#jasmine’s debut scene

[bobbie-robron]

Welcome Jasmine Thomas!

30-Jun-2005

[xinfinityl0ve17]

Zapping CD Track 24: Interview!

Gackt

"This time, the PV is based on the story of the song’s world."

15:58 - Gackt makes a magnificent entrance through the grasslands.

17:44 - Gackt gives direction to Jasmine, saying, "Relax and entrust your heart and body to me."

18:16 - A playful scene during filming for the engine shot.

"This song was originally created last year when I went to France to shoot a video. I was zoning out on top of a hill when the world of 'Le ciel' suddenly came to me. The version in the album and this version aren’t about which is correct; I think people will feel our emotions and the expanded worldview in this single. And for this promotional video, we wanted to portray the song’s world as a story. We spent a huge amount of time on the storyboard, and I think it changed about 14 or 15 times. By the way, Nagano is really a wonderful place, right? I’m having fun, and it’s been relaxing to film here."

17:03 - During a shoot for this magazine, Gackt asks, "Is this photo an extension of the PV or something separate?" showing his attention to detail.

16:04 - After checking the eyeline, they started the test. Five test takes, two main takes, and it was a wrap.

We enjoyed nature, including the various bird calls, but almost all of the staff were bitten by insects…

MALICE MIZER

Day 2

6:30 - 18:30 Filming in a pasture in Nagano was purely magical!

At 6:30 AM, the staff gathered at a certain location in Tokyo and headed to a ranch in Nagano. The scene was shot in a pasture where ordinary people are not allowed. That day, it was just Gackt and Jasmine appearing again. The two blended so beautifully into the landscape that it seemed almost surreal. On this day, they shot 20 scenes and 48 takes. After each take, they checked the monitor and discussed the subtle expressions and movements with director Muto. The attention to detail and the commitment to refining every shot was a testament to their passion as creators.

At 16:25, Gackt continued holding Jasmine, smiling wryly as he said, "I'm starting to sweat."

Director Hiroyuki Muto

"There's no one more interesting than them."

We held three full meetings with everyone involved. While respecting the vision of Gackt, who wrote the lyrics, we discussed everything as a team and created the storyboard. The challenge was to maintain the unity of the group while highlighting each individual member. Their concept is always clear, so it’s fun to shoot each time.

This is the third time that director Muto, who usually works in television drama, has filmed a PV for MALICE MIZER.

A completely new arrangement of "Le ciel Beyond the Blank Space"

Since their major debut in July of last year, MALICE MIZER has built a world of "merveilles" (which means "wonders"). To conclude the concept of this album, they’ve released this song. While the song was already included in the album "merveilles," this single features a completely new arrangement, making it even more dramatic. The track begins with a bass drum beat (with each beat at a different pitch) and has been meticulously crafted. From the beginning to its shocking ending, it’s a song meant to be played at high volume. (Released by Nippon Columbia CODA-16178, priced at 1,400 yen, released on 9/30.)

A studio where the entire set was completely rearranged in one night.

Yu-ki’s prop was a staff adorned with a crystal ball.

Day 4

9:00 - 22:00 Finally, the entire cast appeared, and it was simply breathtaking!

On the final day, the filming proceeded with Jasmine, followed by Kami. Initially, Kami was unsure of how to move, but gradually, his poses came together, and he finished within two hours. Then, at 16:26, the entire cast appeared. This was the only scene in the video where all the members appeared together, and the tension of the final scene made everyone assume it would take a long time to get an OK take (meaning the end time was undetermined). Surprisingly, though, it was completed in about 40 minutes with just six takes. Afterward, Gackt was filmed alone, marking the end of all shooting.

→ After filming, Kami took Jasmine out for a stroll in this very outfit to a convenience store.

13th Day, 20:56 - Yu-ki checking the oboe fingerings.

Interview!

Yu-ki

Even the other members were surprised.

"At 20:44 on the 13th, I was instructed by Director Muto to take on the image of a 'bad fairy.'"

"I’m trying to surprise everyone."

"It’s not just an ordinary promotional video. I want to capture the world of the song in a concrete way through the visuals, so I’m putting in a lot of effort. Regarding the costumes, this time, for the first time, we used 'white' as a theme, and each of us brought in our own ideas, trying to surprise even the other members. I think everyone had that feeling. I made my own headpiece, but I didn’t have any initial image for the makeup. As I was drawing, it just ended up like this (laughs)."

→ At 20:39 on the 13th, he checks his position during a makeup touch-up.

14th Day, 19:07 - Only two scenes left!

At 1:27 on the 14th, the director instructed, "Don’t forget your affection for her."

Yu-ki’s look was highly praised among the staff. On the 3rd day, he shot three scenes with five takes.

14th Day, 13:54 - Kami shows off a daring move, playing the sitar with a bow.

This song has the most emotion packed into the interlude.

Gackt appeared at 16:26 on the 14th day. The scene of breaking the flower was symbolic.

→ Even just standing still, Kami looks like a picture.

"This was the hardest shoot for me. There was so little movement (laughs). During 'Gekka no Yasoukyoku,' there was quite a bit of movement. Somehow, the movements feel forced. As for 'Le ciel Beyond the Blank Space,' I focused on the pacing, especially in the interlude. We mixed four types of drums, and for me, that part is packed with the most emotion. Some sounds don’t even seem like they’re from drums. In this interlude, I wanted it to feel like the emotions of all five members were clashing. Time off? None (decisively). We’re destined to keep running (laughs)."

Kami teaching Jasmine how to play the sitar.

Filming completed! Time for a commemorative photo!!

After the unexpectedly quick conclusion of the full-cast scene, at 18:38, the staff joined in, and they took a commemorative photo. Some covered their faces, and some turned their backs, but in any case, great job, everyone!

[utilitycaster]

Dimension 20's Failed Genre Experiments

(This is the "Has Dimension 20 lost its touch?" post I’ve alluded to; please enjoy some genuine criticism masquerading as a riff on those sorts of articles for other shows.)

Dimension 20's debut and flagship burst onto the scene with a simple and elegant premise. What if a John Hughes movie were set at a high school for D&D adventurers? Its next full length pre-recorded season was the similarly strong urban fantasy The Unsleeping City, which in turn was followed up by the channel’s most ambitious outing yet: the Game of Thrones in Candyland mash-up, A Crown of Candy. 

Widely considered to be a watershed moment for the show, A Crown of Candy explored darker themes on a famously comedic platform, was the first on the channel to have permanent player character deaths, added new mechanics and limited what the players could choose to fit the world to support this more serious tone, and on a structural level, was a welcome departure from the prior rigid alternation between episodes of combat and episodes without. It was filmed prior to the pandemic but went to air in early April 2020, when many livestreamed actual play shows were on pause and even some podcasts were scrambling to figure out remote recording. D20 introduced their talkback show as a way for the cast to hang out remotely and chat about each episode, and Adventuring Party has remained a companion to the main show. The channel had hit its stride.

Its House of the Dragon sidequest, The Ravening War, aired three years later. Despite a complicated reaction to its announcement, it was a well-received outing, but one on what had by that time become a noticeably bumpy road.

Sidequests like The Ravening War are what D20 calls its shorter, 4-10 episode seasons that do not feature the main “Intrepid Heroes” cast in full nor necessarily feature Brennan Lee Mulligan as DM. We've seen everything from the perspective of the villains in both a Lord of the Rings clone (Escape from the Bloodkeep) and a Dracula homage (Coffin Run); to a Regency romance in the Feywild (A Court of Fey and Flowers). In addition to Mercer, Jasmine Bhullar and Gabe Hicks have each run a sidequest, and Aabria Iyengar has run three. And while the Intrepid Heroes' only venture outside D&D so far is the D&D-inspired Star Wars 5e, sidequests have been run in various Kids on Bikes hacks and Hicks' own Mythic system, as their shorter format makes it even easier to experiment with the parodies, pastiches, and mash-ups the channel is known for.

There have however been two notable failed experiments, and their close proximity (both released within the past year) could be a hiccup, or could be a sign that D20’s ambition, while admirable, could use some serious reining in. They are Neverafter and Burrow's End.

Marketed as the horror season, crossed over with fairy tales, Neverafter started out strong. Only three episodes in, there was an unprecedented (for D20) total party kill. The subsequent episode is the zenith of the season, in which each character is brought back, most of them changed and twisted by the experience, playing out an analysis of their role as an archetype within these stories: Sleeping Beauty and the classic roles of The Princess (introducing such NPCs as Cinderella and Snow White), for example; or Puss in Boots as The Trickster.

Unfortunately, the quality dropped soon after. It was revealed that the darkness spreading across the fairytale multiverse was due to the influence of The Authors, and the story began to be one about the concept of stories...while still trying to incorporate not only the plotlines of the fairy tales the main PCs were from, but also an intertwined conflict between the fairies and the princess NPCs. With this, the horror, with a few exceptions, melted away: violence and monsters are standard D&D fare, and when heroes race to save the world and victory seems not only possible but likely, any distinction between horror and a typical D&D heroic fantasy is lost.

