#in my bollywood era again

[loumandivorce]

thank you @taxidermylamb for tagging me to share my current top 5 songs rn!

no preasure tagging @oldbutchdaniel @divorce-enjoyer @cringedog @the-sound-of-her-wings @cuntbrow @barbtoepiss and anyone else who wants to join in!

[theinfinitedivides]

the real star of Jhoome Jo Pathaan is the silver earcuff and dangle earring that they have given SRK along with his various necklaces, rings, arm taweez and glorious hair, taking no further statements at this time

[fly-pow-bye]

The Lost Blossom Shampoo Commercial

During my very early days on Tumblr, I was loving all the GIFs and I wanted to join the community. Along with my love of video games, I love animation and I love Cartoon Network, and I wanted to contribute even if my main Tumblr, which is all that I had back then, wasn't animation focused. I wanted to give something that nobody else has posted. I knew non-American commercials have unique animation not seen anywhere else, so that felt like a good idea. I decided, to add some unique Cartoon Network GIFs to Tumblr, to look through various Cartoon Network commercial reels on YouTube and Vimeo. One of the videos I found on Vimeo was this reel from Brendan Rogan, a producer at Cartoon Network Latin America. I found a clip of the Powerpuff Girls I had never seen at 0:32.

Wait, is this...a shampoo commercial? Seems really fitting considering the Blossom hair wave scene in The Mane Event, and I shouldn't be surprised someone decided to use something inspired by that scene in advertising. Not going to lie: I was intrigued.

After the break, my entire history of my attempt to track down this commercial.

Right after this part of Blossom that I made the GIF from is this clip of three superhero-like mascots flying around three different bottles of different hair products. The one on the left has a bubbly hairstyle that is the same color as the bubbles shown in the Blossom part, suggesting that these two clips are from the same commercial. I did not want to believe it at first, but it did fit pretty well. The Powerpuff Girls are 6 years old at the most, and they could still be using baby shampoo.

After my searches went nowhere, I e-mailed Brendan Rogan back in 2015, who was pretty much my only lead at the time, about it. Rogan asked me why I wanted to see the "full spot". I immediately recalled one YouTube video about people trying to find the guy from Active Enterprises of Cheetahmen infamy only to be met with an all caps "WHY DO YOU WANT TO KNOW THIS INFORMATION" and no further replies, and I was hoping it was not going to end like that video. I did e-mail him with honesty, saying I just wanted to see the context of the full spot, and I'm a big Cartoon Network and Powerpuff Girls fan.

Rogan did not reply back.

I did not e-mail him again because I did not want to pester someone about a baby shampoo commercial, and I was holding onto the hope that it'll appear in a upload of commercials on YouTube so I do not have to test my anxiety. Of course, it'd be in way higher quality if I got it from someone who worked on the commercial rather than a VHS recording of commercials, but I was not thinking of that at the time. At least he indirectly confirmed a full spot exists.

Years later, I found a promotional reel based on the Toonix era of Cartoon Network Latin America, dated to 2011. It advertises The Amazing World of Gumball and Johnny Bravo Goes To Bollywood, both from 2011, so I can believe the year. It seemed to be made for investors and advertisers, showing off Cartoon Network's programming, and how they can have synergy with other brands. This includes a bunch of cross-promotion. Showing up at 4:52, to my surprise, is the Blossom ad. It was almost the exact same clip seen in the Rogan reel. The keyword is "almost." I got out my video editing software, and this is what I can see:

The Cartoon Network reel does have more of the commercial we did not see in the Rogan reel, though it's just more of the mascots flying in from outside of the frame and a little bit less of Blossom waving her hair around. This does confirm to me that neither reel was showing a single clip from the full spot, but two clips from different parts of the spot, showing the Cartoon Network character and showing what that Cartoon Network character was advertising. It also reconfirms that what I am looking for is not a Cartoon Network promo, but a baby hair product line commercial.

I also notice that even with these two different appearances, we only have 2.5 seconds of what could be a 15 or 30 second commercial. That alone does make that intriguing even with the possibility that Blossom only appears for that one second and the rest is just a generic baby shampoo ad. I hope that's not it, but it would explain why the full spot was not uploaded.

I did find one other piece of this campaign. It's not from the commercial, but it is related. Maybe it was an extremely lucky Google Image Search, or I just somehow stumbled across it in one of my searches. This was from a company named Bau Print, who specializes in different kinds of printing, including printing on vehicles, and, hey look!

There they are! It's even a photo taken from a camera that wasn't edited, meaning I could see from the metadata that it was taken in April of 2010. That does narrow down the beginning end of my search, though I had no doubt that the spot was at least post-Powerpuff Girls Movie. It also made me realize a bit of lore about these three super obscure mascots: they each represent the three different kinds of intense hydration: shampoo, conditioner, and combing cream. There are no Powerpuff Girls, showing either these superheroes were not just made for the commercial, or they wanted to use them without having to contact Warner Bros. or Cartoon Network.

This picture does prove that this campaign, at the very least, got to the point where it was advertised on trailer trucks. I did have a feeling this was a part of a scrapped campaign; maybe Johnson's got cold feet for having their clean baby shampoo brand be associated with girls that have beaten monkeys, criminals, talking dogs, and clowns to a pulp. However, wouldn't it be false advertising if a campaign that fell through ended up in a video that seemed to be made for advertisers?

And that's where my search runs cold. I have searched a lot of Cartoon Network Latin America commercial breaks on and off over the years, and I even used Filmot to search YouTube's subtitles for phrases that could be a part of it, like that "salud es belleza" tagline on that truck, and the full spot remains elusive after years of searching. I guess I could just imagine what the rest of the commercial could be.

