, change the ending, miss her once the thrill expired and come back, begging for her forgiveness in her front porch light. As soon as she was feeling forgotten, he made her feel wanted, his favorite. The ending in question is unclear, whether she granted him her forgiveness or not. But what is clear is Taylor’s understanding of the pull of young love, the intensity, the immortalization of all the smallest of details, the longing to be someone’s favorite. It’s why we look back on it so often, read stories and watch films about it, even as we grow old. It’s the cardigan we put back on when we want to be Peter Pan and remember what it was like to fly with Wendy. Best lyric: “You drew stars around my scars / but now I’m bleeding.”

3. the last great american dynasty The story of Rebekah Harkness and her destruction of the last great American dynasty, Standard Oil, is documented in this track, as each verse covers a different part of Rebekah’s life, going from a middle class divorcee to one of the wealthiest women in America by marrying into an empire. Swift paints Rebekah as an outcast, the Rhode Island town blaming her for her husband’s heart giving out. Rebekah used her inherited fortune on her ballet company, throwing lavish parties with her friends who went by the “Bitch Pack,” playing cards with Dali (Yes, as in Salvador Dali. It’s not clear if they actually played cards together, but her ashes were placed in an urn designed by him), and feuding with her neighbors. Then, fifty years later, Taylor Swift bought that very house and ruined the neighborhood all over again, bringing with her the triumphant return of champagne pool parties and women with madness, their men and bad habits. It’s a note on how women will be blamed for tarnishing what is sacred to men rather than celebrated, specifically when its related to wealth and power. They will call them mad, shameless, loud. But just like Rebekah, Taylor learned to pay them no mind, and just have a marvelous time. It is also interesting to note that Rebekah went by Betty. Perhaps Taylor felt inspired by and connected to her and gave her a whole backstory, and thus the birth of “the teenage love triangle,” or maybe it’s just a coincidence; but that’s the fun of it all. Either way, this track is a standout showcase of how Swift has truly mastered her craft as a songwriter. Best lyric: “Holiday House sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.”

4. exile ft. Bon Iver You know that feeling when your parents are fighting and it’s upsetting you but you can’t help but listen? That’s kind of what listening to this song feels like. Bon Iver’s Justin Vernon co-wrote the track, and he lends his gorgeous vocals to play a man who has been exiled by his ex who has moved on with someone else while he desperately tries to understand where it all went wrong. The bridge is particularly poignant, both proclaiming, “you didn’t even hear me out,” while talking over each other. He thinks he was expected to read her mind, but she is adamant that she gave him plenty of warning signs. Miscommunication is one of the most common downfalls of a relationship, and the emotion in Swift’s and Vernon’s voices really draws you into the argument with them, transporting you back into your own exile from people you once called home. Best lyric: “I couldn’t turn things around / (You never turned things around) / ‘cause you never gave a warning sign / (I gave so many signs.)”

5. my tears ricochet Taylor describes this song in the foreword as “an embittered tormentor showing up to the funeral of his fallen object of obsession.” If you know enough, you can put the pieces together that the tormentor is Scott Borchetta, the head of Big Machine Records, and the funeral is of their professional and personal relationship. Taylor was the first artist ever signed to Big Machine. Borchetta and Swift had to trust each other in their partnership for it to be a success, and oh, how it was. But prior to Lover’s release, Taylor announced that she would be signing to Republic Records as her contract with Big Machine had ended and Republic offered her the opportunity to own all of her masters moving forward and negotiate on Spotify shares for all their artists. It all could have ended amicably there, but then Scott Borchetta sold all of Big Machine, along with Taylor’s masters from every album prior, to Scooter Braun. Braun manages some of the biggest stars out there, and had previously managed Kanye West. Taylor publicly spoke out about this purchase, stating that she was not made aware of this before the announcement, and how much of a betrayal it was considering she had cried to Scott before about Scooter’s mistreatment of her. Taylor has continued to be vocal about this, and so she sings, “I didn’t have it in myself to go with grace.” There is a lot to unpack in this song, but the main takeaway is that this betrayal hurts him just as much if not more than it hurts her, because his career was built on her achievements. He buried her while decorated in her success, becoming what he swore he wouldn’t, erasing the good times for greed, all just to be haunted with regret for pushing her out and stealing her lullabies. The pain is palpable, and it is notable that this is song is placed at track 5, the spot generally reserved for the most vulnerable on the album; it shows that there are different types of heartbreak that can shatter you just as much as those from romance. Best lyric: “If I’m dead to you, why are you at the wake? / Cursing my name, wishing I stayed.”

6. mirrorball On Lover’s “The Archer,” Taylor expresses her anxiety over people seeing through her act, her own grief at seeing through it herself, wondering if her lover does and whether he would stay with her regardless. “mirrorball” is about the act, one of the more obviously confessional songs on the album. She talks about how a mirror ball can illuminate all the different versions of a person, while also reflecting the light to fit in with the scene. Taylor’s critical self-awareness is heart wrenching, and it’s clear that the anxiety that surrounds the public perception of her is still prevalent. She describes herself as a member of a circus, still on the tightrope and the trapeze even after everyone else has packed up and left, doing anything she can to keep the public’s attention. It hurts to hear the desperation in her voice, but there’s hope in the song, too. She is speaking to someone (we can assume her long-term boyfriend, Joe Alwyn) and thanking them for not being like “the regulars, the masquerade revelers drunk as they watch my shattered edges glisten.” In 2016, the height of Taylor’s fame and subsequently her farthest fall from grace, all the people who pretended to be her friends and attended all her parties celebrated her (temporary) demise, continuing to dance over her broken pieces on the floor. But he stayed by her side as she put herself back together. And so now, when no one is around, she’ll shine just for him, standing even taller than she does for the circus. Best lyric: “I’m still a believer, but I don’t know why / I’ve never been a natural, all I do is try, try, try / I’m still on that trapeze, I’m still trying everything / to keep you looking at me.”

7. seven Her voice gentle and haunting, Taylor recalls the freedom and innocence of her childhood in Pennsylvania. She asks to be remembered for how she was, swinging over the creek, before she learned civility when she would scream anytime she wanted, then letting out a very pretty one. She sings to her old friend soothingly about taking them away from their haunted house that their father is always shouting in, where they feel the need to hide in a closet, perhaps literally, or figuratively, or both. They can move into Taylor’s house instead, or maybe just to India, just be sure to pack their dolls and a sweater and then they’ll hit the road. She can no longer recall her friend’s face, but the love she had for them still lives in her heart, and she wants it to live forever through story. Just in the way that folklore itself blends reality and fiction, but the truth within it passes on, so will the purity of that love and friendship. Best lyric: “Please picture me in the weeds / before I learned civility / I used to scream ferociously / any time I wanted.”

8. august (teenage love triangle, part 2: the other girl’s perspective) If you had to assign the feeling of longing to a song, it’d be “august.” It’s when you’re teetering at the edge with someone, unsure of where you stand with them, clinging to anything they give you and doing anything just to raise your chances, “living for the hope of it all.” August, the last month of summer, its heat causing it to slip away the fastest in a haze before reality hits. This track is a display of how sometimes losing something you never had causes an even deeper ache than losing something that was yours, and Jack Antonoff’s signature production intensifies the emotion even more. It’s the story of shattered hope, and the longing for the days where it could still fuel you. Best lyric: “To live for the hope of it all / cancel plans just in case you’d call.”

9. this is me trying “this is me trying” is like a drive through a tunnel at night, hearing your loudest anxieties and insecurities echo all around you, caving in. The track is another apt insight into Swift’s struggles with her self-image, with the pressure she puts on herself, so much so that she sometimes pushes herself too close to the edge, her fears luring her out of the tunnel and down, down, down into her own cage, stunting her own growth and keeping those who care out of reach. She tells us how she was “so ahead of the curve, the curve became a sphere.” Every action has an equal, opposite reaction, meaning that she was pushing herself so hard, she rolled back to where she started, and now has to reset. This could be referring to the period between the end of the 1989 era and the release of reputation (2017), or a different time in her life, or just a general sentiment. It doesn’t really matter, though, because no one’s growth is a neat, straight line; growth is jagged. Just like any of us, Taylor will always have to face new obstacles, new pitfalls, new reasons to get back up. She sounds most vulnerable as she cries, “at least I’m trying,” and you feel comforted knowing someone so beautiful and successful has to push herself to try, too, and yet that motivates you more to try yourself. Best lyric: “They told me all of my cages were mental / so I got wasted, like all my potential.”

10. illicit affairs A quiet, slow-build testament of the passion, the tragedy, the secrecy, the inimitability of a romance that shouldn’t exist, “illicit affairs” demonstrates how you can ruin yourself for someone from just one moment of possibility or truth, quite like the narrator of “august” does for the hope of it all. An illicit affair can be many different things: infidelity, forbidden love, a love that can never be fully realized, a relationship that is inherently wrong but electrifying all the same. It’s a reminder of what so many of us would do just to see new colors, to learn a new language, even if the one moment of enlightenment destroys us forever. We might lose the iridescent glow but we don’t forget it; we carry it with us, but must be careful to remember its blinding effect, to remember how fatal the fall is from the dwindling, mercurial high. Best lyric: “Tell your friends you’re out for a run / you’ll be flushed when you return.”