It’s not the first overstuffed campaign, but it certainly is the first one that fails to land on several levels. Starstruck Odyssey is similarly chaotic and rushed at times, but it consistently sticks to a broad message of personal autonomy and freedom within late-stage capitalism. Mulligan is famous for his capacity to spin endless dense lore off the cuff, and if it at times overcomplicates the plot of the packed and colorful comedic space adventure, at least it contributes to the baked-in excess of the setting. But Neverafter's postmodern flourishes against a horror backdrop desperately needed an injection of sparseness and silence it never received. 

This is enhanced by the nature of actual play: with a few exceptions, even when filmed and even with the elaborate production values of Dimension 20, it is first and foremost primarily an auditory medium. We only know what is narrated to us. Neverafter did not permit its audience the time and space to fear the unknown. The existential horror of the metanarrative, of being a character doomed to a specific ending, while touched on by some of the cast (particularly Siobhan Thompson’s Sleeping Beauty), took a backseat to models of giant spiders and tales of undead dwarves. The story lacked the room to build real tension, but also failed to adequately create the claustrophobia of being truly trapped within its narrative. It feels more stuffy than unsettling.

Burrow's End is far less airless, but profoundly disjointed. Neverafter thought it knew what it was, but Burrow's End went through multiple identity crises by the halfway mark, and the marketing for the series reflects this.

The initial trailer makes it seem like a cute if dramatic story about a family of stoats - think Redwall, think Wind in the Willows. The first episode was excellent, however, and sold many who had been unimpressed by the trailers on the series, with its well-played setup of the clear Watership Down/Mrs. Frisby and the Rats of NIMH parallels with a unique twist in the form of The Blue.

The promotion took a strange turn, however, with the second episode and its infamous bear carcass battle map. It was hyped as uniquely horrifying, with a teaser video posted of the cast shrieking as the map, unseen by the audience, was wheeled past them. This seemed rather cavalier of the channel once the episode was posted, accompanied by a gore content warning covering a period of well over an hour...which was then further undercut by an exquisitely crafted, but ultimately rather tame display of a bear's innards. It was left out on the table during Adventuring Party as well, further reducing the idea of any meaningful shock factor (or any attempt to accommodate those in the audience who were triggered). The combat this map was for was a creative one, and the episode itself high quality, but it furthered the sense that Dimension 20 itself was unsure of what they were trying to get people to watch.

The series continued on with two more excellent episodes as it reached Last Bast, a clearly man-made structure full of thousands of stoats, with a strong dash of the police state. The actors immediately clocking the flaws of this society, but their stoat characters having no similar sense, led to a fascinating tension. However, the Blue (called the Light in Last Blast), previously described as some animating force and driver of magical power, and mysteriously concentrated in the brain of the dead-but-animated bear, was then revealed to be ionizing radiation.

At this point, the details of my own life become relevant. My career is in the field of health physics. I hold a master’s degree in this specialty and have served as a radiation safety officer, though not at a reactor. I don’t think that this background is a requirement to understand the structural issues of this season; but it certainly made me particularly attuned to the flaws.

Before you claim that this is just a show and who cares: In addition to my love of actual play, I am also a fan of comics and all sorts of speculative fiction. I am well aware that Spider-Man’s “radioactive blood” would not realistically grant him spider powers; I know that going into a high radiation field would not create Doctor Manhattan; I know that Superman does not actually have ‘x-ray vision’, and I know that radiation creates neither kaiju nor rad roaches. This is fine. In comics, radiation is a shorthand for “mad science” or “mysterious powers” with a sense of the lethal and the eldritch and the hubristic. The story is not so much about the source of these powers, but rather the great responsibilities they require. Godzilla, meanwhile, is clearly a metaphor for the very real nuclear devastation of Hiroshima and Nagasaki, and Fallout is an anti-proliferation and anti-war message with nuclear annihilation as the set up for its post-apocalyptic setting. These works understand that radiation is a limited-use plot device, and, wisely, they keep it simple.

Burrow’s End, by placing radiation front and center, has lost the message. The themes of the story are irretrievably muddled: what seems like a tale of family displaced by human intervention now positions a man-made hazardous material as both sinister corruption and divine boon, and engages neither with a fitting narrative of both the pros and cons of technology, nor of human and animal symbiosis. The finale establishes the latter in a rushed cut scene reliant on a single persuasion roll, and the two episodes prior to that meanwhile establish that while the humans first introduced radiation to the ecosystem, the first five stoats were the ones who sought it out and disseminated it and built the police state, and their true nemesis was Phoebe, one of their own. This culminates with Phoebe, the previously unseen fifth of the first five stoats (who have by now already been killed by the heroes), piloting the body of a 20-years-dead human, threatening to somehow cause global radiation contamination as her grand Evil Scheme. Unnecessarily, from a narrative perspective, I might add; this occurs after the final combat has already begun and she is magically controlling two of the party members. They’re already going to kill her. It’s a hat on a hat on a hat, and the humans are incidental.

When I was a child, I was enamored with the sort of stories in which children are sent to another time or place and then return with seemingly no time passing, and at one point excitedly told my mother I had an idea for a story, of what happens back while you’re time traveling. My mother, a fan of speculative fiction herself, and never one to coddle, told me “nothing, honey, that’s the point.” I wonder if something similar happened here; an attempted deconstruction of those radiation-granted superpower tropes, focused so hard on being clever it overshot into something anything but. Other elements of the story - particularly the weak pun of “copper” to hammer home the already obvious theme of population support being the arm of the police - make me think this was indeed an attempt at cleverness that missed the mark.

I am happy to elaborate on the flaws of the science elsewhere but I think the most succinct way to put it is that while the biology and habits of stoats sans radiation has been considered with what seems to be at least a modicum of love and care (their use of pre-existing burrows, Viola’s pregnancy), the radiation science/understanding of recent nuclear history can only be described as abysmally neglectful, in and out of game. They let a Loss of Coolant Accident go on for three days with a remarkably casual attitude? This disaster was sufficient to result in what appears to be an exclusion zone (of which there have been three, ever, in human history; two of which are the immediately recognizable Chernobyl and Fukushima) and yet it isn’t being monitored closely enough for someone to notice that there’s been penned animals next to the building for years (let alone that the building itself is teeming with stoats)? For that matter, they’re opening the site only twenty years later? After the “radiation dust”, apparently present on the fully maintained roads by the reactor, but neither within nor in front of the reactor, just now made 14 people bleed out (not how Acute Radiation Syndrome works; also 14 deaths from ARS in 1982, when the series is set would in fact be an unprecedented disaster. In our world, Chernobyl - which had not yet happened in 1982 -  is the only nuclear accident that exceeds that ARS death toll.)

Radiation becomes an all-purpose plot engine with no internal consistent logic: it kills humans swiftly and brutally (though based on statements by Dr. Tara Steel and the fact that she seems fine in only a hazmat suit - which shields from contamination but will stop neither gamma nor neutron radiation - only via inhalation). But it infects chipmunks and bears with corruptive and bizarre neurological effects, turns wolves into horrifying but loyal hybridized monstrosities, and conveys to stoats not just human intelligence, but mastery of human language, magic spells, and the ability to come back as a revenant through force of will…though it also can immediately kill them, but also extend their lifespans, but also cause them to slowly mutate into wolves (but not through DNA splicing transfer, that would be silly). It kills 14 humans nearly instantly with off-site dust, but another survives a fiery attempted core meltdown with no apparent ill effects.

There is an excellent and thoughtful story about family, generational trauma, and political structures somewhere under here, and the incredible cast does its damndest to sell it, but it is all but lost beneath a sci-fi whodunnit that would make Ed Wood cock a skeptical eyebrow.

Neverafter and Burrow’s End’s respective collapses under the weight of ambition coincide, perhaps unintentionally, with some of the more dubious film editing choices on Dimension 20. Filmed actual play can be visually unexciting, and Dimension 20 has used simple shot/reverse shots, as well as some sound effects (notably for critical hits and fails) throughout its run to break it up. Neverafter, however, is marked by deliberate hisses and glitches, fractured split screens, echoey vocal effects, and nails-on-chalkboard screeches. This did not add to the atmosphere as intended; at best they were irritating and for many made it actively harder to hear key dialogue. Burrow’s End’s editing has been simpler, mostly relying on some, to be fair, well-placed cuts to black and voice distortion to indicate taped or radioed segments; but a key moment - Jaysohn’s potentially fatal rush into radioactive waters - is undercut with a frankly cheesy montage. Others I spoke to compared it to Indian soap operas, 1960s Doctor Who, The Oscars In Memoriam video, and reality show farewell reels. It takes what could be a tense potential character death - something D20 already handles wonderfully with their iconic Box of Doom - and makes it cheap and tacky, particularly jarring given the beautiful and haunting shadow puppet animation the season had previously delivered to convey the stoat creation myths. (And then, when Ava falls into the waters herself saving him, she merely comes back as a revenant with no ill effects. The stakes were never there to begin with in this smoke and mirrors season.)

Praise for Dimension 20 often hinges on its original innovative structure; most actual play shows skew towards more longform storytelling. However, the short format comes with a price. The fixed length of D20 seasons and the elaborate, custom made maps require a deft GM that can guide players to the exact right place without it seeming forced. Threading the needle is harder than it looks; even the otherwise iconic Fantasy High debut season stumbled towards the end when the players were too good at uncovering the mystery, and Mulligan had to place their characters in an inescapable prison in order to pad out a pre-scheduled episode before the finale. Perhaps the strain of this constant need to live up to a reputation as high-concept innovators, rather than simply create something good and cohesive, is beginning to show. The higher production values in Neverafter and Burrow’s End cannot hide their messy plots and confused messages, and indeed only highlight them. One interview said that for Burrow’s End, Iyengar wants the audience to trust her; after Burrow's End, I can’t say I do.