The City of J&Jville, where our heroic trio responds to a dis-tress call: Blossom, superheroine of Townsville, is having a bad hair day and won't have the confidence to beat up Mojo Jojo and stop his "turn everyone into chickens with his chicken ray" plan. Lather, Rinse, and Repeat are called to action, and with their ultra-cleaning powers, they go into Blossom's hair as she stares at the mirror, and her hair magically turns luscious again. With her newfound confidence, Blossom flies to Mojo Jojo, and knocks his teeth out, bruising him with all of her techniques, her flurry of punches, her eye lasers, and the dreaded ponytail whiplash! The day is saved thanks to Blossom, and Johnson's Baby Hidratación Intensa! (Warning: Baby shampoo will not give your baby superpowers, do not let them fight crime.)

...okay, maybe that violence wouldn't have happened, but there is only one way we can find out for sure, and I can only wish I could find that way. So uh, here's another shampoo ad starring Hanna-Barbera characters that appears to be unrelated. Yes, the Powerpuff Girls are technically Hanna-Barbera. Bye.

< n/a - Part 2 >

[desiblr-gapshap]

Gapshap is here again to entertain you.

Good evening everyone, I'm your self proclaimed host तितली (@alhad-titli)

Humans can't endure boredom... Hence we found many things to entertain ourselves with. Plays, music, books, movies, shows, and many more things.

Most of the time, we indians get rid of our boredom by watching bollywood movies (old era ofc. new bollywood is uhh well we all know what am I talking about.) No matter what kind of international web series, show, drama you may watch but you will feel home in only movies which are in your native language. We are separated by states, languages, culture but united by bollywood.

Yes today is bollywood night. There are many masterpiece movies, Mughal-e-azam, umrao jaan (both), woh kaun thi, om shanti om, kabhi khushi kabhi gam, mein hoon na, but our tonight's guest's personal favorite is "Jab we met" can you guess who's that? Keep guessing.

If geet and aditya ever come out of movie and had to say something to us then it would have been this:

Aditya: "In your opinion, what keeps a person going?"

Geet: "Golgappe yaarrrrrrr."

Aditya: "Geet, I am serious, give me an answer, tumhe ek baar me samjh nhi aata?"

Geet: *stares at him with puppy eyes*

Aditya(sighs): let me answer it, it's the love that keep us going, love has the power to change us, rebuild us, love can make a dead person alive and can also kill a living being. love hurts but its important. There are many types of love, platonic, romantic. For example, you dont like your family in many terms but you still love them right?

Geet: *nodding*

Aditya: similarly we love the love things that may hurt us , because those things those people are our people . love is simple and very complex at th esame time its fragile like a bomb but remember in all these ups an downs of life dont forget to love yourself and the people around you .

Geet: *glares at him*

Aditya: so Geet meri sardarni, tell me who do you love the most now ???

Geet: *laughs* golgappeeeeeeeeeeeeeee!!

Aditya sighs and takes her on date.

Back to reality everyone.

"Geet is not only person who loves pani puri" I said. Who else love it? We, brown GIRLS idiot.

But but the girl who loves panipuri the most is our own @mainapnifavouritehoon humari desiblr ki professional simple and desi girl.

Vo sab to theek hai but it's golgappeeeeee not pani puri *says chai* (@masalalala-chaii)

*Smacking her head!* Ignore her guys please.

Let us start the interview with rapid fire questions.

So Geet tell us,

About yourself, your blog.

What kind of vibes you want to give by your blog?

how you became simp for him? *ahm ahm*

And you golgappe wali come with me at the backstage for a second, let's have a talk. *Smiling and dragging chai away with her dupatta trying my best to not strangle her with it.*

So Arunima, the stage is all yours now. Do bhangra or whatever you want here.

[neengareadynaaready]

Jawan (2023) Spoiler Review

I urge anyone and everyone to watch it because it is so much fun from beginning to end. Also, SRK is just ugggghhh so damn hot.

Spoilers from here on out.

Alright, let me get this out of the way first: the movie was very massy and I loved it. That said, I wasn't completely blown away by the story and delivery because I'm up to my eyeballs in south Indian mass movies.

Now, there are people who look down on very massy action films. They think it's inferior or not nuanced enough. Some like only certain mass films and think that the ones they like are the superior kind of mass movies. If you're that kind of person, we're gonna have problems.

One, Jawan isn't a mindblowing film BUT it is undeniably a fun film with lots of exciting action, a good and tight storyline, and good songs.

SRK is SRK. There's a reason fans call him King Khan. His charisma is off the charts. He is great as Azad and absolutely breathtaking and unforgettable as Vikram Rathore. I am serious about the unforgettable part. I fear that his next characters, especially if they're older guys, will be compared to the legend Vikram Rathore. I almost wish Atlee would make a sequel because I want to see Vikram again, in his silver fox era, going on missions with his team (and his son somewhere there).

I wasn't really surprised with the DILF in this movie because I do think Atlee has some daddy issues. If you've seen his older movies like Mersal and Bigil, you might have noticed that the dad characters are given banger bgms and better entry scenes (Vetrimaaran and Rayappan, respectively). Vijay's title card in Mersal was Vetrimaaran's theme, while the title card in Bigil has Rayappan's theme/BGM. But Atlee killed them off in those two movies, so he subverted his own tropes in Jawan (THANK GOD BECAUSE WE WOULDN'T HAVE GOTTEN VIKRAM RATHORE OTHERWISE - sorry, I will not shut up about Vikram okay).