11. invisible string Clearly the most outright autobiographical track, “invisible string” is the plucky pick-me-up needed. The song is like sunshine, as Swift endearingly links all the little connections between her and her boyfriend, Joe Alwyn, since before they even met. She compares the green grass at the Nashville park she’d sit at in hopes of a meet-cute to the teal of his yogurt shop uniform shirt, and gives a nod to her smash hit “Bad Blood” from 1989 with the delightful line “bad was the blood of the song in the cab on your first trip to LA.” She reasons these coincidences as a fateful, invisible, golden string tying them together since the beginning, always destined to meet at the knot in the middle. She thanks time for healing her, (a callback to “Fifteen” from Fearless [2008]), fighting through hell to make it to heaven, transforming her from an axe grinder to a gift giver for her ex’s baby (the ex in question, Joe Jonas, and his wife Sophie Turner, happened to have their first daughter two days before this album’s release). As she has on her previous two albums, she uses the color gold to illustrate how prized their love is to one another. It’s sweet to know in all the gloom that the string has not been severed, and the trees are still golden somewhere. Best lyric: “Cold was the steel of my axe to grind for the boys who broke my heart / now I send their babies presents.”

12. mad woman Throughout her entire career, Taylor Swift has defiantly defended female rage, all the way back from throwing a chair off a platform on her Fearless Tour during the impassioned “Forever & Always,” to her patient, vengeful reliance on karma in reputation’s lead single, “Look What You Made Me Do,” to her most recent tackling of the matter on Lover’s last and final single, “The Man,” where she explores society’s acceptance and encouragement of angry men yet disdain for angry women. “The Man” is catchy and upbeat, and a fun thought experiment into how Swift’s career would be perceived if she was a man, something that is even more interesting to think about now as she releases an album in a genre heavily dominated and lauded by males. But on “mad woman,” she further explores the creation and perception of female rage, though masked under a smooth, haunting piano melody, her vocals subdued, taunting. In the album foreword, she describes the inspiration behind this song as “a misfit widow getting gleeful revenge on the town that cast her out.” This could be the continuation of Rebekah “Betty” Harkness’s story at her Holiday House in Watch Hill, RI, and how she further alienated herself from the rest of the neighborhood as they cast stones at her for the collapse of the last great American dynasty. (Or perhaps Daenerys Targaryen’s descent as the Mad Queen played a part in the song’s inspiration, as Swift has spoken of her love for Game of Thrones and her character specifically.) Taylor herself could also represent the widow, her music and masters as her love lost, and the men behind the crime as the “town that cast her out.” In the first verse she sings, “What do you sing on your drive home? / Do you see my face in the neighbor’s lawn? / Does she smile, or does she mouth ‘fuck you forever’?” It’s the first f-bomb of Taylor’s career (though a much more playful one will come two tracks later in “betty”) and it speaks volume. Taylor has received a lot of condemnation for expressing her anger at their transaction, for calling out their greed for what it is. Some view Swift’s stance on the ordeal as petty and trivial; they see the men as orchestrating a good business deal, and Swift as the girl throwing a tantrum. Ask any woman, and they can tell you about a time a man told them they were crazy for being justifiably angry; it only makes us angrier. “No one likes a mad woman,” Taylor states, “You made her like that.” Swift underscores that here, how they will poke and poke the bear but then blame it for attacking, as if they had never provoked it at all, and how dare it defend itself. Just as they blamed Rebekah for her husband’s heart giving out, they somehow manage to blame Swift for not being allowed to purchase the rights to her own work. And yes, she’s mad, but the song is measured and controlled; she’s used to her anger now, and knows just how to wield it. Best lyric: “Women like hunting witches, too / doing your dirtiest work for you / It’s obvious that wanting me dead has really brought you two together.”

13. epiphany This is another track Swift provided some background on, stating it was inspired by her “grandfather, Dean, landing at Guadalcanal in 1942” during WWII. The first verse paints this image, while the second verse depicts a different kind of war, happening right now, fought by doctors and nurses. She speaks of holding hands through plastic, and the escape folklore has granted you suddenly lifts. Watching someone’s daughter, or mother, or anyone suffer at the hands of the COVID-19 pandemic, just as watching a soldier bleed out, helpless, is too much to speak about. As she points out, they don’t teach you about that vicarious trauma in med school. We are living in a tireless world with barely any time time to rest our eyes, but too much going on while we’re awake to make sense of any of it. “epiphany” is a cinematic prayer, pleading for some quiet in order to find an answer in all the noise. We’re still waiting for that glimpse of relief. Best lyric: “Only twenty minutes to sleep / but you dream of some epiphany / Just one single glimpse of relief / to make some sense of what you’ve seen.”

14. betty (teenage love triangle, part 3: james’s perspective) It makes sense that a song reminiscent of Fearless would exemplify some of the best story-telling on folklore. The final puzzle piece of the teen love triangle, “betty” is a song sung by Swift from the perspective of the character of her own creation, James, attempting to win back his true love, Betty, who he slighted in some way. He proclaims that the worst thing he ever did is what he did to her, without explicitly stating it. Though the infamous deed is unclear, here’s the information we collect from this song: James saw Betty dancing with another boy at a school dance, one day when he was walking home another girl (from “august”) picked him up and he ended up spending his summer with her yet still loved Betty, and though he ended things with his fling and wanted to reconcile with Betty, he had returned to school to see she switched her homeroom (James assumes, after saying he won’t make assumptions. Classic men). So in order to make it up to her, he shows up at her party with the risk of being told to go fuck himself (the second and charming “fuck” on the album! Which is repeated!). Upon his arrival, there is a glorious key change (ala “Love Story”) and all the pieces fall into place for the listener; we realize Betty is the girl singing in “cardigan” as he lists the things he misses about her since the thrill expired, like the way she looks standing in her cardigan, and kissing in his car. He’s 17 and doesn’t know anything, but she knew everything when she was young, and she knew he’d come back. The way I see their story conclude is that she led him to the garden and trusted him, but as they grew older they grew apart, but the love she had for him never faded completely. Listening to this song is like being back in high school, whether you were the person who did someone wrong or the person so willing to forgive in the name of young love, or Inez, the school gossip, you’re right there with them. The other great thing about this song is that it is sung to a girl, and though it is set up so we understand it is most likely from a boy’s perspective, it doesn’t have to be. It’s really great that girls in the LGBTQ community can have a song in Taylor’s voice to fully connect to without changing the pronouns or names (even James, which is unisex and is one of the names of the daughters of Blake Lively and Ryan Reynolds, Taylor’s close friends, mentioned in this song). That is the beauty of folklore: the infinite ways a story can be told, perceived, retold from a different perspective, and told again. Maybe you’ll hear it from Inez. Best lyric: “But if I just showed up at your party / would you have me? Would you want me? / Would you tell me to go fuck myself, or lead me to the garden?”

15. peace One of the most beautifully solemn songs of her career, “peace” echoes the same fears explored in “Dancing With Our Hands Tied” from reputation; will the person she loves be able to weather the ever-present storm that comes with the life of a superstar, but also dwells within herself? Will holding him as the water rushes in be enough? Will giving him her wild, a child, her sunshine, her best, be a fair consolation? Presumably another confessional track and about Alwyn, Swift puts him up on a pedestal, praising his integrity and his dare to dream. She proclaims that she would die for him in secret, just as she told him she’d be on her tallest tip toes, spinning in her highest heels, shining just for him in “mirrorball.” She highlights some of the greatest gifts of love, such as comfortable silence and chosen family. She knows what they have is special, but she also knows the value of peace, the ultimate nirvana, and does not want to deprive him of that. It is so deeply relatable- to me, at least- to feel like you can give someone so much of yourself but know it still may never be enough, and to fear either losing them or robbing them of something better. But looking at what they have together, maybe peace is overrated. Or maybe, she’s looking for peace in the wrong places. The calm is in the eye of the storm, and sometimes, there’s nothing more freeing than throwing away the umbrella and soaking in the rain. Best lyric: “I never had the courage of my convictions / as long as danger is near / and it’s just around the corner, darling / ‘cause it lives in me / no, I could never give you peace.”