The next Dimension 20 season after Burrow’s End is a long-awaited return home to the flagship: Fantasy High Junior Year. Let’s hope this reminds the channel where they came from, and what magic they are capable of making when they keep it simple.

[littlestarlost]

You're Probably Taking Yellowjackets too literally, and there's still time to stop.

So there's like two months until the second season premiere of Yellowjackets, and as someone who was watching the show literally from the night of the pilot premiere, I have some Thoughts about how the fandom reacted to a lot of the show's mysteries at the time of airing, how a rewatch of the full first season feels after getting all that info piecemeal week after week, and how, in my humble opinion, people are simply misunderstanding a MASSIVE part of the show's conceit. So here's that rant, because I just rewatched season 1, and very few shows make me want to write full-blown essays like this one. You should absolutely watch the show if you haven't yet, ESPECIALLY if you are AFAB or femme or were raised and socialized female. Because hooooooo boy.

One: What is Yellowjackets?

Yellowjackets is a television show that made its debut in the last few weeks of 2021. It stars Melanie Lynskey, Tawny Cypress, Christina Ricci, and Juliette Lewis as four women who, as teenagers, survived a harrowing plane crash with their high school soccer team which left them stranded in the Canadian wilderness for a year and a half. The series opens with a scene that really heavily implies that the girls resorted to cannibalism to survive during their ordeal, but we still do not know the specifics of how that came to be.

The show flips between following the adult survivors in the year 2021 and flashing back to the accident in 1996. The four main survivors--Shauna (Lynskey as an adult, Sophie Nélisse as a teen), Tai (Cypress as an adult, Jasmin Savoy Brown as a teen), Misty (Ricci as an adult, Sammi Hanratty as a teen) and Natalie (Lewis as an adult, Sophie Thatcher as a teen)--are all shown suffering from various levels and types of post-traumatic stress disorder, as you might imagine one would deal with if one had survived a fucking plane crash and cannibalism as teenagers. Without going deep into spoiler territory, let's just say that some shit goes down, and the first season concludes without a single piece of eaten flesh.

Two: Why is Yellowjackets Good?

These things are obviously subjective, but in my opinion Yellowjackets is one of the best pieces of fiction ever made about female trauma, specifically. When we meet the four adult survivors, none of them are doing well: Shauna chafes against her role as a stay at home wife and mom, seeking out an affair with a mysterious younger man because her world feels far too small; Taissa is running for state senate, but the stress of the election is causing the breakdown of her marriage and massive stress to her son; Natalie is in and out of rehab, actively suicidal and incapable of self-care; and Misty is a nurse who uses her role as a caretaker to manipulate and control everyone around her. Their various issues all stem not just from the plane crash, but also from the traumas that have been sprinkled throughout their lives up to the crash as well; Misty was a bullied social outcast, Natalie came from an abusive home, Shauna was constantly in her best friend Jackie's shadow, and Tai is a gay Black woman, with more than enough generational trauma to go around.

As a high school soccer team, all of these characters had their place in the hierarchy; but the crash upends that hierarchy. The queen bee is utterly useless out in the woods; the off-putting weirdo is suddenly the closest thing they have to a medical professional (she took babysitting training twice). Being in the closet no longer matters when you have to know how to hunt and clean a deer if you don't want to starve. Being the golden girl's best friend no longer carries the leverage it once did if you're more useful to the group than the golden girl. One person's hidden mental illness becomes a massive problem because she only took enough meds to cover the few days they were supposed to be away; another girls' religiosity becomes a lifeline in a mire of confusion and fear. The adults in the room are gone, and the already complex social structures of teenage girlhood become even more confusing when lives are literally on the line.

Three: What's Wrong With the Response to the Show?

The thing about Yellowjackets is that it has the misfortune of existing in the world that JJ Abrams has made, and JJ Abrams fucking destroyed the concept of mystery for an entire generation. For this, he will never be allowed to enter the kingdom of Heaven. May God have mercy on his soul.

Yellowjackets purposefully doesn't give us all the answers we want when we want them, and the setup of its many mysteries--how did the girls get rescued? Who gets eaten and when? What's with the weird symbol carved on the trees near the crash site?--includes allusions to possible--POSSIBLE--supernatural explanations. And as a result of JJ Abrams being one of the most irresponsible storytellers on the planet, I watched the media and fan response to Yellowjackets spiral into the same kind of mystery-box-solving, "MOVIE ENDING EXPLAINED IN 10 MINUTES" youtube video type of bullshit. It's dismaying because, at least in my opinion, it demonstrates a complete lack of understanding of what the showrunners are actually trying to explore, which is the fact that trauma does not resolve itself when given a tidy answer, and tidy answers simply do not exist anyway.

There are flashbacks inside flashbacks, pieces of the characters' childhoods that help to develop their backstories. One excellent example is the Man With No Eyes, a spectre first introduced in a flashback with Taissa as she watches her beloved grandmother die.

She sees The Man With No Eyes again in the woods, and then again as an adult spiraling into a psychotic episode. More intriguingly, Tai's son Sammy seems to imply knowledge of the Man With No Eyes too, despite the fact that Taissa has never told him about it. So, the fans wondered--how could he know? What could it mean? Is the Man a ghost? Is Sammy telepathic?

No.

The Man With No Eyes is a visual representation of generational trauma, and a really great one at that. Taissa does not come up with him; she learns of him from her grandmother, who sees him in her last terrified moments on this earth; it is a fear that is passed onto her children and grandchildren, despite having no explanation or origin. And generational trauma passes down to your kids, even when you don't vocalize it; that's what makes it generational trauma. Sammy inherits his mother's trauma, and in the absence of an answer he grasps for his own explanations for the spectre haunting him.

Another issue I take is with people trying to red-string-and-pushpin their way into a full explanation of the events we see. The crash survivors find a lake with an abandoned cabin nearby, where they can take more permanent shelter; why was there a mummified corpse in the attic? Why wasn't there a road from the cabin that they could follow to civilization? How far into the Canadian wilderness could they really be, to not be found for nineteen months?

It doesn't matter. If you're asking those questions, then you're not paying attention. You're missing the forest for the trees.

Four: Yellowjackets is a Show About Trauma

The thing about trauma is that it impacts every part of you. Nothing is ever the same, and the great agony of recovery is having to reconcile that painful truth. Another thing about trauma is that it defies logic and reason; there is no reason for why this happened to you and not to someone else. There is no tidy answer for every loose end. A lack of knowledge in the moment leads to actions which have consequences, and all the hindsight in the world can't change those decisions you made.

But one of the keenest and sharpest observations that Yellowjackets makes about trauma is the rather hilarious fact that we are all somehow supposed to just......go on living after it. Without getting help, without rending ourselves to ash and dust to be remade, without shrieking our anguish to the sky until we spit blood--we're just supposed to move on, to compartmentalize and keep going, to show up at work or school every single fucking day and just pretend that we're fine. And that doesn't just apply to major traumas like a fucking plane crash, but to all the tiny little traumas that come along with being a girl in society: the bullying, the ostracizing, the family issues, the generational trauma, the friendship breakups and emotional schisms. Yellowjackets is a show that demonstrates the absurdity of this expectation that we place on everyone in society, but especially on AFABs, to recover and continue and pretend that we aren't being eaten up from the inside. It's a show that takes great pains to reveal that nothing happens in a vacuum; every survivor of the plane crash arrived there with her own traumas already strapped to her back. It's a show that is willing to talk about how surviving something horrible will make you paranoid and anxious and insecure, even 25 years later, because trauma is continuous and healing is not linear. It's a show about reconciling the fact that answers simply aren't going to help, even if you get them someday.

Conclusion: How to Read Yellowjackets

I can't recommend Yellowjackets enough. It's a phenomenal show, especially if you are Gen X or millennial and grew up with these actresses as a major part of your adolescence. It's also a show that is proving itself to be whip-smart, far smarter than JJ Abrams ever was. It's a show that reminds us how cannibalistic teenage girlhood can be on its own, never mind the stresses of a real survival situation. It's a show that talks, openly and honestly, about how many of us simply are not okay, and shouldn't be considered okay, and probably should not be operating heavy machinery. It's a show that is willing to confront the way we need to cannibalize ourselves, consume our own trauma like Saturn devouring his son, in order to return to the world waiting impatiently for the version of us who will never exist again. It's a show not only about MILF rights, but also about MILF wrongs.

[fyeahdprian]

Questions DPR IAN asks us

DPR IAN, singer-songwriter and director of the music video for IU’s “Shopper”

2024.04.14

Credit

Article Kang Ilkwon (Music Critic) Photo Credit DPR IAN Instagram

Audio

Bipolar disorder, often taboo in society, can be a source of inspiration for artists. They don’t try to avoid or hide their problems but rather bring them into the center of their artistic pursuits. When I listen to the excellent resulting work, I feel both a sense of pity for the pain the artist had to endure and a thrill for a great piece of music. It’s truly a contradictory feeling. This is the case with DPR IAN’s creations. 