The Girls. Who doesn't love the women of Jawan? Seriously. They absolutely made me giddy with excitement. One, because they were awesome, and we so their backstories and how loyal they were to Azad, and how Azad loved them and was loyal to them, too. Also, that time they called him because he was in the biggest fight of his life (WEDDING NIGHT)! That was honestly the cutest shit ever. If you saw Bigil, Atlee was gunning for that, too, but Bigil is more tamed seeing as it is a sports movie.

Nayanthara and Deepika as they love interests are really good. I was so sad when I learned Aishwarya's fate (shoutout to Atlee who *also* named the mom here Aishwarya -- they're both strong, amazing women). Nayanthara is so damn good and so damn cool (but I am biased towards Jayam Ravi/Nayanthara pairing lmao).

That Sanjay Dutt cameo! Oh, man, I laughed and clapped! I had such a ball of a time. And the revelation that they were friends and he had been helping him all along! Aaaaaah, so satisfying to see honestly. Atlee, why don't you make this a series? I wanna see more of all of them.

Now, on to some things that didn't feel so satisfying to me:

I have seen Vijay Sethupathi play the villain role several times. His performance as Bhavani in Master and Vedha in Vikram Vedha (2017) are tough to beat. It's also really difficult not to compare his performance in Jawan to his performance in those two films because I had such high expectations (yes, I know, my fault a little bit). I feel like his charisma that he usually brings to the table was only seen in small parts, bits and pieces. So, that felt a little bit underwhelming.

Okay, so I like the songs! Anirudh has shown how versatile he is in producing different song genres (but currently movies and fans expect hero-elevation music from him, and that is completely understandable). But I couldn't pinpoint Vikram or Azad's main theme or main bgm. I'm recalling all the Bollywood movies I've watched over the years, and perhaps this isn't a thing in Bollywood films? (Again, if you think having specific bgm for the hero's entry or badass moment is corny, this review isn't for you, sorry, I'm into that shit, I grew up on anime). I know there's a bgm for Azad's entry at the jail and there's literally a song called Vikram Rathore but they just didn't stand out much. You can, of course, argue that SRK doesn't need bgms to elevate him to god-like status. That's true. This is just a me thing, as someone who looks forward to such bgms in mass movies from the south.

OK, I didn't think my review would be this long. I just had many thoughts while watching Jawan. Anyway, like I said, this one is a total banger of a movie. SRK is an absolute joy to watch! What an amazing performer and actor!

[bollywoodirect]

Birthday greetings to the living music legend of the Hindi film industry, Sri #Pyarelal Ramprasad Sharma (03/09).

The iconic music director duo #LaxmikantPyarelal is synonymous with Hindi film music, particularly its popular hits. Born on September 3, 1940, Pyarelal Ramprasad Sharma is the son of the renowned trumpeter, Pandit Ramprasad Sharma, also known as Babaji. Under his father's guidance, Pyarelal started learning the violin at just 8 years old, dedicating 8 to 12 hours daily to practice. He further refined his violin skills under Goan musician Anthony Gonsalves. The song "My Name Is Anthony Gonsalves" from the film Amar Akbar Anthony is a tribute to Gonsalves, featuring music by the Laxmikant–Pyarelal duo.

At 12, Pyarelal began playing the violin in various studios, including Ranjit Studios, to support his family financially. His brother, Gorakh Sharma, also contributed by playing guitar for songs composed by Laxmikant-Pyarelal.

The duo first gained widespread recognition with their music for the 1964 film Dosti, produced by Rajshri Productions. Despite relatively unknown lead actors, the film's memorable songs like "Chahoonga Main Tujhe Shaam Savere" and "Rahi Manwa" made it a hit. Many initially thought Laxmikant–Pyarelal was a single person. They won their first Filmfare Award for Best Music Director for Dosti, beating industry giants like Shankar–Jaikishan and Madan Mohan. Their subsequent work in films like Lootera, which featured famous Lata Mangeshkar songs, also gained fame.

By 1966, Laxmikant–Pyarelal had firmly established themselves in Bollywood. They continued to earn acclaim for their music in films like Aaye Din Bahar Ke and Pyar Kiye Jaa. In 1967, they had a series of hits, including the Golden Jubilee musical hit Farz, and other big-star films like Anita and Shagird. They won their second Filmfare Award for the film Milan.

Laxmikant–Pyarelal, along with contemporaries like Rahul Dev Burman and Kalyanji-Anandji, represented a new era in Bollywood music, overshadowing earlier composers. They were frequently chosen by major film producers and consistently delivered exceptional music.

Their significant collaboration with lyricist Anand Bakshi led to some of Bollywood’s most iconic songs, appearing in over 250 films. Anand Bakshi wrote the lyrics for all the films that earned Laxmikant–Pyarelal Filmfare Awards, except for their first. #RajeshKhanna also had a long-standing professional relationship with the duo, choosing them as the music directors for 26 of his films.

Another fruitful partnership was with singer Asha Bhonsle, who voiced numerous hits composed by Laxmikant–Pyarelal, including chart-toppers like "Dhal Gaya Din" and "Hungama Ho Gaya." The latter song was re-recorded for the 2014 film Queen and became a massive hit again. Between 1980 and 1986, Asha Bhonsle was often the lead vocalist for their compositions. Laxmikant–Pyarelal also scored music for the Telugu film Majnu in 1987, which was well-received for its musical numbers.