16. hoax The truest enigma of the album, the closer, “hoax” is a devastatingly dark ballad about the uncertainty, or perhaps incredulity, of someone’s love for you, a love that is your lifeline. The lyrics are ambiguous, which gives way to a plethora of interpretations. Perhaps she is speaking about a hypothetical situation that has yet to happen (and hopefully doesn’t) in which someone she loves and trusts betrays her. Maybe she is talking about a relationship, real (hopefully not) or fictional, in which despite the torment it brings her she holds onto it for dear life. I’m most inclined to believe that the song represents her difficulty in accepting that someone is willing to love her through such dark periods, that their love must actually be a hoax, but she chooses to believe in it anyway and uses it as the motivation to rebuild her kingdom, to rise from the ashes on her barren land. And even through the downs that come at some point in every relationship, she can still see the beauty in it all. Yes, their love is golden, but waves of blue will crash down around any partnership, because life does not exist without them. So even when things are as blue as can be, she’s at least grateful it’s with him. Best lyric: “Don’t want no other shade of blue but you / no other sadness in the world would do.”

Although we still have yet to hear the deluxe track, “the lakes,” as a fan of Taylor for almost 12 years, it feels so obvious that this is her strongest work yet. The storytelling I fell in love with on Fearless as a teenager (which, much like folklore, was highly inspired by imaginary situations and real emotions) is even sharper now as we have both grown into adults. The music on this album might not be everyone’s speed, and that’s okay. But it allowed Taylor to dip back into what made Fearless such a success: using pieces of her own truth and the whims of her imagination to develop a multi-faceted narrative that becomes universal. During her Tiny Desk concert, before performing “Death By A Thousand Cuts” from Lover, Swift explained the anxiety she felt around the possibility of stunted creativity when people would ask her what she would write about once she was happy. Taylor has released an abundance of beautiful, fun, complex love songs since the start of her relationship almost four years ago now. But “Death By A Thousand Cuts,” which is a fan favorite, helped her prove to herself that she can still write a killer breakup song while being in a happy, fulfilling relationship; the song was the last track written for Lover and was inspired by the film Something Great on Netflix. And so it makes perfect sense that Taylor used folklore to continue exploring this new avenue for songwriting. All of her discography and all of her life experiences have culminated to the folklore moment: as all the best artists do, she will never stop finding inspiration in hidden corners of this dark, mystical, wondrous universe, and falling in love with new ways to share those wonders. And that love will be passed on.

DISCLAIMER - REVIEWER’S BIAS: I love Taylor Swift more than any person in my life, yes including my parents, they are aware and have accepted this fact long ago ❤️

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stuckinapatriarchalbullshitland · 4 years ago

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Lauren’s Attunement/// The Catharsis of the Dark Diary (Long ass post)

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Ah ... I really don't know how much I could say about this Attunement that I decided to separate into two parts and notice that I am going to deviate a bit from my original intention to make some clear points because there is a lot to get out of what Lauren has said. With that in mind I hope it is not too confusing to read.

First part: Cancellation Culture

I think our moonchild has been perfectly clear on this point. "We are living in a very sick world" "In a world in great need of healing and that will not do so through the culture of cancellation." Cancellation culture sucks, folks. A twisted idea of exposing things from the past of people who have not been good and that people have become accustomed to criticizing as if all those who criticize were a mirror of virtue and perfection when nobody is perfect and Lauren also mentions that in your Attunement. Lauren also mentions that we cannot hold people accountable for their mistakes because it is the most important part of the process. And it is a truth like a cathedral. People who make mistakes need to take responsibility for their actions so that they don't make them again. It is necessary to learn from it and improve as people and heal. In the part where Lauren mentions that she would never publicly embarrass the people she loves, she reminded me of Camila. I did not want to mention Camila in this because we know that Lauren has also been humiliated but if we talk about the cancellation culture that part goes to Camila. Camila has been a victim of the culture of cancellation long before leaving the band and they have made Twitter threads, blaming her with a racist past for which she has apologized many times but still drag her to hell, no matter what. Camila has haters who love to fuck her and Lauren knows it too. She has known it forever and a clear example is (I'm not going to put a screenshot because it would distract me) the tweet where someone calls Camila ugly and Lauren responds to that hater saying: "Hello, can you show me a picture of you? " It is these details that make us understand that everything she sees on the internet in relation to her and her loved ones affects her a lot and what she says when she talks about the online world where we are all the time, is bullshit. She says that it's not that you can't do what makes you beautiful, that she's fine with it, but also the people who are watching don't know that shit is fake and that people aren't happy with who they are. "That when they look in the mirror they don't love themselves." And I think she hit the spot there too, folks. She has perfectly outlined a hater's profile. The lack of love of those people who have found an escape route to their frustrations, to what is wrong with their lives, that makes them what they are. Because as she says, we live in a screwed up world, it's true but the point is, how the hell have we got to this point? How do we get to this point where the human being has lost humanity and has become shadows of hatred and rejection that lives by making Twitter threads and canceling people to feel better about themselves? And then Lauren talks about Trump. She mentions Trump as a symptom of lack of love. And again she is not wrong. Donald Trump's life was never very happy. With an authoritarian father who always preferred his eldest son to follow the legacy of his family and perpetuate the name of it, when this son did not want that pressure, the father banished the eldest son and all the shit fell on Trump. The only other male in the family. Trump is that man's mirror. From that egomaniac, controlling, arrogant, undoubtedly macho and racist father because he has really shown it. Trump lives on appearances. To demonstrate something that is not and to hide its shortcomings in a marked narcissism.

Another thing that strikes me about what she has said and another truth is also that we no longer love each other because we do not know where we are standing. And that is also true, we do not know who we are because others dictate who we are. They dictate what to say, what to eat, what music to listen to, what television series to watch until we become cattle. We have lost our ability as individual beings to fit the mold of livestock just to give us the feeling of feeling connected, as if we were part of something. Part of a whole that is still controlled. From this part Lauren begins to talk about what she has written in her diary so I will continue with the second part, but to close this one, I can only say that many of the things she mentions are a reflection of what we are doing living, of what we are suffering and our own fragility as a human species.

Second part: Black Diary and Amy's Shadow

I think we have a concept of great artists as broken human beings, wrapped in dramas and additions that actually "help" perfectly in their art. Where, the more chaos there is in their lives, the more geniuses they become. And I think Amy can be an example of that. And talking about her, because I'm going to start by talking about her and then I'm going to express my thoughts about Lauren. I remember responding to an ask yesterday saying that I was terrified when Lauren said she felt identified with her because their lives were a kind of parallel. And then I thought better of it and realized that yes, both lives have that parallel but with a difference, Lauren has what Amy never had. An emotional support network. Good friends. Amy's life was marked by rejection, mockery, the circus that was her life where her art was in the background and her voice was shattered to make way for the addicted, alcoholic Amy, where her greatest achievement was to climb to a drugged and drunk stage, with glasses of wine that she drank live and her show was to demonstrate her weakness so that others made fun of her. Her parents perpetuated that shit because it gave them money, and as long as she made money, at the cost of her own physical and mental health, nothing else mattered. Being an artist is not only knowing how to sing, dance, write, paint and be good at all kinds of artistic expression, but it is much more than that. Being an artist is breaking yourself into pieces and giving them to your fans to do with those pieces what they want. It is giving more than what nobody will give you in return. And Amy got broken. They broke her into thousands of pieces and they all jumped like vultures wanting a piece of her until she ceased to exist because they never gave her a chance to rebuild herself. They never gave her a chance to learn to love herself to be able to heal because they didn't want a healthy Amy because that didn't sell. They were only served by her pain because she filled their bank accounts, those of her friends, those of her managers, those of the entertainment tabloids. Those of her boyfriends. The ones from her own fucking parents. And so far we can draw parallels with Lauren. It is possible that our moonchild has had or is having her problems with her mother, or with her record label, or with whatever she is having problems and is dealing with right now, but at least she does not have a family that just supports her and is there for the money she may or may not earn. And yes, she mentioned many fears at first before reading the newspaper, but at least she has had a chance to regroup when she needs to. Lauren has the ability to heal herself, her own will thanks to her own strength. Because even if you are afraid of breaking or feeling pain, you have to feel it. You have to hit rock bottom to learn how to get out of there. You have to go to the extreme of falling enough to know that your own will, your own inner strength is so great that it helps you to rise not only once, but a thousand times if necessary. And she has that ability. I believe and have always said it, you already know it. That the real problem, or part of it, is not Lauren's fragility because that is bullshit. Lauren is a strong girl but at the same time she has this angel, this kind of kindness that really does not go well in an environment as rotten and toxic as the industry. Lauren Jauregui does not fit molds. She cannot follow rules if she considers that they are not fair and that people in the industry do not like because they lose their ability to manipulate it. There is a reason that her song Toy has disappeared, folks. Lauren is still an artist and of course she too falls into the concept of what it means to be an artist, breaking herself into pieces and giving those pieces to us who are her fans. And since we have a piece of it, perhaps we create ourselves with the right to demand more from her because we are not satisfied with what she gives us and we criticize her for it. The worst fans are capable of fucking her and haters are able to write Twitter threads exposing what they hate about her.