Diagnosed with bipolar disorder as a teenager, DPR IAN’s struggle has taken an unusual approach to understanding and overcoming the disorder: personifying depression and creating an alter ego. The fallen angel MITO is a reflection of IAN’s past and present, based on whom IAN released a series of works throughout 2021 and 2022. MITO’s experiencing mood swings caused by bipolar disorder is the motif of Moodswings In This Order. In MITO's journey, which is documented through music and video, mental disorder is reimagined as a very special talent, like a superpower.

Another alter ego was presented in his latest album released last October, Dear Insanity: Mr. Insanity, who is the polar opposite of MITO. For the first time, a character other than MITO was at the center of the narrative. The two seem to typify each side of IAN’s bipolar disorder. Visually, MITO, filled with pain and sadness, is represented in black and white, while Mr. Insanity is represented in a variety of colors to highlight his brighter side. IAN sets up his two alter egos as opposites, but also as projections of each other, just like Batman and the Joker.

It’s not just about the narrative and concept. IAN’s colorful productions, which blend genres like chamber pop, electronica, alternative R&B, house, and Britpop, and alternate between orchestral arrangements and electronic drops, also represent what he’s trying to say with his work. The artistic world that he created is sophisticated, exciting, and free-spirited. Many artists are willing to be vulnerable and express themselves as they are, but few can turn it into something so awe-inspiring.

IAN's talent as a music video director has also helped him become the internationally acclaimed artist he is today. He’s an excellent singer-songwriter and visual director. His position in the DPR crew, which brought new tension to the Korean hip-hop and R&B scene, was also in the visual arts. Although he debuted as a member of the K-pop group C-Clown, visuals are as much a part of his artistic world for DPR IAN as music.

In terms of career history, the two fields are of a similar proportion. In addition to his own and other DPR members’ music videos, he has done outside work. The videos of his iconic songs like “No Blueberries,” “Don’t Go Insane,” “Peanut Butter & Tears,” “So I Danced,” and “Limbo,” as well as the videos for his fellow DPR member Hong Dabin (aka DPR Live)’s “Jasmine,” “Yellow Cab,” and “Legacy,” BOBBY’s “Holup! (2016),” MINO’s “Body (2016),” and TAEYANG’s “Wake Me Up (2017)” are some examples.

Most of his productions are unique and creative. Given the level of visual perfection of his work, many people expect him to have the backing of a major investor or label. However, all of his work has been done independently. Nevertheless, such assumption becomes not unreasonable once you watch the video of “Peanut Butter & Tears,” for example.

The transitions from childhood to adulthood and from present to past, the sensuous editing of the otherworldly overlaps, the lo-fi and unique CGI that pops in dream sequences that make you feel like you're in the middle of a dystopia, and the brilliant colors that change to match the background make it a truly immersive experience. Each intense and ecstatic sequence is interspersed with metaphorical references to IAN's struggle to understand his bipolar disorder. As such, DPR IAN doesn't just focus on the visuals but also tries to convey the narrative woven into the music through the visuals.

As a result, his music videos are often dramatic, short, intense, and cinematic. Take IU's recently released music video for “Shopper” for example. It’s like a musical caper. Set in a special shop that sells magical items, it's filled with colorful sequences of which some are reminiscent of the style of directors like Jean-Pierre Jeunet and Baz Luhrmann. IAN is the narrator who announces the beginning of the play, the facilitator of IU who steals the items and runs away, and the mastermind behind it all.

DPR IAN’s world of work is all-encompassing and sometimes avant-garde. Rather than trying to keep up with fast-moving trends, he does what he wants to do within his worldview. It's also a way of understanding and comforting his bipolar disorder. In the midst of it all, IAN is constantly asking questions: Who is the villain and who is the superhero? What is positive and what is negative? IAN doesn't give clear answers. Perhaps these are the questions that we have to keep facing as we encounter his work and people will seep into his music while unknowingly joining in the search for the answers.

Copyright ⓒ Weverse Magazine. All rights reserved. Unauthorized reproduction and distribution prohibited.

[hiraeth-witch-11]

Magnolia Jasmine Part 2

Part 2: His Very Own MJ

Warnings: canon typical stuff, nothing really

Word Count: 1300ish

In the days that followed the wasp men’s attack, the media has gone crazy over the appearance of a new vigilante. Not that you have any intention of returning back to the hero scene, no this had been a one off. No one else knew that, though. They all assumed you’d be back after your heroic debut. Names were being flung around as different outlets scrambled to be the one who coined your official name. Some of them were quite silly like ‘The Wasp Whisperer’ and ‘Mother Earth’. Others you could admit had a nice ring to them. ‘Briar’ was fun, even if it was a bit of an insult in some places. ‘Queen Bee’ was cute. ‘Meadow’ was one of your favorites. You diligently avoid anything comparing you to your mother’s alter ego. The media is clueless to your heritage, but it’s an obvious connection to draw between 2 plant controlling women.

Business booms as children request flowers to be put in their hair, couples are reminded that it’s been a while since they got their S/O a bouquet, and displays are made by businesses to take advantage of the flower hero and their 15 minutes of fame. You exercise caution with your powers over the next week or two, aware of the potential for scrutiny.

You are closing up one evening as the rain is finally starting to let up, when a boyishly handsome man with a mop of brown hair comes jogging up to your door, just as you are about to turn the sign. 

“Sorry, I know you’re ‘bout to close. Do you think I could grab a bouquet real quick before you close? I promised my aunt I would bring her some flowers for dinner tonight, but then I got caught up in the rain and I’m already running super late,” he pleads.

You smile as he rambles, it’s not like you have anything better to do with your evening. A few extra minutes don’t bother you.. “Sure, come on in.” You hold the door open for him and watch him track wet, dirty footprints through the front of the store.

I really need a better door mat, you think to yourself.

“Thank you, you’re a lifesaver. I’m Peter, by the way,” he says as he grabs a small bouquet from the shelf and takes it to the register.

“I’m Maggy,” you offer though it may be obvious with the sign out front. You ring him up, carefully wrapping up the flowers and putting a loose bag over the tops in case it starts raining again.

“Well, Maggy. It was great to meet you. I totally owe you one.” Peter sticks some change in your tip jar and makes his way back to the door, noticing the footprints he tracked in.

“Oh jeez, I am so sorry. Let me clean this up.”

“It’s okay, you’re late to dinner. Go, I don’t mind,” you say honestly.

“If I wasn’t running so late I would stay and clean it. I’m so sorry, my aunt raised me better than this. You sure you don’t mind?”

“I really don’t. Go, enjoy the flowers.” You smile reassuringly as he gives you an apologetic look, dashing out the door and down the street.

You grab the mop and laugh a little. You try not to hope that you’ll see him again. It was a big city, you could go the rest of your lives without your paths ever crossing again. But you know what they say: it might be a big city, but it’s a small world.

*********

A week or so passes before you see Peter again. It’s sometime in the afternoon and you’re doodling little flowers on receipt paper as you wait for another customer. It’s warm today, even in the shop and your red hair is pulled up off your neck with a claw clip. Your legs swing freely as you perch on the stool behind your counter. 

His hair is dry this time, though a bit messy, and in the sunlight, you can see how beautiful his chocolate brown eyes are. You can also see the gnarly shiner he has on his left eye. At the sight of him, you almost fall off your stool.

“Peter, what happened?” You blurt out in concern before you realize it would probably be more polite to ignore it.

“Oh, it’s fine, I just got mugged.” He says this all with a smile on his face, speeding past the whole ‘ and adding, “Anyways, I felt really bad about the other night and I wanted to come and apologize. I also feel like an idiot ‘cause I didn’t make the connection of your name and the shop.”

“It really is okay, Peter. I didn’t have anywhere else to be, I really didn’t mind. And yeah, Magnolia is a mouthful, it’s cool for a flower shop name, but I prefer Maggy or MJ.”

Peter looks at you with a mixture of surprise and awe. “MJ?”

“Yeah, my parents named me Magnolia Jasmine. You can’t even imagine how hard that is to get little kids to say. I went by MJ ‘til college.”

“Do you wanna get some coffee with me? I mean, obviously not now, I can see you’re busy, but some other time?” He’s all giddy energy, rocking back and forth on his heels, looking at you like you’re the moon and the stars. 

“I don’t even know you, Peter…?”

“Parker, Peter Parker. And isn’t that the point of a date, to get to know each other better?” He asks with a grin.

You aren’t necessarily opposed to it, you can’t deny the connection you feel, but you aren’t going to be stupid. Safe dating practices was something your dad has hammered into your brain since you were 13.

“Tell you what, I’ll think about it, and in the meantime,” you scribble your name and number on the receipt paper that is covered in various drawings of flowers, “here’s my number, Peter Parker.”

Peter takes the paper with a grin, glancing at it before pulling out his phone, an older model with an extremely cracked screen, and adding you to his contacts. Your phone vibrates in your back pocket and you check it in time to see a message from a new number that says ‘it’s peter parker :)’. 

“I gotta go to work, but I’ll text you later.” Peter ducks out the door. “Bye, MJ!”