[chanquokka]

2, 6,21 and 24 for the ask game 😇

hihi! 2. three last songs you listened to: ik bagal, by piyush mishra, a song ive recently been obsessed with (could only find the eng trans from a vid thats also a cover here), koi by gen hoshino(!!) and cobalt by mob choir

6. three songs you wish you could erase from history (because they’re terrible): im v bad at remembering stuff i like in the first place afsh apologies for the cop out but im pretty sure ive either never disliked a song sm to wish its inexistence, and if i did, certainly dont remember it anymore

21. three songs of your childhood: a little difficult a little fun! ill say aashiyan from barfi, half bcs this album and all its songs r still my favorite years later (movie too!!) and half bcs i have way too nice memories of performing this song as a kid at an event at dad's work and getting complimented a lot (it was aided tho, im sure, by my front teeth missing). second would be ae mere zohra jabeen, a veeery old classic bollywood song, and v much beloved to me both when i was tiny and straining to catch my ma's radio during hw and now when i can add it to all my playlists. third!! raabta by shreya ghoshal, a song that annoys me a lot now simply bcs ive heard it >2000 times bcs it was such a (deserved) rage when it came out for a few yrs

24. three favourite old songs: tere naam! by alka yagnik (listened to a newish cover, fell in love, found its original version, fell sm in love!!) id again mention ae mere zohra jabeen by manna dey bcs i never get over how sweet and cute of an old song it is. third, kaheen dur jab din dhal jaye, movie anand bcs heyy its lyrics, i really love whats it abt!!

im not surprised its just wholly old bollywood bcs thats what majority of kids in india grow up on, either by their parents love for it, or being a kid in the era itself. plus! i could never rec old bollywood enough, its either so catchy that u cheer the love its talking abt, or so poetic that u..cheer the love its talking abt, half of the time managing to be both. not to mention the iconic voices with legions of songs to their names. thank u for asking, i had sm fun!!!

[long-sleeved-sandwich]

i would like to share with you guys some interesting lines from my diary(a mix of poems, stories, etc etc) when i was maybe 11-12 and i didn’t really have any friends so i spent all my time watching bollywood/serials and reading poems.

“her lips are the sofa on which impurity rests” (i have no clue)

“the wedding dances will occur above my grave”(my mom was dating a guy i didn’t like)

“i will not look upon him. my eyes are filled with tears” (again about my mom’s asshole boyfriend from that era)

“rabba qismat mein rona kyun likha? i danced on rose petals, lekin ab, thorns are in my feet.” (a reference to the serial Khaani if none of yall caught that)

[orangetubor]

OOOH WHAT'S THE POP CULTURE LIKE?? Any common references?? ALSO TELL ME ABOUT THE MUSIC WORLD!! I'm very curious.

Well, to get the background, we need to understand what we brought with us. Sailor moon, Marvin the Martian, star trek, wolf 359, star wars everything space sci-fi or fantasy! We wrote about this place and now we're in it!

And as for what we found: glass domes, blue suns, vast desserts, a mountain so tall it breaks the atmosphere, broken down robots, sand storms, and two moons that will eventually drift away from and crash into us. But we have four million years before that happens, don't we? So let's enjoy the view

The music is wild: a thousand genres, some as old as Chinese opera, some as new as astruca pop. It's all new wave if you think about it, a new era of humanity. There's a lot of synth.

Astruca pop is founded on the concept of 'we are in love with the stars, and we sing about it' upbeat pop, things like 'messages from the stars' and the likes. Themes of celestial bodies, relationships, and insane amounts of synth.

Other genres are not yet named. I've mainly been focusing on the fashion if I'm honest. But here's another space themed one: it has a lot of vocalisations, wacky instruments, and lyrics about how in the vast expanse of space we are alone. Kind of outdated since we discovered aliens. Like... imagine listening to some song about how we are unique in our sentience meanwhile your nextdoor neighbour is a 7'1, six armed alien, from a planet in the neighboring solar system. Embarrassing.

As for media, there's a show called 'mandy mystery' it's a teen girl solves mysteries type show. Similar to Sally Bollywood. Does anyone remember that? Idk. There's also one called 'star racers' you're getting the star theme right. It's like five guys and they all have names like 'red moon' and 'black saturn' cuz. It's space themed who cares. They're drag racers. They wear funny little outfits and pose on top of cars. A lot of these were made up for so I could design group Halloween costumes for the gang. There's probably more shows than that. I just haven't thought of them yet.

Sports is really popular too, low gravity leads to muscle atrophy so you gotta stay active, (god ain't it awful) so there's lots of parks, sports places, etc. So fun ways of getting around are also popular, roller skating, cycling, skate board, they're going places on wheels. Absolutely insane.

And fashion magazines! There's tons, mostly for nouveau futurism, retro futurism, stellar dessert, and random other shit that I haven't named it. They like cowboys too. Astral outback my beloved. There's also thing like 'elegano frill' which is based around black undergarments and white lace/chiffon things, focused on unique silhouettes and fancy hairstyles, it's seen at a lot of weddings. Its counterpart, jangle frill, is much less refined. Seen at concerts, there's the black undergarments again, but this time the veil things are less layers, and are lined with tassels! The hair is much more droopy and more colours! The songs performed are generally made with the jangle of the audience in mind, completing the song.

That's pretty much all I got. Theres a musician called 'vallicent' I'm pretty sure. One called Xiro. Various others.

[ratguy-nico]

Gente, what do you listen/watch while you draw, for me is hindi movie's soundtrack or murder cases... anyone else?

Of course I listen other music, like glee, you know real music, but I'm on my Bollywood Era right know, and I love it.

Murder cases are my fav specially from DinoVlogs, though I also listen to movie reviews or analysis.

This is my subtle way of telling you I am a little weird and also trying to draw again, until now...its been hard, but hopefully I would share some drawing with you soon.