That would scare anyone, folks. Even if you are not an artist. There is a Lauren Gif that I posted on the blog as part of a set of images related to Camren. In that gif Lauren looks at the audience with such a raw expression on her face saying something like: "You who are there screaming like crazy, with your perfect lives while I am being pressured to the point of breaking and you just want more" (I put the only screenshot because I don't have the GiF image at hand)

This GiF is something that always caught my attention and since I have known Lauren she knew that there was something else with her. I met her as the bad girl, the bitch one. That image that appeared to conform to Tyren. And then her smile disappeared. I remember when I joined the fandom where one of my first posts about PR circuses was to ask myself: Why do girls look so fucked up? Why is Lauren so sad or why has her smile disappeared? And then there were those weird videos where she seemed like "haunted", like outside of herself and that agreed with the time that she had to stunt for Tyren and always seemed to be the same dynamic with her. And then it was not only me who realized that Lauren was not well, but also other mutuals and we kept repeating the same thing to the bastards on her team: "Lauren is not well, please take care of her " That was something that we repeated a thousand times with Lauren and then also with Camila because it always caught my attention that the two of them were equally fucked at the same time. Before I knew that Lauren had her problems with her family, I also noticed that separation. I think I received a bit of shit after expressing my thoughts but in the end, I was never wrong because Lauren herself has expressed it and I think if I had been in the fandom long before 2018 I would have noticed it too. This has been a very emotional Attunement on Lauren's part and I told her in a tweet, as her fan has been a privilege to have witnessed that. It is a privilege to be a fan of a girl with a huge heart who has flaws that make her more human than other people and who has grown enough to know that she can continue to do so. With this post I have tried to be respectful and say that, although I do not know her, we connect in a special way because we have almost the same way of thinking in many aspects (although I do not agree in many others) and I think that still does most important to me. About the newspaper. It reminded me of the lost diary topic, but apparently she has more than one. Who knows. I remember my period of having diaries in my teens and I appreciate that because it made me realize that writing would be an important part of my life. If there is one way I am good at expressing myself it is writing, and no, not in English so I apologize for the mistakes. There is one last detail of Lauren's Attunement that goes a bit more on the personal side. When she says: "To be a real one, is to be an emotional one". I have always had a conflict with being emotional. Starting with my zodiac sign (yes, I know it's a bit silly to believe in that but it amuses me). As a Pisces, I am an emotional being. As a physically disabled person I have my limitations and although these limitations do not define me, I have always had a fierce fight with my vulnerable side. I hate depending on others, physically and emotionally. I also hate getting sick and others having to take care of me when I'm unable to do it on my own, that's why I don't get along with my emotional side. Excessively emotional and I prefer to be more cerebral in many aspects (I think you have noticed that my favorite word this year has been brainless people, right) and dependency is something that I can't stand on myself. That they depend on me does not matter, I am always for those who need me but being dependent is something I tend to avoid like pests. Relying on others to do things for you, depending on the affection of other people ... my family (except my mother) was never very affectionate to say, it was not impulsively hugging you or public displays of affection and I learned to be the same . But I also learned to give what others did not give me. And it cost me. That of leaving the mold of a family that is there and that sometimes worries but that others can leave you and not know what you are doing on any given day. A family that demands expectations. At least some of my uncles. I think that in that part I feel identified with Lauren and it is curious because I am adopted but she is not. And still I feel identified with Lauren and at the same time with Camila and the relationship that she has with her mother, which is almost an exact copy of the relationship that I had with my mother throughout my childhood and adolescence. I guess that's why I follow them both, apart from because I love the music of both. The last detail and I already stop talking about me because this post is about Lauren. What she talks about the industry, the molds, how female artists within the industry are treated. That was also an important aspect because here we are, always complaining about the fact that female artists are undervalued and punished twice as much as a male artist because the music industry is misogynous and macho. That's true.

Society tends to forgive the mistakes of male artists who sometimes do more reprehensible things than female artists and all the mistakes of those female artists (Leigh-Ann of LM throwing shade at Camila) come to light more times and they are more hated. That is a part of the industry that I have always hated and that makes me sad at the same time because it always affects our girls. And I don't know what else I have left to say that I haven't already said, I hope I wasn't too confused with my ideas but it was something I had to write about and I've taken my time to do that. I don't know if Lauren is ever going to read this, but I wanted to thank her. Thanks moonchild. Thank you for giving us that piece of you that makes you vulnerable so that we know it. Thank you for being yourself, for teaching us that we can heal and continue to grow. Thank you for that beautiful mind of yours that has so much to express and deliver to this screwed up world. Don't stop being real, mija. Don't let that light you have go out. I love you so much moonchild ...

sorry for the long reading, folks but it was something I needed to said.

#lauren's attunement #lauren jauregui #cancel culture #dark diary #amy winehouse #vulnerability #music industry #artists #camila cabello #personal thoughts #long ass post #personal #family issues #co dependency #camren

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letterboxd · 4 years ago

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How I Letterboxd #12: Joe Lynch.

Self-described cinedork and Mayhem filmmaker Joe Lynch tells Horrorville’s Brett Petersel about cinematic sausage, getting to direct Creepshow episodes and being a three-star starter on Letterboxd.

“Even when I watch what I would think is a real stinker, I also consider that there were many people involved in that film who didn’t walk on set going ‘okay people, let’s screw this up today!’” —Joe Lynch

It is always a pleasure to find film directors lurking on Letterboxd. Joe Lynch is a bona fide, OG member, having racked up more than 1,500 diary entries, giving half-star reviews to his own work, and creating lists of the movies that have influenced the making of his films.

There are the films that were in Lynch’s subconscious when he made Mayhem, a workplace splatter led by Steven Yeun and Samara Weaving. There are the movies he watched while researching the Salma Hayek-starring Everly. And this just in: films that influenced The Right Snuff, one of Lynch’s two episodes for the new Creepshow series—based on the 1982 horror-comedy classic and its sequels—which premieres on Shudder April 15.

Like so many of us, Lynch took time during the pandemic to catch up on films he had neglected to watch in spite of a previous career as a video-store clerk (a Criterion Channel subscription helped him get on top of the backlog). In this edition of ‘How I Letterboxd’, Lynch discusses how those classics have informed his craft, who his Letterboxd faves are, and why the horror genre is the future of the industry.

Steven Yeun and Samara Weaving in Joe Lynch’s ‘Mayhem’ (2017).

How long have you been on Letterboxd? Joe Lynch: I remember when Letterboxd was in its beta phase way back in good ol’ 2012 and I couldn’t wait to sign up, breathlessly waiting for an invite to the party. At the time, I had a digital database where I would log movies I’ve seen, but it was always subject to whatever laptop or device I had handy and would just be a mess of titles with no rhyme or reason.

When a member follows you, what should they expect? I put it right up top in my description: “I am not a critic”, just a lover of cinema. At first I didn’t want to write “reviews” in the description, especially since I first started using the service whilst in the throes of a horrible experience making a film that I thought would bury me and I’d never work again. I was like, and I still feel this way, “who am I to rip on a movie when someone can throw it right back at me? Like ‘dude, you directed Knights of Badassdom, sit down’.”

I’ve always had the highest regard for filmmakers who can get anything made. So even when I watch what I would think is a real stinker, I also consider that there were many people involved in that film who didn’t walk on set going “okay people, let’s screw this up today!” but instead were trying their best and circumstances just got in the way, which always happens. Having made a few films and TV now, I’m fully aware of the trials and tribulations that go into making a movie and have all the respect in the world for anyone who can steer that ship to completion. It’s hard making movies and even harder making one that is your original vision [and] that is widely embraced by an audience.

I have very weird tastes so don’t be shocked if you glance at my recent activity and you see Casablanca, The Silence of the Lambs or Bigger Than Life right next to The Legend of Billie Jean, Con Air or Candyman 3. I’m usually bouncing all over the place in terms of what kinds of movies I’m screening. From films recommended to me, to films that I may be watching for research, or even just how I’m feeling that day and maybe need a good laugh or a good cry or to be scared stiff. I like that kind of variety. There’s something out there for everyone and every emotion. If anything, I’d say expect the unexpected when it comes to my viewing habits.

What’s your favorite feature to use and why? One of the residual effects of working at video stores as a kid was my desire to siphon people’s tastes in movies and possibly recommend films to others as well, so my favorite feature is the ease of use in logging films and being able to quickly recall those films as well in the event someone asks me “what’s something I should watch?”. Getting older, the “employee’s picks” in my head is getting a little harder to cross-reference than usual so to have the ability to whip out my phone and say “oh man, I just watched Possession and it was awesome!” is exponentially helpful to a cinedork like myself.

‘Big Trouble in Little China’ (1986)—a five-star film says Joe Lynch.