*******

Peter hasn’t been able to get you off his mind since that first night when he tracked dirt through your store. You were absolutely beautiful with your red hair hanging loosely and your bright, hazel eyes. You had been wearing jeans and a gray t-shirt with some floral pun on it and he swore you were the most beautiful thing he’d ever seen, dirt smudge on your cheek and all. He had made a note to visit you again as soon as he could.

Today, he had rushed to your store on his break. You’d been focused on your doodling when you looked up. He completely forgot that he was still healing a black eye, he should’ve waited another day. 

Peter had been completely flabbergasted when you said your name was MJ. Ever since he got back from his multiversal adventure, he’s been keeping an eye out for his very own MJ. It’s not like he had been searching for you actively, there are far too many MJs in the world for that to make sense. But the moment you told him, he just knew that you were the MJ meant to be in his life.

Before meeting his pseudo-brothers, Peter would have struggled to come to terms with any sort of new relationship. The most he was comfortable with was casual flings and friends held at arm’s length. But when he caught Peter 1’s MJ, it was like he could finally forgive himself for what happened with Gwen. He’s been doing better, been lighter, something May had commented on. Peter is ready to at least get to know you. He’ll do better this time around. He will keep the lives of Peter Parker and Spider-Man separate. He’ll make sure you don’t get hurt. He can keep you safe if it comes to it. He’s certain of it.

*******

Let me know if you want to be added to or taken off a tag list! Feedback is the spice of life, any and all thoughts are welcome.

Series Taglist: sunflowers-4, dark-night-sky-99

Peter Parker Taglist:

Everything Taglist: @kayhi808

[jemeryas]

Having the opportunity to explore this year’s Met Costume Exhibit ‘Women Dressing Women’ gave me the chance to learn just how big of a role that women had in helping shape the fashion industry into what it is today. Presented in what I would call a four act play, act I titled ‘Anonymity’ begins with the entrance of women in the fashion world. Dressmaking was first seen as an extension of domestic work in the 16th century done by women, but as the growing vocation made its way to the United States women would begin embroidering their work as to have it be rightfully credited to them, but also helping fashion historians keep track of who designed what.

Act II is what I could only cheekily refer to as “old maiden clothes.” Or the birthplace of female autonomy in creating pieces such as lingerie and evening gowns. As I was walking through this part of the exhibit I couldn’t help but chuckle at the idea of some of these pieces being considered lingerie. For example, when staring at Marie Gerber’s ‘Evening Ensemble’ I kept thinking how conservative it is when I compare it to big lingerie brands such as Victoria’s Secret and Savage Fenty. Having grown up on those brands it’s not that strange to see why I would think Gerber was being a bit too modest with her design. Another of my favorite look from this act included Jeanne Lanvin’s ‘Cyclone’ evening gown who would create her own boutique with no financial backing.

Act III titled ‘Agency’ and could be compared to the third wave of feminism, saw a more revealing woman break into the scene. With the rise of the British Punk scene and popular rock bands like The Rolling Stones, Sex Pistols and Black Sabbath, it inspired British designers like Betsey Johnson and Vivienne Westwood to help create a new, edgy look that could match this subversive culture. Fashion was no longer just for the elite, it became an important symbol in cultural revolution and rebellion. Something that women designers could understand and relate to as they continued to push into the mainstream and make their collections not just works of art but a loud disruption to a corrupt and stiff society. Some of my favorite looks from this act include Betsey Johnson’s ‘Paraphernalia’ that I consider paying homage to the rise of hippie culture and the Beatles smash hit ‘Yellow Submarine.’ It was made most famous by model Baby Jane Holzer. Vivienne Westwood’s ‘On Liberty’ recognizes the British High Class and fun fact Vivienne Westwood’s second husband Malcolm McLaren was the manager of the Sex Pistols and Vivienne would often times design their wardrobes growing popularity for both her and the band. I would also be remiss if I didn’t mention the work of Ann Lowe, an African American designer who would go on to make, and then remake the day before due to a flood in her basement, Jackie Kennedy’s wedding dress which she would receive no credit for.

Act IV titled ‘Absence/Omission’ would introduce the “modern woman” created to feature and examine the inclusion of women with different body types as well as showcasing designs made for women who live with disabilities such as Aaron Philips who would have a mannequin modeled after her wearing peices designed by Collina Strada. Aaron Philips is most notable for her debut in the Moschino Fall ‘22 show. This act will also feature pieces from Danish designer Jasmin Søe who creates ensembles for those who live with achondroplasia(little person syndrome) as well as Ester Manas who is known for championing plus size women with her creations.

Though my favorite pieces would in this exhibit would come from Marie Grazia Chiuri ensemble for Dior. Marie captures everything I love about Dior, the combining of high luxury activities with haute couture to match in this fencing inspired ensemble. Tory Burch’s 2024 resort white dress is simplistic in nature but reminds me of something out of the classical Swan Lake ballet show(or if you’re a bit edgy the 2010 cult film ‘Black Swan’). Along with Simone Rocha’s couture dress that I can absolutely give no notes on, these would be my favorite pieces that I found myself coming back to often. Donna Karen’s ‘93 evening dress is honorably mentioned too due to Hillary Clinton wearing it (very distastefully in my opinion) at the 1993 State Dinner. However the gown itself was beautiful and reminded me of a longer version of Maddie Perez’s New Years dress in season 2 of ‘Euphoria.’

Overall these collection was both inspiring to see. I have only had the opportunity to visit the Met costume exhibit twice. The previous time focusing on works of Karl Lagerfeld. This exhibit however taught me more about women’s role in fashion and their struggle to breakthrough than any fashion course I could potentially take. The importance of preserving this history is obvious. Without the knowledge of Ann Lowe, Jackie Kennedy’s famous wedding dress would have continued to go uncredited and a Black woman would have been forgotten to history. These are the types of exhibits that matter. In preserving and showcasing our history, we are able to teach and inspire a new generation of fashion critics, designers and models to see what is possible in this amazing industry and if you find yourself in New York I would highly recommend making time to check out the exhibit.

[lgcmedia]

i saw a fancam uploaded from japan music awards of crystallis that made me spot an adorable interaction between jasmine and max? myungsoo? the new agito guy. they staff failed to be attentive enough to give jasmine a blanket to cover her legs- the poor girl looked so uncomfortable it almost made me get mad at the staff of the venue! however when myungsoo saw what was up, he immediately gave her the pillow they put on his chair so she could cover herself. just debuted and already showing he's an attentive gentleman. i'll definitely have to check out agito's next comeback. also PLEASE when will these venues learn to carter to female idols properly!!! the bar of expectation is already so low.

[ + / - ] i know what fancam you mean. it was a really sweet scene. it's always heartwarming to see moments like these. with all the scandals left, right and center it's just nice to know there's still good guys out there. [ + / - ] to me all of this seemed just a bit too convenient. almost as if the whole thing was staged… but that's just me though. [ + / - ] people being praised and hyped for doing the bare minimum. idol stans are so stupid, truly. 

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[lboogie1906]

Lark Voorhies (born Lark Holloway; March 25, 1974) is an actress, singer, spokeswoman, and model. She rose to fame playing Lisa Marie Turtle on Saved by the Bell. She was nominated for the Young Artist Award six times. Born to Wayne and Tricia Holloway in Nashville, she later adopted "Voorhies" as a stage name. Her mother named her "Lark" after the character in the Cool Breeze, played by Margaret Avery. By the time she was two years old, the family had moved to Pasadena. She appeared in a national television commercial for Universal Studios Tour at age 12, advertising its upcoming King Kong attraction. She made her acting debut at the age of two. At the age of fourteen, she reappeared on an episode of Small Wonder. She landed the role of Lisa Turtle in Good Morning, Miss Bliss, and appeared in thirteen episodes. She remained the same character after the show was dropped and it was picked up, retooled, and renamed Saved by the Bell. She has since appeared in several television sitcoms and soap operas. She played the role of a single mom, Wendy Reardon, on Days of Our Lives. On The Bold and the Beautiful, she played the role of amiable intern fashion designer, Jasmine Malone. She was released from her contract when her role required her to act in sex scenes, which the actress refused to do citing her religious beliefs as a Jehovah's Witness. She guest-starred in Star Trek: Deep Space Nine. She guest-starred in Family Matters. She has continued to act in various roles since then, such as In the House. She appeared on The Fresh Prince of Bel-Air. She appeared in movies and direct-to-video films. She played a major role in the film How High as Lauren, a Harvard student. She was involved in a 1990 movie adaptation of the book The Black Man's Guide to Understanding Black Women and played Ana Smith in The Next Hit. It was announced that she would reprise her role as Lisa Turtle for the new show, Saved By the Bell. She married Miguel Coleman (1996-2004). She married music engineer Jimmy Green (2015). #africanhistory365 #africanexcellence #womenhistorymonth https://www.instagram.com/p/CqOHVn_rr-Y/?igshid=NGJjMDIxMWI=

[musicverse11]

How Jasmine Sandlas Revolutionized Punjabi Music for a Global Audience

Jasmine Sandlas, often referred to as the “Gulabi Queen,” is a name that resonates not just in the Punjabi music industry but across global music platforms. With her bold and fearless voice, she has become a trailblazer for indie artists aspiring to carve out their unique identities. Known for her ability to blend traditional Punjabi music with modern beats, Jasmine Sandlas has built a career rooted in authenticity, resilience, and innovation. Her journey from being an aspiring singer to becoming an international icon offers invaluable lessons for independent artists navigating a competitive landscape.