(Also love the Tom Holland LipSync but it distract me too much, if you dont know what am I talking about you dont dereve to know)

[desicinema]

i missed Fardeen Khan on big screen i hope he will make comeback on this year

i'm not the biggest fan of fardeen's acting. he's from the 00s era of bollywood where most films had songs that were bangers so i've likely seen all of his movies (ishq hai jhootha is stuck in my head now). his best performance is probably in dev which was surprising. if he does return, hopefully he surprises me again.

[cinewhore]

Once i enter my Bollywood era i fear y’all may never see me again

[fashionhistorysoup]

A Long but Necessary Guide

Hello! I am Soup and this is my History, Anthropology, and Archeology sideblog! Welcome to my current passion, and here are a few things to make your stay a bit easier.

Tagging System

I try to tag in this order and with these details: decade, century/millennium, era/age, continent, region, country, culture, medium, misc.

Example: for a picture of a museum's embroidered Irish wedding dress worn at a lesbian wedding from 1837, I might tag it like this: 1830s, 19th century, Regency, Victorian, Europe, Western Europe, Ireland, Celtic, Exhibit, Embroidery, Queer History, Wedding, Veiled (usually in this order but most likely in any order. I will list multiple places, labels, decades, centuries, and ages/eras as I feel necessary. I will also omit tags if necessary/if no plausible info can be found).

Places are stated as nouns and cultures are stated as adjectives. Example: America not American, but Jewish or Nubian not Jews or Nubia.

Countercultures, societal generas, and established aesthetics count as cultures lmao. (Pirates, Bollywood, Punk, Cottagecore, Cavalier, Goth, Greek Revival, Hanfu, Rococo, Pop Culture, Grunge, Disco, etc.)

Miscellaneous tags so I don't forget:

Bags and Belts

Body Art and Tattoos

Charms and Amulets

Embroidery

Glass and Glasses

Hair

Hats

Jewelry

Makeup

Pajamas and Bathing

Pins and Patches

Socks and Shoes

Technology

Underwear

Veiled

Weapons

Armor

Ceremonial or Religious

Children

Fabric and Textile

Folk Regalia

Momento Mori

Mourning

Uniform

Wedding

Black History

Celtic History

Disabled History

Indigenous History

Islamic History

Jewish History

Maritime History

Queer History

Anthropology

Archeology

Cosplay

Dance

Filmography

Fine Art

High Fashion

Iconography

Theater

Activism

Art Reference

Exhibit

Fantasy (for costumes)

Favorites

Fiction (for fan art or similar)

Meme

Not Clothing (for posts I couldn't resist)

Resources (posts with heavy info or link to other references and sources)

Shopping (for posts with links to purchase items)

Dating Method

This is very important as things maybe get confusing.

This blog will primarily use the Holocene Calendar, in which the current year is 12,023 HE and the Human Era began at the building of the oldest known structure on Earth. The equation is (10,000 + current year) - (date + current year) = Human Era year. So if it's 2023 CE and the object is from 494 BCE, the object is now from 9506 HE.

All CE (Common Era, formally written as AD, the most recent 2000ish years) dates will be referred to by traditional methods and not tagged with a corresponding millennium to save myself the headache: 18th century, 1900s etc . HOWEVER, all BCE dates (Before Common Era, formally written as BC and with numbers going maddeningly backwards) will be instead portrayed by Human Era dates only. Luckily this will only be a problem from the Mesolithic Era and back so I'm not terribly worried about causing confusion.

Example: a picture of an exhibit of a bone necklace from North Italy dated from 3300 BCE might be tagged like this: 5320s, 54th century, 6th millennium, Neolithic, Chalcolithic, Bronze Age, Europe, Southern Europe, Western Europe, Italy, Alps, Exhibit, Archeology, Jewelry. Again, I overlap labels, eras, and regions as I feel necessary.

It seems confusing at first but it actually makes reading history a whole lot easier; rather than everything from before a certain Nazarene being squished together in a confusing hodgepodge of jumbled backwards dates, we now have a clear context of just how long ago an object is from as well as a clear linear view of history. Which of course leads to better appreciation.

Traditional Eras in Human Era Context:

Paleolithic: 2.5 million years PreHE - 0 HE

Mesolithic: 0 HE - 2000 HE

Neolithic: 2000 HE - 5000 HE

Bronze Age: 5000 HE - 8800 HE

Iron Age: 8800 HE - 9500 HE

Classical Age: 9500 HE - 10500 HE

Middle Ages: 10500 HE - 11500 HE

Modern Age: 11500 HE - Present

FINALY: Please note that this is a work in progress, and I only work on it when I want to, so not everything is tagged yet qwq.

Thank you! And enjoy this blog!

[fuchsea]

hii!! ❄️ sorry again, i had a breakdown on monday and took an off day yesterday 😭 is it just me or is anyone else feeling something in the air atm? 🥴 as for the moving part that i asked you - i’m considering moving out too, but i’m honestly reconsidering it because the food part is so important to me and truly, no other country eats like india does ejdgdjh 😭 tbh if i moved i think i’d miss the small things the most, like parle g, maggi, banana chips etc. how do you survive? 😩 i’ve been to india gate once! it was so lovely, i was taking pics with my moto g up close in all my 10 year old glory lmfaoshdjwh 💀💀 question for today - are you into bollywood? what’s your favourite movie? actor? director? era? and if not then are you into any other country’s industry? hope you’re having a good day!