How do you rate the films you watch? For example, what type of film is worthy of a five-star review? Funny, I always start out on three-stars mainly because I’m so proud of the filmmakers actually getting it completed! I’ve been there! I’m somewhat biased in my reflections because I’m always rooting for the artists and from there, it’s usually gauged on both an emotional level and a technical level. I always get made fun of while watching movies because I can point out hidden cuts or when a shot is reversed but [I’m] not trying to point out flaws, it's just how my brain is wired at this point. When you pull the curtain back enough to see how the cinematic sausage is made, it's harder and harder to objectively watch a movie without trying to dissect how it was done. I try so hard to shut that part of my brain off to just passively enjoy a movie but it’s tough. I usually skew towards the positive.

The films I’ve given five-stars are movies that have continually affected me over the years and have inspired me as a person and a filmmaker, which is everything from The Empire Strikes Back, Dawn of the Dead and When Harry Met Sally... to Big Trouble in Little China, The Blob, The Last of the Mohicans. I looked back at my five-stars and it’s mostly movies that made a significant impression on me from an early age and continue to do so, maybe even more so as I get older and I view these movies in a different light.

The anthology show Creepshow returns to Shudder this month. Tell us about the two episodes you directed for the series, ‘Pipe Screams’ and ‘The Right Snuff’. Both Creepshow and Creepshow 2 were important films in my youth and even today, they were some of the first movies I remember where I wasn’t quite sure if I was supposed to be scared or laugh. These films proclaimed we could do both! As a disciple of George A. Romero, Stephen King and Tom Savini, Creepshow really shaped how I watched movies and how I made them—consider the anthology I did a few years back, Chillerama, as a prime example. So when Shudder announced the show, I had to do everything on my part to convince them I could take the baton from these masters of the macabre and do them and the many fans proud.

To come to the table and say “I want ‘The Right Snuff’ to feel like 2001: A Space Odyssey crashed into The Andromeda Strain, and ‘Pipe Screams’ is my homage to The Blob and Delicatessen”—and then everyone just immediately getting it—was a dream. Between the casts I was lucky enough to work with and the amazing crew, especially the FX geniuses at KNB, it really was one of those dream jobs I’ll never forget. I hope audiences dig the madness we conjured up on those!

Season 2 of the Shudder series ‘Creepshow’ returns to the horror streamer this month. A third season has been ordered.

If you were to expand the Mayhem universe, what would it look like? We tried! I pitched the producers the idea of the ID-7 virus in other locations and situations because in essence the idea of being uninhibited by mental and emotional constraints is so ripe. My favorite was the idea that it would get loose in a Wal-Mart or a mall on Black Friday when consumers swarm to these department stores for the best deals. You’ve seen the videos, it’s just mass hysteria. The footage already out there would have been perfect to use already and those people aren’t even infected!

Sadly it didn’t come to pass, mainly because they asked “how do we get Steven and Samara back?” and I didn’t want to force those characters into that scenario, Die Hard 2 style. Plus they’re both huge stars now and likely unavailable for the next twelve years. But the ideas people have thrown out to me show that it was impactful enough to warrant variant scenarios in a “what if?” way that’s really exciting. Who knows, maybe the ID-7 virus could find its way onto the set of a movie production…

What excites you about the future of filmmaking, especially in horror films? The world is embracing new faces and voices more than ever and it means we’re getting stories that may not have ever had the chance to flourish and be seen and heard before. For the longest time the system was much more rigid because executives and producers thought that the audience was much less accepting of a wider world view in cinema and I think the last ten years has proven them wrong. There shouldn’t be any more “token” character or “strong [insert non-white-male] character” descriptions in development meetings. I hear it less and less, which is great because that’s not our world and since cinema—especially horror—is and always should be a reflection of our culture and times, it should reflect these evolutions as well.

When I made Wrong Turn 2: Dead End, the discussions over how one of the characters—a Black character played by Texas Battle—survived at the end was not in the original script but I pushed for it mainly because it was rare for the Black character to do so in a horror film. That shouldn’t be an anomaly! Why can’t there be a ‘final guy’ or have the survivors be LGBT+ or a POC and not the usual stereotypes?

I think now it’s more commonplace to see this and it excites me for the future of the genre that artists are being more welcome to express themselves without it feeling like it’s a gimmick or a twist on the norm.

I think generations of kids growing up with horror now are gonna see these strides in the storytelling—and who’s telling the stories—and push it even further. Places like Netflix and Shudder are willing to take chances with new voices more than the studio system, now more than ever, and that’s only going to produce some great stories now and in the future.

Erica Leehrsen and Texas Battle in a scene from ‘Wrong Turn 2: Dead End’ (2007).

How has the pandemic affected your creativity and influenced your work moving forward? Aside from losing a bunch of gigs due to the shutdown and being delayed on shooting Creepshow—which was a blessing in disguise considering the time we took to further develop the scripts and design of each episode—one of the main effects of the pandemic was how it gave many of us the time to catch up on a lot of films, mainly older ones. As you’d see from my diary entries on this very site, my viewing habits changed from a lot of modern films in that rat-race of catching up with the latest release, to mainly watching films I loved in the past and a lot of ’40s to ’70s films that I never got around to.

We have the tendency as film lovers to keep a mental list of films we’ll eventually get around to as if we have all the time in the world, but with the threat of the apocalypse and no real new content coming our way at the usual rapid clip, it was so gratifying to buy an annual subscription to Criterion Channel and start watching films like The Old Dark House, The Crimson Kimono, Contempt and many others.

All of these films impacted how I view film now and have bled into future projects I’m working on—especially on the technical side, when the world wasn’t influenced vicariously through MTV coverage and letting scenes play out in masters or longer takes, relishing in the performance or the mise-en-scéne. So, silver linings!

Before we go, who are some of your favorite follows on Letterboxd? I’m a big fan of Sean Baker, who I’ve known for almost 20 years now! We worked together in NYC and I was already a big Greg the Bunny fan but our mutual appreciation for fringe and exploitation films, especially international horror and genre films, seems to have bonded us for life. I love when he posts what he’s watching. Even if he’s just saying he screened something on Blu or streaming, his thoughts on cinema are always enjoyable and engaging.

In the same breath, filmmaker Jim Cummings has the best perspective on modern filmmaking and he’s clearly a big fan of using Letterboxd, so whenever I see peers like them using the app it makes me feel less like an obsessive movie dork myself, who should be getting back to work.

Some of the other follows I really enjoy are cineastes like Elric Kane and Brian Saur, who are the hosts of the New Beverly podcast Pure Cinema. Writers Anya Stanley, David Chen, Walter Chaw and Lindsay Blair Goeldner, musician and filmmaker Brendon Small, writer and critic Brian Tallerico, author Glenn Kenny, filmmaker Rodman Flender—just to name a few people who clearly love film and love sharing their thoughts on films in a very thoughtful way.

More times than not, I’m getting some great advice for what to watch next in my “new from friends” section! Because, like being at the video store, it’s casual conversations like the ones on Letterboxd that I love and always steering me to new films or revisiting old ones with a new perspective.

Related content

Joe’s film influences for ‘The Right Snuff’ Creepshow episode

The Video Store: Hollie Horror’s list of horror films with memorable scenes in video stores

Office Workplace Horror: J Cara’s list of office horror and workplace thrillers

Follow Brett on Letterboxd

Follow Horrorville—the home for horror on Letterboxd

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dracosaurusrex · 4 years ago

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Thank you!

Recently, I’ve reached a 100 followers! I’m so grateful and humbled for the support that I’ve been given by far. I started this blog purely out of intent to binge read Draco fics, so when I released Notebook for the first time, I didn’t expect such an overwhelming response! Mind you that I haven’t written anything fictional since I was like...14? (I was into k-pop at the time, and my writing was hella cringy back then.) Nevertheless, writing these has been a means to help me discover what grounds me--to help me gain courage to put myself out there unapologetically, even if it is only for a little bit.

Unfortunately, I don’t have an event to celebrate (your girl is occupied with finals prep atm), however I wanted to take this moment and reflect on things I’ve learned throughout this experience by far. If you continue reading this, I sincerely hope that it may resonate with you regardless of whether you’re a writer or a reader:

1) It’s okay to let go and not have a plan sometimes

This is coming from a girl who practically has the next five years planned out. If I’m being completely transparent with you all, I’ll tell you now that the most difficult moments of my life happened because I tried so hard to control my circumstances and became disappointed when things didn’t go my way. The reality is that we all need moments to be free and allow ourselves to grow with the flow of things. In terms of writing, I find that the more I try to insert control over a story or a mere scenario, the characters and the development in their environments suffer. It’s been a goal of mine to find balance between constructing and simply writing what I “observe”. If one overpowers the other, the story gets strained. Yoko Ogawa explains this perfectly: “I just peeked into their world and took notes from what they were doing...I see a bridge from that item to the next scene, or I see a rainbow that I have to climb over to move to the next scene” *chef’s kiss* I love that woman smh.

2) I feel that it’s important to honor the flops and to honor the efforts you give.