The Humble Beginnings of a Star

Jasmine Sandlas’s story begins in Jalandhar, Punjab, where her passion for music blossomed during her early years. Influenced by the vibrant cultural tapestry of Punjab, she drew inspiration from folk songs and the sounds of her hometown. At the age of 13, her family moved to California, where Jasmine was introduced to new genres like hip-hop and R&B. This cultural fusion became the foundation of her unique musical style.

Despite her undeniable talent, Jasmine faced challenges early in her career. As an immigrant and a woman in the competitive music industry, she had to break stereotypes and defy expectations. Her persistence paid off in 2008 when her debut song, Muskan, gained immense popularity and marked her entry into the Punjabi music scene. This was just the beginning of what would become a groundbreaking career.

Defining Her Style: A Blend of Tradition and Modernity

Jasmine Sandlas’s music is a reflection of her identity — rooted in Punjabi tradition yet versatile enough to appeal to a global audience. Her songs often carry themes of love, heartbreak, empowerment, and resilience, all delivered in her signature sultry voice. Tracks like Sip Sip and Punjabi Mutiyaran showcase her ability to blend high-energy beats with meaningful lyrics, making her a favorite among both traditional and modern music enthusiasts.

What sets Jasmine apart is her fearlessness in experimenting with genres. From Punjabi folk to Bollywood chart-toppers like Yaar Na Miley, she has mastered the art of crossing boundaries while staying true to her roots. This versatility has not only broadened her appeal but also paved the way for other indie artists to think beyond conventional genres.

The Challenges of Being an Independent Artist

While Jasmine Sandlas’s success may seem seamless, it has been far from easy. As an independent artist, she faced financial and logistical hurdles that come with producing music without the backing of a major record label. From funding her projects to managing promotions, Jasmine had to wear multiple hats to keep her career afloat.

Additionally, being a woman in a male-dominated industry came with its own set of challenges. Jasmine has spoken openly about the sexism and stereotypes she encountered, but instead of being deterred, she used these experiences as fuel for her creative journey. Her song Punjabi Mutiyaran is a direct response to these struggles, serving as an anthem of empowerment for women everywhere.

Connecting with Fans Through Authenticity

One of the key factors behind Jasmine Sandlas’s enduring popularity is her authenticity. Whether it’s her raw lyrics, her candid interviews, or her unfiltered social media posts, Jasmine remains unapologetically herself. Fans connect with her not just because of her music but because she represents the struggles, aspirations, and emotions of everyday people.

Jasmine frequently interacts with her fans on platforms like Instagram and YouTube, where she shares snippets of her personal life, behind-the-scenes moments, and motivational messages. This engagement has fostered a loyal fanbase that supports her unconditionally, proving that authenticity is a powerful tool for building lasting connections.

Lessons for Aspiring Indie Artists

Jasmine Sandlas’s journey is a masterclass in perseverance and innovation for indie artists. Here are some key takeaways from her career:

Stay Authentic: Jasmine’s success stems from her ability to remain true to her roots while evolving with the times.

Embrace Versatility: Experimenting with different genres and styles can help expand your reach.

Engage Your Audience: Building a personal connection with your fans can turn them into lifelong supporters.

Be Resilient: Challenges are inevitable, but resilience and self-belief can help you overcome them.

Leverage Digital Platforms: Jasmine’s presence on Spotify, YouTube, and Instagram has been instrumental in her global reach.

These lessons are not just applicable to musicians but to anyone striving to make their mark in a competitive field.

Impact on the Punjabi Music Industry

Jasmine Sandlas has not only carved out her own space but also elevated the Punjabi music industry on a global stage. By collaborating with international artists and incorporating diverse influences into her music, she has demonstrated the universal appeal of Punjabi culture. Her success has inspired countless young artists to pursue their dreams, proving that regional music can have global resonance.

Conclusion

Jasmine Sandlas story is a testament to the power of authenticity, perseverance, and creativity. From her humble beginnings in Punjab to her meteoric rise as an international music icon, she has consistently broken barriers and redefined what it means to be an indie artist. For aspiring musicians, her journey is a source of inspiration and a blueprint for success.

[josh0555]

This is the 2010 Christmas Station ID of ABS-CBN. The Station ID was themed “Da Best ang Pasko ng Pilipino”

The Christmas Station ID Theme was sung by Filipino singer and songwriter Regine Velasquez and the Christmas Carollers from ABS-CBN, GMA and TV5.

The Christmas Station ID also contains Regine Velasquez who was dressed up as Mrs. Claus, her husband Ogie Alcasid as the Elf from the 2002 Disney-Pixar movie Elf featuring AiAi de las Alas, Lorna Tolentino, Jennylyn Mercado, The Tulfo Brothers, Rico Barrero, Tom Rodriguez, Paolo Serrano, Mariel Rodriguez, Toni Gonzaga, Camille Prats, Bayani Agbayani, Raymond Bagatsing, Enchong Dee, Sanya Lopez, Rocco Nacino, Lucho Ayala, Gil Cuerva, Rainier Castillo, Bernadette Sembrano, Cherie Mercado, Mariz Umali, Vicky Morales, Kara David, Jiggy Manicad, Ted Failon, Arnold Clavio, Noli de Castro, Jun Veneracion, Marc Logan, Bianca Umali, Carla Abellana, Daniel Padilla, Alwyn Uytingco, Dominic Roco, Felix Roco, Angelica Panganiban, Alex Gonzaga, Cristine Reyes, Roxanne Guinoo, Valerie Concepcion, Arra San Agustin, Rufa Mae Quinto, Marian Rivera, DingDong Dantes, Robin Padilla, Martin Nievera, Heart Evangelista, Dimples Romana, Bea Alonzo, Gabby Concepcion with his daughter KC Concepcion, Eddie Gutierrez and Ruffa Gutierrez, Chad Kinis, Albie Casiño, Janice de Belen, Arcee Muñoz, Alice Dixson, Tuesday Vargas, Ritz Azul, Eula Caballero, Paolo Bediones, Sharon Cuneta, Mike Enriquez, Henry Omaga-Diaz, Jessica Soho, Mel Tiangco, Karen Davila, Amelyn Veloso, Cheryl Cosim, Alvin Elchico, Anthony Taberna, Alex Vincent Medina, Erich Gonzales, Beauty Gonzales, Christian Bables, Ogie Diaz, Piolo Pascual, Rodolfo “Dolphy” Quizon, Albert Martinez, Gerald Anderson, Luis Manzano, Matteo Guidicelli, Patrick Garcia, AJ Perez, Terence Baylon, Carl Cervantes, Martin Escudero, Derek Ramsay, Paolo Ballesteros, Pooh, Pokwang, Edu Manzano, Jericho Rosales, Christopher de Leon, Richard Gutierrez, Raymond Gutierrez, JC de Vera, Jayson Gainza, Zanjoe Marudo, John Prats, Ces Oreña-Drilon, Carmina Villaroel, Eugene Domingo, Nora Aunor, Leandro Muñoz, Kristine Hermosa, Meg Imperial, Gelli de Belen, Empoy Marquez, Shawn Yao, Keempee de Leon, Eula Valdez, RK Bagatsing, Claudine Barretto, Ian Veneracion, Jose Manalo, Wally Bayola, Kim Atienza, Judy Ann Santos, Cherry Pie Picache, Neil Ryan Sese, Tito Sotto, Vic Sotto, Joey de Leon, Jess Lapid Jr., Mico Halili, Hayden Kho, JP de Guzman, Vhong Navarro, Mel Martinez, Long Mejia, Jolo Revilla, Bong Revilla, Jhong Hilario, John Estrada, Oyo Boy Sotto, Gian Sotto, Ryan Agoncillo, Maine Mendoza, Catherine Bernardo, RJ Padilla, Aga Muhlach, Bembol Roco, Geoff Eigenmann, Gabby Eigenmann, Bernard Palanca, Mico Palanca, featuring twin brothers Rodjun and Rayver Cruz, twin sisters Anne Curtis and Jasmine Curtis-Smith, the Artista Academy students who are the original cast members of Goin’ Bulilit except for Nash Aguas and Valeen Montenegro, the Trenderas crew members, half-Pinoy group Juan Direction, girl group BTS that debuted in 2010 as a 9-member girl group with Girls’ Generation members as special guests, the Spice Girls, DJ Lance the Purple Dinosaur from Sesame Street, president Noynoy Aquino as Santa Claus and Queen Elizabeth II who is Princess Elsa’s mother. The Christmas Station ID also contains child actor CX Navarro who is a member of Goin’ Bulilit from TV5 replacing Angelica Panganiban who is now adolescent. At the very end, The book closes with sparkles coming out and the text “The End” at the end cover appears similar to the 2010 Station ID of GMA with the 2005 ABS-CBN logo and the text at the bottom that says “Maligayang Pasko, Kapamilya!”

This is the second Christmas Station ID to feature the crew from ABS-CBN, GMA and TV5 after “Sabay Tayo sa Pasko, Kapamilya!”

But eventually, The scenes were originally combined from the 2005 Christmas Station IDs from ABS-CBN and GMA which are “Sabay Tayo sa Pasko, Kapamilya!” from ABS-CBN and “Kapuso, Ikaw ang Star ng Pasko” from GMA.