PS I’M SO HAPPY YOU GOT TO SEE LOUIS LIVE HOW WAS IT CONGRATULATIONS

oh no baby are you okay? i am sending you the tightest hug ever, hope you feel better soon 🤍

honestly, a few weeks ago i would've said something like i can manage food just fine, but i've sort of developed this completely irrational fear of eating out because it's happened way too many times that i've ordered vegetarian food and received meat, and not just during delivery, it's happened multiple times when i physically go to the place to collect food. it's ruined mcdonald's for me 🫣

also, i asked this to the other pal too, but would you still want to be my friend if i told you that i absolutely hated maggie 🫣🫣

i am into bollywood, however not the recent years one! i'm a big oldies fan and i loveeeee music from artists like kishore kumar, lata mangeshkar, a r rahman and such 🤍 for some reason i recently went on a kick of listening to aayat, laal ishq, ang laga de, lahu muh lag gaya etc like i don't know why but i just did. i was on my way to louis concerts listening to laal ishq on repeat 🤧 and i think you can guess by now that deepika is my favourite actress and watching her and ranveer together in ramleela was well. part of my desi queer awakening experience 🤭 what about you??

louis is so beautiful and he sounds so amazing 🥹🫶 i'm so glad i got to see him 🤍

[vidreview]

VIDREV: "A.I. Filmmaking Is Not The Future. It's a Grift." by Patrick (H) Willems

[originally posted august 22 2023]

I worry that young aspiring filmmakers will see these [AI-generated film trailer parodies] and choose to use AI instead of actually going outside and putting their hands on a camera. That, to me, is just depressing as hell.

i have an on-again off-again relationship with the video essays of Patrick Willems. he's one of the very last video creators consistently carrying forward the internet-critic tradition of framing criticism with fictional elements as if the review is occurring in a story, and he's been unwavering in his commitment to the bit for damn near seven years now if not longer. unlike a fair few who've utilized this device in the past, however, Willems is himself an experienced filmmaker with a stable of consistent collaborators helping both behind and in front of the camera. this means his videos are, generally speaking, well-edited and pretty nice to look at. this experience also factors heavily into his criticism, leading to work that is consistently appreciative of and empathetic towards the innumerable material challenges faced during any given production. he is well-versed in film history and cares deeply about the art-- so he uses his criticism as an opportunity to play with cinema instead of simply commenting upon it. as a film school graduate who worked grip/electric for a few years and now makes video essays myself, i think that's pretty cool.

unfortunately, i sometimes find the finished work a little… lackluster. there are a couple videos i really, vehemently disagreed with (looking at you Rewriting The Matrix Sequels), but most of the time it just leaves me a little nonplussed. to be clear: his stuff is never bad, and i've actually found his recent work to be a marked improvement (that Bollywood video is the kind of thing i DREAM of making!), but overall i guess i'm maybe a little too familiar with the specific knowledge pool he's drawing from to get as much out of his stuff as i'd like. relatedly, while i admire his use of the fictional framing device and have nothing but enthusiasm for its continued use… i just, uh, also, kind of, don't really get a whole hell of a lot out of it when he does it most of the time. it's low budget amateur film-making, the quality of which is all over the place. but i am also someone who has spent a lot of time thinking about the video essay's capacity to fuse art with criticism, so i can be probably unfairly harsh when i feel it's not "properly" utilized. the fictional framing device at its best complements the criticism either literally or symbolically, and i find that in Willems' work they're often more distracting than complementary.

actually, before i explain why any of this commentary is relevant to the video at hand, i want to go on something of a tangent. one of my favorite single-video uses of the fictional framing narrative is Hbomberguy's Ctrl+Alt+Del essay, but my gold standard for its multi-video use is in RedLetterMedia's film review series Half In The Bag. the latter Plinkett Star Wars Prequel reviews arguably set the mold here (for better and worse), which RLM carried forward through at least the first two or three years of HITB. basically, every review is framed as two VCR repair guys not repairing VCRs and instead talking about the movies they just saw, then charging Mr Plinkett for that time as billable hours. i like their implementation because while the framing devices are in-character, the facade is completely dropped the instant they get into review territory. Willems is similar in this respect, which i think is good. too much fiction in the body of the criticism risks breaking the back of the whole essay.

in those first years, HITB did a pretty admirable job of using the fiction to comment on their subject. one of my favorite examples from this era is their review of Transformers: Dark of the Moon, where they spend the bulk of the review talking about the empty excesses of Michael Bay's frenetic, messy action setpieces, full of tonally inconsistent and sophomoric humor… only to end their review with an excessive, sophomoric, disgusting five minute setpiece where two adult men roll around in fake diarrhea and vomit all over themselves. you really just have to see it for yourself, it's a masterpiece of gross-out humor done for a good reason. as the years wore on they eased up on that fictional framing device, until covid happened and it suddenly came roaring back to great effect. they've eased up on it again since then, which i think is good. you can tell when these things are perfunctory. the fictional frame is at its best when it's as playful as it is purposeful.

okay, so what the fuck does any of this have to do with Patrick Willems' video on AI film-making? the short version is, it's got me rethinking how harshly i judge this specific variety of amateur film-making.

to summarize, Willems here is discussing viral AI-generated parody trailers of Star Wars, Lord of the Rings, and Avatar in the style of Wes Anderson, released by a company called Curious Refuge. this one's clearly coming from a personal place for him, and not just because he made a parody trailer for Wes Anderson's X-Men back in 2015. he has a lot to say about every AI-booster's fabulous yarn about how they're "democratizing" art creation, specifically that it's bullshit nonsense. i've gotten in trouble for expressing similar sentiments on twitter (which i can't link to because my account was permanently suspended over """death threats""" and honestly? good fucking riddance), particularly the insistence that LLMs and image generation algorithms make art accessible to some vaguely defined disabled population. it's an offensive notion on a number of levels-- it relies on an ableist assumption that art-making is somehow inaccessible to disabled people, as if specialty tools do not exist, as if the paralyzed have never painted, as if the blind have never written books. it assumes that art is somehow a secreted and gatekept skill, and not the single most common human compulsion outside of our basest needs. but even if these were nonfactors, there is simply no amount of accessibility gained by these technologies that outweighs the industrial-scale plagiarism, automated labor-discipline, massive carbon footprint, and generalized annihilation of the entire internet's usability they represent. these tools are not without their legitimate uses, but until they are vehemently and inescapably regulated on an international scale there is simply no case to be made for them as they currently exist.