I am a perfectionist, and I often doubt my writing before and after I post it. There have been plenty of times where I cringe when I write as well haha. With that being said, I try to post without expectation of how other’s will react. At the same time, I can’t deny the fact that I also post with hopes of a good response. It’s a normal reaction. When a chapter or a fic flops and the sense of failure occupies me, the first natural feeling is discouragement, followed by the tendency to compare myself to other big-name writers. However, I’ve learned that, similar to life, these instances are platforms for growth! It’s cheesy to say, but think about it: Artists give a piece of themselves every time they create. Outcomes are uncertain, but within the process, you’ve allowed yourself to explore foreign grounds and take the risk to express yourself. That’s freaking beautiful regardless of whether success or failure results. I feel this way about Palace, an angst oneshot I wrote a while back. I was uncertain, because the feelings and reactions of Y/N were so...raw. It was something that I don’t usually see being written about in the mainstream. Furthermore, it was a genre that I couldn’t completely wrap my mind around, and I struggled a lot writing it. Nevertheless, I wanted to challenge myself and tried writing something people can relate to. When it didn’t do well, I doubted my abilities and practically shoved its existence away. However, just recently I received a comment telling me how she could relate to the fic, and when I read it over, I realized that it wasn’t so bad after all. It gave me courage. The person I was when writing was just a girl coming to terms with her growth. Furthermore, beyond the number of likes and reblogs, it felt reassuring to know it reached someone--that anyone who gives it a chance can read it and take away whatever they want, whether they let you know or not. That was such a humbling experience and I’m so grateful.

3) To express is to have courage and be brave

Lol. Spill whats on your mind and dance around with it as if no one is watching. Life and writing is exactly that. At least that’s what I’ve come to learn in my experiences--to keep my ambitions close but my passions even closer. Reach for whatever you can and own it. Embrace the ups and downs that come along with it and thrive. Like all art, when it comes down to it, it belongs to yourself. Sharing my work with you all has taught me that, and there aren’t enough words to thank you for being with me and allowing me to do so.

I hate getting in my feels, and this post has a lot of that already aha. But in all seriousness, thank you. These are the main things I’ve learnt so far, and I have no doubt that there’ll be more in the future. Perhaps by then I’d actually have time to host an event haha.

#thank you!#draco malfoy fanfiction #heres to 100 :)#writing

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strangertheory · 4 years ago

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i’m sure this has been talked about somewhere but regarding the will has DID/created the upside down theories, what are people speculating the source of his powers to be? like was he experimented on at a young age, or did they come from lonnie/joyce, or what? this has probably been covered but i’m not sure where to find it

I can share with you the two hypothetical interpretations that I myself have considered for the source of characters’ powers in the Stranger Things universe. I don’t want to speak for any other fans that are discussing the possibility that Stranger Things is about a DID System because we all have our own unique thoughts on the way it might play out within the series, and I have yet to speak to a fan that is entirely enthusiastic about the second layer of hypotheticals that I’ve personally considered regarding where characters’ powers come from.

To me: Stranger Things is like an onion. This story has so many possible layers. And as we peel back the layers of what is going on in the story there are new possibilities revealed at every single layer.

I’m going to tell you about the two different layers that I’ve considered regarding where characters’ powers come from and how those powers manifest themselves within the story.

▪️ ▫️ ▪️ ▫️ ▪️ ▫️ ▪️ ▫️ ▪️

My “first layer” theory regarding where characters’ powers come from in Stranger Things is that they might be like the X-Men or the espers in Akira and have genetic mutations or evolutionary predispositions to developing their abilities. Agent Connie Frasier appears to be seeking to identify intelligent children in the Hawkins area when she asks Mr. Clarke if he has any students at Hawkins Middle that would be interested in an Indiana AV Club program. It’s implied that the Lab seeks out precocious children for their work because they believe there is a correlation between intelligence and psychic ability. Stranger Things basically offers us the “first layer” explanation that the events of the story are inspired by the historic experiments (and abuses) done by MKUltra on human subjects in the United States in its efforts to unlock the potential of the human mind and potentially control that power and wield it against perceived domestic and international threats. Within this “first layer” theory we can speculate that perhaps children with latent psychic abilities are more likely to learn to control their powers at an early age when they are pressured to do so under extreme circumstances. For El these extreme circumstances could be the abuse that she experienced at the Lab, assuming that she was there her entire life. For Will these extreme circumstances could be Lonnie’s abuse during his early childhood, or extreme circumstances that Will experienced elsewhere (perhaps also at a medical facility or at the Lab.) A person’s instinctive need to have control over their powers while responding to a threat (or after attempting to use those powers very intently and with deep focus within a perfectly calibrated lab environment?) could account for those powers being recognized, used, and trained.

Within the DID Theory the question of which circumstances were the origin-point of El’s powers becomes more vague. Was El created as an alter within the DID System while Will was being abused by Lonnie? Is the Lab and El’s backstory actually a distorted trauma memory that has been fictionalized by the DID System as a defense mechanism? Does the Lab exist as an explanation that the mind subconsciously invented in order to explain to itself the terrible things that happened in a way that it was willing to face and cope with? Or, perhaps, was there a point in time that El emerged from Will’s mind into the real-world and then imprisoned by the lab and experimented on by Dr. Brenner? Do El’s memories of the Lab and Dr. Brenner reflect memories that she experienced as an alter in a DID System while she was still sharing the same body as Will, and Will’s consciousness was dissociating and depersonalizing a traumatic experience that would have otherwise been his own? Or are El’s experiences at the Lab completely separate from Will’s own story?

Before I leap to my “second layer” theory, I’d like to comment that I strongly suspect that we will find out precisely how El and Will’s stories intersect in season 4. I believe that we will find out the way in which Will and El are connected to both Dr. Brenner and the Lab and each other. I look forward to seeing how the writers peel back that layer of the Stranger Things onion. I think it’ll be a huge plot twist and most fans will not see it coming.

Now. My “second layer” hypothetical regarding the way that characters’ powers may (or may not) work in Stranger Things is based on the circumstances that are often faced by alters in a DID System that are called "fictive alters.”

Fictive alters have a fictionalized sense of who they are that is not grounded in the rules that exist in our “real” world. Fictive alters may have superpowers. Sometimes they might be based on a character from a movie or a book or a song that the child was familiar with. The fictional aspects of their identities will be often very real and accessible to them when they are conscious within the internal worlds of the mind and inside the DID System. However, whenever a fictive alter is “fronting” (meaning: when they are conscious of the outside “real” world) then that fictive alter will no longer have superpowers: they will only have whatever abilities that they have learned as an ordinary human person in our world. Within the mind they have their superpowers, and in the real world when they are conscious they will not have superpowers because they are in an ordinary human body with the limitations of an ordinary human body.

Now: why am I summarizing information about fictives? Because one possible hypothetical scenario that I could see being the case with Stranger Things is that it is a story-within-a-story. Perhaps the story that we are watching, which has each of its episodes named as a “chapter,” is being written by a character within the Stranger Things universe. Perhaps this character is telling the story of “what happened.” Maybe what we see in Stranger Things is an imaginative representation of the experiences of alters in a DID System that is explained from their perspectives or explained by a friend retelling their story.

And if this is the case, then I propose a “second layer” hypothetical: perhaps there are no “real” superpowers within the Stranger Things universe at all, and the supernatural events of the series are either taking place within an internal world exclusively or some of the supernatural aspects of the series are supernatural because the character that is writing the story of “what happened” is embellishing the events with their own imagination as they write it. This could mean that although certain characters do have powers within the DID System, their powers only manifest when they are interacting inside internal worlds that exist exclusively within their mind. Or, as another possibility: perhaps their “powers” are merely imaginative explanations that the writer who is sharing “what happened” is granting these characters in order to explain circumstances that they artistically prefer to represent in a more fantastical way. (Ex. My mom threw a plate at me. vs My mom threw a plate at me with her mind.)

Am I effectively saying “many events in the show might simply be taking place within the mind of certain characters?” Yes. Sort of. Am I saying that all events in the show might only take place within the mind of certain characters? No. And even if they did: the “realness” of the story is still, to me, intact. Even if these events are taking place within internal worlds of a DID System the events that we are seeing in the story are based on real memories and experiences that the characters experienced at some point in the “real” world. In this “second layer” theory, I am proposing that characters’ real experiences and memories are being transformed into a creative and fantastical re-telling of “what happened.” This might be part of the mind’s way of coping with traumatic experiences.

I know that many of you reading this are probably thinking “No, no! That’s way too meta for my taste. We need more grounding in the story than creatively-embellished memories alone!” And I completely understand and respect that reaction. It would be quite a dramatic departure from what we currently understand as “true” in the series: even more than if we interpret the story as being about a DID System whose alters (and internal worlds) have supernaturally escaped the mind and become flesh and blood in our real world because characters have the ability to bring them to life.