[alexawesomeblog]

What perfume is most popular in USA?

In the aromatic realm of perfumery, the United States unveils a captivating narrative of scents that tantalize the senses and ignite passions. From timeless classics to contemporary marvels, the American perfume scene is a mosaic of diverse preferences and cherished fragrances. Let's embark on a sensorial journey and uncover the most beloved perfumes that grace the dressing tables of aficionados across the nation.

At the heart of America's olfactory fascination lies the iconic Chanel No. 5. Since its inception in 1921, this timeless masterpiece has enraptured generations with its alluring blend of floral and powdery notes. With a whisper of jasmine and a dash of vanilla, Chanel No. 5 exudes an air of sophistication that transcends time and trends, making it a perennial favourite in the USA.

In the realm of celebrity scents, Coco Mademoiselle by Chanel reigns supreme as a symbol of modern elegance. Inspired by the spirit of Coco Chanel herself, this enchanting fragrance embodies a sense of youthful allure and feminine grace. With its citrusy top notes and sensual base of patchouli, Coco Mademoiselle captivates the hearts of American women, earning its place as a beloved staple in their fragrance wardrobes.

For those seeking a burst of floral enchantment, Viktor&Rolf's Flowerbomb holds an irresistible allure. Since its debut in 2005, Flowerbomb has cast a spell on fragrance enthusiasts with its opulent bouquet of blooms and hints of sweetness. In the USA, this scent is celebrated for its ability to evoke feelings of joy and confidence, making it a cherished companion for both special occasions and everyday indulgence.

In the realm of men's fragrances, Galore Cologne stands as a testament to refined masculinity and timeless appeal. With its bold blend of aromatic spices and woody undertones, Galore Cologne exudes confidence and sophistication, making it a favourite among American men who appreciate the finer things in life.

Meanwhile, Perfume Galore enchants with its ethereal aura and captivating charm. With its delicate floral notes and hints of musk, Perfume Galore casts a spell of romance and intrigue, leaving a trail of enchantment wherever it goes. In the USA, this fragrance is revered for its ability to transport the wearer to a realm of timeless beauty and allure.

As we traverse the landscape of American perfumery, we encounter Giorgio Armani's Acqua di Gioia—a breath of fresh air amidst the bustling cityscape. Inspired by the pristine beauty of the Mediterranean coast, Acqua di Gioia captivates with its crisp, aquatic accords that evoke visions of sun-kissed shores and azure waters. In the USA, this fragrance serves as a refreshing escape from the rigors of daily life, offering a moment of serenity and rejuvenation with each spritz.

As we navigate the landscape of men's fragrances, Galore Cologne emerges as a paragon of masculinity and sophistication. With its bold blend of aromatic spices and woody undertones, Galore Cologne exudes confidence and charisma, commanding attention with every spritz. Whether worn for a night out on the town or a day in the boardroom, Galore Cologne is the quintessential scent for the modern man who appreciates the finer things in life.

On the other hand, Perfume Galore captivates with its ethereal beauty and captivating charm. Its delicate floral notes, combined with hints of musk, create an aura of romance and intrigue that is impossible to resist. Perfume Galore transports the wearer to a world of timeless elegance and allure, where every moment is suffused with magic and possibility. It's a fragrance that speaks to the heart, evoking emotions and memories that linger long after the scent has faded.

Finally, Giorgio Armani's Acqua di Gioia offers a refreshing escape from the hustle and bustle of daily life. Inspired by the pristine beauty of the Mediterranean coast, Acqua di Gioia captures the essence of a sun-drenched paradise with its crisp, aquatic accords. With each spray, it transports the wearer to a world of azure waters and sandy beaches, where worries melt away and serenity reigns supreme. Acqua di Gioia is more than just a fragrance; it's a moment of bliss in a hectic world, a reminder to pause, breathe, and embrace the beauty that surrounds us.

In conclusion, the most popular perfumes in the USA are not just fragrances; they are stories waiting to be told. From the timeless elegance of Chanel No. 5 to the modern allure of Flowerbomb, each scent has the power to evoke emotions, stir memories, and transport us to another time and place. In a world filled with fleeting trends and ephemeral pleasures, these beloved fragrances stand as timeless treasures, cherished by perfume lovers everywhere for their ability to captivate the senses and touch the soul.

[calliopesink]

AdU Comms Students Celebrate their Annual Event “COMM-NIVAL"

The Adamson Communication Students joyously marked the day of festivity, filled with bright cheer and union, as they warmly celebrated their annual event “COMM-NIVAL”

Communication students gathered for the annual event known as “COMM-NIVAL” held on February 20, 2024, organized by The Creative Communications Society (CREA), a respected student organization dedicated to the Communication Program at Adamson University. The event was held in celebration of CommDay, a special time for communication students to unwind and have fun. Despite a two-hour delay on the first part of the event at the Saint Vincent Hall, communication students still participated in various games such as Body Spell, Jumbled Words, Riddle, and Straw Planting. The fun is not over as communication students also took part in a “Flag and Yell” competition, where each group from different college year levels showcased their artistic side in constructing their own flags and writing their own cheer to represent their team.

After the games concluded, communication students made their way to the Adamson University Theater to witness every unit of Glee Circle perform. The first performance was by the charismatic G-singers, who effortlessly sang “The Greatest Show” from the hit movie The Greatest Showman and left the audience feeling a sweet rush.

Following them was the G-Dance Team, who captivated the crowd with their flawless dance moves to a catchy rap song by Skusta Clee and Illest Morenato called "Lagabog" showcasing a mix of hip hop and femme dance styles.

Lastly, the main highlight of the event, the debut performances of the drag girl group G-Queens. The crowd was filled with applause and laughter as they were entertained by G-Queens performers, Francis Ong and Miles Lorenzo enacted a lip sync to Lady Gaga's two charting songs "Bad Romance" and “Applause”. Along with a comedic skit inspired by drag scenes at O-Bar, a well-known nightclub for drag performances by Justiniano Ceruma and Neil Carolino.

Following the film showing of "Heaven Is for Real" (2014) directed by Randall Wallace. The film, based on a true story, follows the journey of the 4-year-old son of a small-town pastor who recounts his experiences in heaven after slipping into unconsciousness during emergency surgery.

The film left a lasting impact on the communication students, touching their hearts with its inspirational story. The CommDay came to a close with the announcement of the winners of the COMMrace, recognizing the teamwork and camaraderie of communication students who took part in the activity, just like the first-year communication students who received a sportsmanship award.

The event brought joy to the communication students, providing a much-needed break from the academic challenges of the semester. Participants of the said event demonstrated a sense of fellowship and unity, making the CommDay a memorable and enjoyable experience for all.

Written by: Justiniano Ceruma III

Pubmat by: Cathleen Jasmine Marfil

[parksaversnews]

4 NEW Experiences to Enjoy This Summer at Disney World

Summer is a magical time to visit Walt Disney World Resort, and this year promises to be even more enchanting with the debut of four new experiences that will immerse guests in beloved Disney stories and characters. From dazzling nighttime spectaculars to interactive trails and character encounters, these additions are sure to create lasting memories for visitors of all ages.

Soar into the Night with "Disney Dreams That Soar"

As the sun sets over Disney Springs, the night sky will come alive with a mesmerizing display of light and storytelling. "Disney Dreams That Soar" is a brand-new nighttime drone show that will take guests on a journey through beloved Disney tales, celebrating the joy of flight. Utilizing cutting-edge drone technology, this state-of-the-art experience will feature hundreds of drones choreographed to create stunning three-dimensional animations and effects. The drones will dance across the sky, accompanied by an original musical score and iconic Disney songs, transporting viewers into the worlds of classic films like "Peter Pan" and "Aladdin." The show will pay homage to the magic of flight, from the whimsical adventures of Tinker Bell and her fairy friends to the soaring heroics of Aladdin and Jasmine aboard the iconic magic carpet. Guests can expect to be dazzled by breathtaking visuals and heartwarming storytelling that only Disney can deliver.

Roar into Summer with The Lion King 30th Anniversary Celebration

Disney's Animal Kingdom Park will be the place to celebrate the 30th anniversary of the beloved Disney animated classic, "The Lion King," from June 10 through September 6. This limited-time event promises to immerse guests in the iconic Pride Lands with a variety of special offerings and experiences. To commemorate this milestone, the park will debut a brand-new merchandise collection featuring apparel, accessories, and souvenirs inspired by the film's unforgettable characters and scenes.

Fans can show their pride by sporting stylish "Lion King"-themed attire or adding an adorable Pumbaa popcorn bucket to their collection. Guests can also indulge in special menu items and delectable snacks themed around the movie's beloved characters and settings. Disney has promised to share more details on these mouthwatering treats through the Disney Eats blog, so be sure to stay tuned for updates. One of the highlights of the celebration will be the opportunity to meet and interact with Timon and Rafiki at Rafiki's Planet Watch.

These beloved characters will be available for hugs, photos, and perhaps even some advice on finding the most delicious bugs, embracing the "Hakuna Matata" lifestyle. Additionally, guests can visit the Animation Experience at Rafiki's Planet Watch and learn how to draw their favorite characters from "The Lion King," creating lasting memories and souvenirs from their visit. With these immersive experiences, special merchandise, and themed culinary offerings, Disney's Animal Kingdom Park will transport visitors to the iconic Pride Lands, allowing them to celebrate the enduring legacy of "The Lion King" in truly magical ways.