Democratizing storytelling is what affordable film-making equipment did. It's what, like, iPhones did, it's what the internet did. Those things gave people outside of traditional structures without huge budgets and resources, the tools to create films and a free platform with which to reach a wide audience. Arguing for AI film-making is saying that people no longer need talent or skill. By this logic, why would you learn to play the violin when you can use AI to create a fake violin recording of the piece of music that you want to play?

it's easy to be against this AI grey goo crap, and still fall into obvious rhetorical traps meant to cede ground to the worst people on planet earth. Patrick Willems deftly avoids these pitfalls and calls it exactly what it is: laziness and plagiarism. the examples he focuses on are especially egregious because the guy who made them didn't even come up with the idea himself-- he asked chatgpt to make him a list of videos that would go viral on youtube, then had some algorithms whip them up. he did no work. no work went into the creation of these things. their supposed "quality" is composted from the unattributed and uncompensated labor those models were trained on. it is a function of what my girlfriend has been referring to as "the age of the executive auteur," describing this moment in history where talentless executives want to remove artists from the art-making process for pure algorithmic profit that goes directly and solely into their own pockets. ghoulish CEOs and tech boosters who want to be revered the way artists often are, without having to put any of the work in, and without having to listen to criticism. they don't just want to own everything, they want to be loved for it too.

it reminds me of Maggie Mae Fish's video about off-grid youtubers, a crowd of independently wealthy failsons who like to crow about their amazing self-sufficient housing projects that they did all by themselves… except for the parts they didn't. she makes a fantastic observation in that video that i've found myself coming back to often-- that for rich people, paying someone else to do work for you is ontologically indistinguishable from doing that work yourself. the exchange of capital comes with an exchange of credit. it is the base assumption that underpins every capitalist boss's relationship with their workforce, and we see it on full display among the guileless herd animals of silicon valley. AI art is only and exclusively a mechanism for doing to art production what the ruling class have long since done to industrial labor, annihilating the worker's claim to its value, disintegrating the jobs held by artists to disempower and destabilize them so that they will accept worse pay for more work. it is precisely the kind of horseplay that's got damn near all of Hollywood on strike. the actual technology itself sucks, obviously, and it will always suck no matter how much better it gets. the quality of the end product is immaterial-- it's about wage theft, man. it's about greed and labor discipline. same old story, different day.

They love the idea of using AI for film-making because they don't actually have any talent or skill. For them, AI is like a cheat code that allows them to seem like actual artists without doing any actual work.

but let's get back to Willems. he does a great job deconstructing how these supposed parodies don't even really embody anything meaningful about Wes Anderson's style, pointing out that anyone who thinks they're emotionless, stoic, austere films clearly hasn't watched any. the dude makes comedies about broken people struggling to find meaning in their lives, for crying out loud! the popularity of this algorithmic trash is an extension of pop culture's long-standing illiteracy when it comes to Wes Anderson. something about a director with a distinctive visual style short circuits the brain when you haven't watched any movies made before the new millennium, i guess. how pretentious to be all having your own vision or whatever lol lmao

what really hits home for me, though, is how he compares these parodies to his own Wes Anderson's X-Men trailer. he talks about spending time watching all of Anderson's films to date in pre-production, taking notes not just on style but on substance, on theme. he treated the project as an exercise in understanding a film-maker's approach to their craft, then got his friends together and spent a couple weeks running around New York filming the thing. the resulting short film is, let's be real, kind of sloppy and cheap-looking. but so what? in the making-of for it, Willems talks about the specific logic of the composition of this X-Men team and the inspiration behind the costumes. here we catch a glimpse of the layers of labor which go into the production of even the simplest amateur work-- research, writing, self-analysis, location scouting, costume design, props, lighting, camera work, and on, and on, and on. sure, it looks cheap. but it was made by hand with love and care, it embraces what it is and doesn't try to be more. i speak from experience with these kinds of projects when i say, the finished work is almost superfluous, except as proof of labor. the real value comes from the experience of making the thing, and the lessons you learn along the way. collaborating on even the silliest and cheapest of short films can be a transcendent and life-changing experience.

Artistic influence is Wes Anderson taking his love of Hal Ashby, Francois Truffaut, and Jacques Demy, and processing them into a unique approach that expresses his own view of the world. AI art is just a machine for plagiarizing existing art.

this is sort of a perfect illustration of what AI art simply cannot replicate. under the proposed normal of those boosting a post-LLM world, there is no barrier between the having of an idea and the realization of that idea. it's a world where ideas guys finally get the credit they insist they've always deserved. what they fail to understand is that everything which makes art special comes in the phase between having the idea, and finishing the work that idea inspired. they refuse to acknowledge that art is work, and work takes time, and that people who draw and write didn't just wake up with this ability by magic divine endowment. they aren't "hoarding" their skill. if i'm a good writer today it's because i spent the last 14 years and change being a really bad one. all this talk of accessibility and democratization sounds suspiciously similar to the "telling me to read is ableist" line of thinking, where we equate the simple and undeniable fact that getting better at anything requires Hard Work with a pilfered and ill-defined language of oppression adopted by bad-faith actors to justify why they never have to change or learn or improve in any meaningful way, to justify why criticizing them for their actions is actually a sort of hate crime.