Even when I do consider the more extreme “none of the powers are real” hypothetical I still think that many characters that we’ve grown to love would be introjects (or NPCs) based on figures that the DID System knows in their “real world.” I argue that those relationships would still have emotional weight and importance and meaning because they are based on real experiences and real feelings: but they might not manifest quite how we expect them to in future plot twists.

I understand if most fans visiting my blog prefer to take the “first layer” interpretation of the DID theory: that there are real psychic powers in the Stranger Things universe and that through supernatural means the alters from the DID System have escaped the mind and have become “real.”

But I wanted to address the “second layer” interpretation that I have considered because if we imagine that all the alters share not only one mind but also one body just like those who have DID in real life: how does that impact our interpretation of each of the events in the series when we re-watch it? To me, the incredible way that certain scenes in the series are transformed by this “second layer” theory’s lens make it worth contemplating this second layer as a possibility whether or not it’s actually what’s going on in the show. Many scenes in Stranger Things take on added depth if you watch them with this concept in mind. I think some scenes become much more powerful within the “nobody has 'real’ powers” interpretation, whether it’s what the creators of Stranger Things had in mind when writing the series or not.

Keep in mind that I entertain multiple hypotheticals at any given time, and sometimes my thoughts regarding what is happening in Stranger Things might appear to contradict each other. I like considering multiple possibilities all at once. I am not devoted to my interpretation that there are no “real” powers. I am equally charmed by the idea that there are real powers and that the alters have escaped the mind into the “real” world in Stranger Things.

Thank you for Asking!

#stranger things #stranger things theory #stranger thing theories #the did theory

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anotherkindofmindpod · 5 years ago

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I’d love for you guys to have Mark Lewisohn on your show just to grill him. As someone who’s experienced workplace bullying and sexual assault, that he would go so far as to paint Klein as “heroic” when he said things like “reluctant virgin” is just so devastating to me. It makes me feel ill. I do NOT want this man to have a say in Beatles history. I love the Beatles. I don’t want that tainted by people who will paint over abuse just to feed their own self importance.

We vehemently agree, Listener! Thank you for writing in.

Our list of grievances with Mark Lewisohn is long, but in a nutshell we believe his intent is to publicly “redeem” John Lennon and we have seen copious evidence that he will go to whatever lengths he has to in order to do this.

That includes, but is not limited to:

Claiming that readers of his Tune In Series may consider Klein the “hero” of the Beatles break-up

Deliberately spreading the demonstrably false lie that John (and Yoko) did not have a significant heroin problem in the late 60s and early 70s (Lewisohn suggests Cold Turkey is just John playing make believe)

Displaying unapologetic favoritism by using glowing terms to portray John and Yoko as the world’s most perfect romance, as opposed to Paul and Linda, whose 29-year marriage he dismisses as “conventional” and motivated by appearances (namely Linda’s pregnancy, even though it was planned) and Green Card needs

Stating that he could tell from watching the infamous “it’s a drag” clip that Paul was kind of sad, but primarily annoyed at how much positive attention John was getting on the day of his murder

Apparently suggesting to an audience of his Power Point Show that Paul maybe stole a leg off Yoko’s bed (the bed she had delivered and built in the Beatles’ recording studio, mind you), a personal “theory” which is based on the fact that Paul later wrote a song called “Three Legs” (you know that song: “My dog, he got three legs, like the bed you inappropriately brought into Abbey Road 2 years ago which I secretly vandalized behind your back because I have nothing better to do, am certainly not busy writing the Beatles Swan Song and don’t have a fucking 7 year old at home or anything”)

This isn’t even to mention Tune In, which could be a whole separate post and episode. Suffice it to say, this book often reads less like a Beatles biography and more like John Lennon Fanfiction to us.

Lewisohn managed to distinguish himself by doing (some) research and unearthing some original documents. That he had some skill in research is not surprising given that he started his career in Beatledom as a researcher for Norman, on his book Shout — which Lewisohn still contends is a good book. Norman, on the other hand has evolved his opinion of his own work and thinks Shout was flawed, so has written a whole biography on Paul to make up for what he sees as the failure of Shout, which is his underestimation of Paul. Unfortunately, Lewisohn does not seem to have made this same journey. He pays lip service to John and Paul being equal, and then spends all of his time and energy trying to prove otherwise. Norman says that he has created a monster in Lewisohn. We take his point.

One of our biggest issues with Lewisohn is that he vigorously promotes himself as an unbiased truth teller, and his calm manner seems to telegraph this. But it is not true. The research that Lewisohn does and the spin that he applies to his findings are all heavily biased. As we mentioned in one of our episodes, he travelled to Gibraltar simply to experience where John and Yoko got married. Yet when Paul calls the May 9th meeting over management the metaphorical cracking of the Liberty Bell, Lewisohn doesn’t even bother to Google it so he can understand the metaphor.

What he chooses to research is also a form of bias. For example, we at AKOM are very interested in Paul’s relationship with Robert Fraser during the Beatle years — since Paul has commented that Fraser was one of the most important, influential people in his life. Paul McCartney was the concept artist behind Sgt. Pepper’s Lonely Hearts Club Band, the Magical Mystery Tour film, the iconic Apple logo, and he co-designed the covers of the White Album and Abbey Road. All of these are pretty defining moments in the Beatles’ career. As Beatles fans, we’d like to know more about Paul’s art education and influences. But we would be shocked if Lewisohn dug into Fraser at all beyond his relationship as John and Yoko’s gallerist/curator (and heroin dealer, but since that isn’t a thing in Lewisohn’s world then maybe he will be ignored).

We think Lewisohn benefits massively from the fact that Beatles authorship was like the Wild West since its inception, when everyone with a connection to the Beatles (plus or minus a personal axe to grind) wrote a book about their experience. It was absolute chaos, with no rules, no checks and balances, uncredited sources, etc. Just an absolute shit show. What Lewisohn did was bring some order to the chaos with some proper documentation. But again, what he chooses to dig into often reflects bias. And this certainly does not mean that he is intellectually or emotionally equipped to interpret his findings. Doing this takes social intelligence and insight, which is a very different skill. As a creator of myths, he is no better (and no more insightful or original) than many of the others who came before him; he worships John Lennon and freely admits it. He is not even close to being unbiased. But in this dumpster fire of a fandom he has at least checked some boxes and done some digging. The fact is, the bar has been so low for so long that Beatles fans don’t even know how to expect or want better. But WE certainly expect better. We expect some breakthrough, fresh thinking. Not just Shout with Receipts.

We think it’s significant that Lewisohn was deeply disliked by George Harrison, who lobbied to get him kicked him off the Anthology project. He was fired from Paul’s fan club magazine, and yet no one seems to think he might hold a grudge about that, too? Lewisohn so distorted John and Paul’s relationship in Tune In that he believes he is the target of the lyrics in Paul’s song “Early Days.“ And he either thinks that’s flattering or funny, because Lewisohn seems to truly believe he knows John Lennon better than Paul McCartney does. We find it almost tragic that Paul is so bothered by the way his experience and relationship is being portrayed by authors (perhaps Lewisohn) that he wrote a song about it. In it, he conveys his frustration and heartache about how everything is misconstrued and we find it absolutely outrageous that Lewisohn would not take this to heart. Perhaps Lewisohn thinks Paul should listen to him for a change? And if he doesn’t like it, then tough, because Lewisohn knows better? We think Lewisohn should do some serious soul-searching about “Early Days” because if one of his main subjects is saying, “you are getting it wrong and it is breaking my heart”….maybe, just maybe, he should listen and rethink things. Maybe apply a little creativity, out-of-the-box thinking and empathy. This is what his heroes did.

Meanwhile, Jean Jackets are SO BUSY complaining that Paul McCartney doesn’t like Lewisohn because he “tells the truth!” that they fail to notice that Lewisohn has become a mouthpiece for Yoko Ono. He has already started white-washing John Lennon’s history, promoting John and Yoko as the true and only geniuses versus Paul as the craven, small-minded Lennon disciple who (through no virtue of his own) was born with the ability to write some nice tunes. Lewisohn’s version of John, on the other hand, is ALWAYS a sexy, visionary genius on the right side of every issue. He even went out of his way to recently trash Paul’s early 70’s albums, which -in addition to being obnoxious and we believe wrong (since we love them)- is totally outside his purview.

Lastly, to address your original point, Lewisohn’s claim that Klein may be viewed as the “hero” of his Beatles History reveals that he hasn’t shown sufficient empathy or interest in Paul’s experience. This claim at best ignores and at worst condones the fact that Klein was an abusive monster to one of the two founding members of the Beatles. As we discussed in Episode 4, Klein was a criminal who bullied Paul in his creative workspace, disrespected Paul in his own office in front of his own employees and actively pitted Lennon against McCartney for years. It’s hard to imagine ANYONE who inflicted more damage on the Beatles and Lennon/McCartney than Allen Klein. In addition to the wildly inappropriate “reluctant virgin” nickname, he verbally threatened to “own Paul’s ass” (to which Paul responded “he never got anywhere near my ass”). Klein was so disrespectful to Paul and Linda’s marriage he pitched the idea of procuring “a blonde with big tits” to parade in front of Paul to lure him away from Linda and destroy their relationship. Let’s also never forget that Klein contributed lyrics to the song “How Do You Sleep.” Allen Klein literally gave Paul nightmares. Anyone who so much as pretends to care about Paul’s break-up era depression (including his alcohol abuse, his inability to get out of bed and his terrifying sleep paralysis) would not champion Allen Klein.