Willems ends this video teasing a second part focused exclusively on the idea of "content," the way so many artists and entertainers today frame the fruits of their labor as if it is no different from paste in a tube. like Willems, i've long despised "content" as a descriptor and think its widespread adoption is nothing short of corporate-fueled stochastic terrorism against any creator who dares to presume that what they make has any value without the platform. it's like i said in my video about Netflix in 2018-- the only thing platforms have to sell is the platform. the ongoing grey goo-ification of the internet has renewed my conviction that "content" is the enemy (or at least an enemy), because its success relies on a baseline assumption that all things are reducible to their predictable financial valuation. this moment is not just about copyright law or labor exploitation; it's a come to jesus moment for our entire culture, forcing us to confront the only logical endpoint of art under capitalism. it is time for us to decide for ourselves what we value.

AI is getting better all the time, but at its very best you will only ever get serviceable imitations of mediocre products.

with Matt Mercer playing Ganondorf in the american localization of Tears of the Kingdom, i decided to revisit the 2009 online miniseries There Will Be Brawl where he also plays Ganondorf. this series was incredibly ambitious, an attempt to make a dark and gritty film noir playing on the full-cast absurdity Super Smash Bros Brawl. i'm not going to pretend that it's better than it is, because i haven't been able to sit through the whole thing since it aired. it's very much of its time, and boy was that time problematic. but in the same way that films i once would've thought of as mid have skyrocketed up my rankings simply by virtue of having real sets and props and costumes and lights that are actually turned on, i find TWBB's excess of paper-mache props and dollar store wigs immensely charming in hindsight. it looks cheap, and the performances aren't always great, but so what? this is something that no algorithm could ever produce. it's a fanwork that took countless hours of labor, and while the finished project has no shortage of flaws, it may well have been an essential starting point for dozens of careers. it is an audacious idea that was executed to its conclusion, a feat that vanishingly few projects of its ilk have accomplished.

this kind of thing used to be youtube's bread and butter. i still quote The Legend of Neil all the time ("hello, uh- old man?" "you may call me… old man"), and my sense of humor is eternally linked to the forgotten pivot-to-video creations once hosted on The Escapist, Cracked, College Humor, and countless other long-dead platforms. these kinds of parodies fell out of fashion because they tend to be cheap and silly-looking. the rise of Marvel came at the apex of the 2000s hyperrealism fetish in genre media (Spielberg's Minority Report ruined science fiction cinema for at least twenty years), so everything had to be grounded and look photorealistic. we want immersion, man-- we don't want to see the zipper on the rubber monster suit. i think this is an unspoken motivation behind the AI hype cycle. what's the point of even attempting a genre parody if you can't make it look exactly as good as its Hollywood equivalent? we don't want to see a cardboard imitation, we want to see the perfect thing we can imagine in our heads brought flawlessly into reality!

i share Patrick Willems' sentiment that this is depressing as hell.

Willems shook something loose in my head with this video, because i came away from it completely rethinking my relationship to his fictional bridging material, and the generally low production value of most anything high-concept on youtube or other video platforms. there is something to be treasured in even the most slapdash of amateur films, when the work is done with love. there is inherent value to human endeavor in the attempt, even a failed one, to bring an idea into reality. it's the work, the experience, the memories, the chemistry of it all that matters. i want to live in and encourage a culture where people are allowed to make shit that sucks and not have it ruin their lives, so that they can keep making shit until they're good at it. art is not a machine, it is not algorithmic, it is not statistically predictable. like all things truly human, it is an act of defiance against entropy by a soul in transit.

anyway it's a good video, go give it a watch

[playermagic23]

Tujhe Meri Kasam, which stars Riteish Deshmukh and Genelia Deshmukh, will be re-released on September 13.

Riteish Deshmukh, the son of a well-known politician, the late Chief Minister of Maharashtra Vilasrao Deshmukh, made his Bollywood debut with Tujhe Meri Kasam, alongside his now-wife Genelia Deshmukh, who also made her Bollywood debut with this romantic entertainer. The much-loved romantic classic will return to theatres on September 13, 2024.

In an era where leaks and piracy are common, Tujhe Meri Kasam stood out as a film with no piracy occurrences, making it a shining example. Riteish Deshmukh expressed his excitement for the re-release, saying, "I'm overjoyed that Tujhe Meri Kasam is returning to theaters." This film was not only my debut, but also the beginning of something wonderful in my life. It's incredible to recall those early days and share this precious event with our supporters once more. "See you on September 13th!"

Genelia Deshmukh also stated, "I'm pleased that Tujhe Meri Kasam is returning to theaters! This film has a particular place in my heart because it marked the start of my adventure in the film industry and with Riteish. "I'm so excited for fans to rediscover the magic of this love story."

This is an excellent opportunity for fans to see this romantic classic on the big screen again. Since the film isn't available on any OTT platform, the re-release offers a unique and nostalgic viewing experience. Directed by K. Vijaya Bhaskar and produced by the late Shri Ramoji Rao, the film not only marked the beloved duo's big screen debut, but also served as the backdrop for their real-life love story. True Entertainment distributed the film, which has been re-released in theatres across India several times, allowing fans to relive the magic. Tujhe Meri Kasam, which was released in January 2003, earned a lot of love from fans during its over 100-day run in theaters.