Yes, Klein is a human being and therefore has his own POV, same as anyone else. But a Beatles biographer is beholden to four points of view only: John, Paul, George and Ringo. And when an outsider is openly hostile to one of the Beatles and damaging long-term to all of the Beatles, it is beyond inappropriate to portray him as a hero. This type of comment, made publicly to an audience of Beatles fans, invalidates and seeks to erase the real trauma inflicted on Paul McCartney by Allen Klein, and we think Lewisohn should apologize for his comments.

Instead, Lewisohn’s current buddy is Peter Brown, whose book, The Love You Make so offended and angered Paul and Linda that they literally burned their copy (and photographed it burning for good measure). This information doesn’t appear to bother Lewisohn in the least. Why not?

George referred to Norman’s Shout as “Shit.” But Lewisohn thinks it’s a great book. Why?

How any Beatles or Paul or even George fans tolerate Lewisohn is baffling to us; we don’t recognize a real human being in his version of Paul, and his version of John is a superhero rather than a man. We suspect that fans have come to accept the traditional story and at least appreciate some properly-documented facts.

But as we are constantly trying to demonstrate on our show, just because the story has always been told one way, doesn’t mean it’s right. Because in the end, Mark Lewisohn has no special insight. He wasn’t there. He is a guy who bought into a narrative during the Shout era, and is cherry picking his findings to support it.You can find a discussion of Lewisohn here

#MarkLewisohn #anotherkindofmind podcast #Beatles #Lewisohn is a joke

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thebrokenblackman · 4 years ago

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KRS-One - “Ah Yeah!” Critical Analysis by Hakeem Ture

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

The musician is a natural master of vibration and emotion. Many musicians have been able to make us dance. Many have been able to draw on relatability because nobody is the only person like them in the world. Perhaps some have even made us cry or provided soundtracks for intimate moments. Only few musicians have taken on the task of socially and historically educating their listeners through their music.

Even fewer have been able to combine the mastery of teaching with mastery of rhythm. Those who do this become legends like; Nate King Cole, B.B. King, Nina Simone, Bob Marley, Chaka Khan and Fela Kuti’ and their influence lives throughout generations. In 1995 Krs-One released a self-titled album that came in the sunset of his reign. His career would mirror the sepia filter of the album cover.

This album had dominant auras of militancy and rebellion that Krs-One fans had not heard since Boogie Down Productions - Criminal Minded. Krs-One was able to both appease his day one fans and gain the younger generation of Hip Hoppers who were listening to artists such as: Nas, Redman,Das Efx, Tupac, and A Tribe Called Quest. The message and timing of this album may have been divine. Let us look at the historical events of the year(s) Krs-One was creating this album in. In 1994, the United States congress had successfully completed the first step of becoming fascist by Voting to Censure Dr. Khalid Muhammad, National Advisor of the Nation of Islam. Bill Clinton and Joe Biden led Democrats to pass the The Violent Crime Control and Law Enforcement Act and effectively fueled the prison industrial complex. South Africa held it first election since intergrating with the apartheid government and Invisble Man author Ralph Ellison had passed. Hip Hop was the soul vehicle of expression to protest the genocide that had been going on and KRS One was one of its leaders. The youth looked toward this leader to deliver an album reflective of their mindstate and he delivered.

Imperative of a classic work of musical art, this album is composed of multiple great songs, but in my opinion the cornerstone song of the album is undeniably “Ah Yeah”. In this song he masterfully uses three 16 bar verses to empower and mobilize his listener much in the same way Dr. Khalid Muhammad did. This track starts with the establishment of an a capella warcry. He writes in response to western power’s having done such an incredible job destroying the rebel instinct that Afrikan people possess by publicly shaming our leaders and traditions. These lyrics are him trying to raise the psyche of a fallen warrior class and put revolt back in its holy place as opposed to the negative connotation that has been applied by the white power structure. He essentially made a chant-like hook with an underlying message of “This is your enemy, This is how to handle him, and THIS is okay”. The aim focuses on redirecting the accumulated anger of a traduced peoples that is often mistargeted toward self so that we may be collectively progresssive.

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

Then comes the establishment of an eerie bass line. This song structure is familiar to fans of his earlier work. It was what they were longing for. For a few albums he took the perspective of being in the classroom or office as opposed to in the battlefield with his men. He had returned to fight with us like Haile Selassie. Immediately he establishes a dual level of respect. One with his men and one with his deterrent.

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

In the first 2 bars of the preceding excerption he lets us know he intends to drop some knowledge, but it will not be filtered for political correctness or comfortability. The following 2 bars he establishes both a tone of encounterment and identity. Then he goes on to explain from which direction he came much like Saint Maurice's appearance upon the plagued people of Europe to let them know he has navigated and he is no spook. He goes on to talk to his listener and the most important of them, the women.

In 1994, fresh off a press tour on which she gained popularity from criticizing Bill Clinton, Sister Souljah published her first book that was heralded by black scholars and youth alike entitled No Disrespect. Her Influence was cemented in the minds of black youth and played a huge role in raising generational consciousness by dealing with topics like “how the black woman is viewed by black men” and “the black woman’s role in repairing the black family structure”. She had solely been awarded leadership duties by a disregarded demographic in a scapegoated culture and was handling it with the grace of Misty Copeland. Her and the women she raised to consciousness needed the camaraderie of Krs One. He goes on to sell to himself:

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

In the first five bars he addresses the enemies of the oppressed people within the oppressed people. These “Wack MC’s” are the Uncle Toms’ and Judas of the rebellious, afro-centric movement that is Hip-Hop. He says they lack discipline and do not have the self awareness to rescue themselves. In comparison with himself who uses that energy toward an ultimate goal, Independence through revolution. In the succeeding excerption KRS briefly displays the cognitive processing and coping mechanism of a warrior:

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

Throughout the preceding excerption KRS skillfully uses onomatopoeias to create a setting for his listener. There is a battle going on. Shells casings are falling to the ground and bullets are flying from high caliber weapons. He is in the thick of it and then an enemy approaches him. He musters the courage to engage with his assailant by remembering the suffrage the morals of his enemies’ elected nation-state has caused his ancestors. Then he rejoices in the death of one of their leaders, Richard Nixon.

In the second verse Krs-One addresses an age-old topic of discussion for spiritual people that was brought forth to the Afrikans of today by Noble Drew Ali, “The Prophetic Soul”. This belief dates back to ancient Buddhism in the caves of Asia taught to us by Dr. Ivan Van Sertima in his book “African Presence in Early Asia”. This belief entails that all the prophets of the world including but not limted to; Adam, Jesus, Buddha, Muhammad, and himself were the same soul being reborn until its mission is completed.” Krs-One puts himself and a couple others in this divine line of being.

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

In the beginning of the third verse he briefly continues the theme of possessing The Prophetic Soul but now, he does not speak from a perspective of being the people who had the soul. He speaks from the perspective of the soul. This soul is traveling and looking for a host. In the first two bars he speaks of how he was able to travel without detection from the government’s surveillance. Then, he goes on to finally choose a host that is relevant to the demographic of people it intends to reach. This host is stylish and his image is relatable, so the people will be receptive of his message through familiarity.

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

After the prophetic soul latches on to the host, KRS-One, it manifests purpose with grassroot organization and motivational speaking. Being KRS-One founded the Stop the Violence Movement in 1988 and was solely responsible for mobilizing many of the most influential Hip Hoppers against Gang Violence and Culture he had plenty of knowledge to give on the topic.

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

Too often credit for the creation and establishment of a culture or society is given to one person as opposed to being evenly distributed amongst the support structure. How many times have you been taught the legacy of all the men that signed the declaration of independence? It is likely that you’ve only been taught about Thomos Jefferson. Just like there would be no Fidel Castro without the parallel influences of Che Guevara and Camilo Ceinfuegos there would be no Hip-Hop without KRS ONE. Perhaps without his tenacity, passion, and will it would have been infiltrated and exploited before it reached its full maturity. If that would have happened America would not have its current number one export. In his prime most consumers who listened to his message and gazed upon his image said “OH NO!” from fear of what they could not understand. Today, we look at his legacy of art and effort and cant help ,but smile and yell “AH YEAH!”.

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

#krs one #krs1 #hip hop #90shiphop #boombap #african art #African American Art #african history

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beautybranding55 · 3 years ago

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Artistic Beauty Branding

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