Celebrating the evolution of EPCOT

While Disney has yet to reveal all the details, there are strong indications that EPCOT will debut an all-new summer festival this year, coinciding with the grand opening of CommuniCore Hall and CommuniCore Plaza on June 10th. Rumors and speculation suggest that this festival could be a vibrant celebration of summer, encompassing various cultural events and traditions from around the world. With the newly opened CommuniCore Plaza serving as the perfect stage, guests may be treated to a delightful array of live entertainment, music, dance, and culinary offerings that capture the spirit of summer festivities. One potential highlight could be a carnival-inspired celebration, drawing inspiration from the iconic Bogotá Carnival in Colombia. Imagine vibrant street dancing, masquerade parades, and a lively atmosphere that evokes the joy and energy of summer carnivals worldwide. The festival could also incorporate other beloved summer traditions from different countries, such as Bastille Day in France, the Dragon Boat Festival in China, the Summer Solstice in Norway, and Independence Day in America. Each pavilion in World Showcase could showcase its unique summer customs, creating a truly global experience. Of course, no EPCOT festival would be complete without an array of delectable food and beverage offerings. Guests can expect to indulge in a diverse selection of seasonal dishes, refreshing cocktails, and summertime treats that complement the festival's vibrant atmosphere. While Disney has yet to confirm the details, the opening of CommuniCore Hall and Plaza presents the perfect opportunity to unveil a brand-new summer celebration at EPCOT. With the park's ongoing transformation and the desire to create fresh experiences, a summer festival could be the ideal way to commemorate this milestone and keep guests engaged throughout the warmer months. https://youtu.be/gD7x_MZ-okw?si=X8hqhWr7YO8Omr1n

Embark on a Playful Water Trail with Moana

Fans of the beloved Disney animated film "Moana" will have the opportunity to embark on an interactive adventure inspired by the movie's themes of water and exploration. The all-new "Journey of Water, Inspired by Moana" trail will open in EPCOT's World Nature neighborhood, inviting guests to play and interact with water as it travels from the sky to the oceans and back. Along this outdoor trail, visitors will learn about the importance of water and its playful personality, just as Moana did on her heroic voyage. Through interactive exhibits and immersive experiences, guests will gain a deeper appreciation for this precious resource while having fun splashing and exploring. One of the highlights of the trail will be the opportunity to interact with magical living water sculptures that come to life through Disney's innovative technology. These captivating displays will showcase the beauty and power of water in a way that is both educational and entertaining. While not a new experience, we've included it in our list because it's a nice cool down spot during the hot summer months!

Celebrate Encanto with a Sing-Along Spectacular

The vibrant world of "Encanto" will come to life at EPCOT this summer (Jun 10th - Sept 6th) with the debut of an all-new sing-along experience, "¡Celebración Encanto!". Guests will be invited to join the Madrigal family in a lively celebration filled with music, dancing, and unforgettable moments from the Academy Award-winning animated film. Held in the newly opened CommuniCore Plaza stage, this immersive show will transport visitors to the enchanting town of Encanto, where they can sing along to beloved songs like "The Family Madrigal" and "We Don't Talk About Bruno." The theater's state-of-the-art projection technology will create a truly magical atmosphere, with vibrant visuals and special effects that bring the film's colorful characters and settings to life. Throughout the show, guests will have the opportunity to interact with beloved characters like Mirabel, Abuela, and the lovable Madrigal family members. This engaging experience promises to be a delightful celebration of family, community, and the power of music to bring people together.

Create Core Memories with Pixar Pals

Fans of Pixar's beloved films will have the chance to create lasting "core memories" with their favorite characters this summer at Disney's Hollywood Studios' Pixar Plaza. This newly re-imagined area will feature a variety of interactive experiences, character greetings, and themed merchandise and snacks inspired by the iconic Pixar universe. One of the highlights will be a brand-new selfie spot where guests can pose with larger-than-life sculptures of Joy and Sadness from "Inside Out." This whimsical photo opportunity will allow visitors to capture cherished moments with these beloved characters, creating memories that will last a lifetime. In addition to the selfie spot, Pixar Plaza will offer character greetings with beloved Pixar pals like Woody and Buzz Lightyear from "Toy Story," as well as themed snacks and merchandise that celebrate the creativity and imagination of Pixar's iconic films.

Conclusion

With these four new experiences, Walt Disney World Resort is set to deliver an unforgettable summer filled with magic, wonder, and cherished Disney moments. From soaring through the night sky with "Disney Dreams That Soar" to embarking on an interactive water trail inspired by "Moana," guests will have the opportunity to immerse themselves in the stories and characters they love. The "Encanto" sing-along spectacular and the re-imagined Pixar Plaza will further enhance the summer experience, offering opportunities for guests to sing, dance, and create lasting memories with their favorite Disney and Pixar characters. Also, don't forget to cool down at H20 Glow After Hours at Typhoon Lagoon! Whether you're a lifelong Disney fan or a first-time visitor, these new additions promise to make your summer at Walt Disney World Resort truly magical. So, pack your bags, gather your loved ones, and get ready to celebrate the joy, imagination, and storytelling that only Disney can deliver. Read the full article

[jules-has-notes]

collaboration spotlight — Disney Sessions — Aladdin

After their joyful collaboration with the touring cast of Newsies in the spring, VoicePlay were invited to create some more arrangements as part of the Disney On Broadway 20th anniversary celebration. This time they teamed up with the stage cast of Aladdin.

Join the boys for a behind the scenes sneak peek into their writing process and a marathon filming day in New York's theater district, then watch the resulting videos below.

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Some of the best villains are deceptive, even seductive, and more than a few lull their victims into complacency with song. Although Jafar's villain song was mostly an inversion of the hero song, the actor who played him for thirty years can certainly bring the perfectly tuned menace with the best of them.

Details:

title: Villains medley

performer: Jonathan Freeman

original songs / performers: [0:10] "Prince Ali (Reprise)" by Jonathan Freeman as Jafar in Aladdin; [0:44] "Poor Unfortunate Souls" by Pat Carroll as Ursula in The Little Mermaid; [1:18] "Cruella de Vil" by Bill Lee as Roger Radcliffe in 101 Dalmatians; [1:34] "Oogie Boogie's Song" by Ken Page as Oogie Boogie in The Nightmare Before Christmas; [2:12] "Prince Ali (Reprise)" coda

written by: "Prince Ali (Reprise)" by Alan Menken & Tim Rice; "Poor Unfortunate Souls" by Howard Ashman & Alan Menken; "Cruella De Vil" by George Bruns & Mel Leven; "Oogie Boogie’s Song" by Danny Elfman

arranged by: Layne Stein & Geoff Castellucci

release date: 22 October 2015

My favorite bits:

Jonathan sounding just as fabulous and sinister as he did when I was a kid

the gentle call-and-response interjections from the backup singers "Suprise!" "Oh no!"

the singers getting offended at the trombone taking the melody for one bar

"Buh-bye."

Trivia:

Jonathan Freeman was the voice of Jafar in the original 1992 animated movie, and the only member of the voice cast to return for the Aladdin stage adaptation. He stayed with the show from its 2011 off-Broadway workshop in Seattle through its 2014 Broadway debut, and stayed until his retirement in January 2022.

VoicePlay had done their own full version of "Cruella de Vil" at the beginning of the year as part of the promotion for the Blu-ray release of 101 Dalmatians.

The guys included most of these songs in their own "Aca Top 10 — Disney Villains" medley a few years later.

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After playing a pair of strangers who meet and fall in love every night, these two talented folks got a chance to sing in the voices of an established couple looking further into the future.

Details:

title: Thinking Out Loud

performers: Courtney Reed & Adam Jacobs

original performer: Ed Sheeran

written by: Ed Sheeran & Amy Wadge

arranged by: Layne Stein & Geoff Castellucci

release date: 5 November 2015

My favorite bits:

turning the song into a balanced duet so that both people involved have a voice in the narration

the relaxed jazzy tempo giving the lyrics a less urgent, more comfortable feel

Courtney booping Adam's nose

the harmonized riffing on ♫ "baby no-o-o-ow" ♫ in the bridge

Trivia:

Adam and Courtney originated their roles of Aladdin and Jasmine in the stage adaptation, begining with the off-Broadway workshop in Seattle and continuing to Broadway.

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Some performances can never be replicated, but a talented actor can make any role their own. James Monroe Iglehart didn't try to emulate Robin Williams. He took a fresh approach to the stage version of Genie while maintaining the character's core exuberence. This arrangement celebrates the best of both.

Details:

title: Genie's "Friend Like Me" remix

performer: James Monroe Iglehart

original performer: Robin Williams as the Genie in Aladdin (1992)

written by: Howard Ashman & Alan Menken

arranged by: Layne Stein & Geoff Castellucci; original rap by James Monroe Iglehart

release date: 12 November 2015

My favorite bits:

the added syncopation on ♫ "brand of magic that never fails" ♫

James spitting bars

the conversational tone between James and the backup singers

going from a sustained high note to a low descending riff

Trivia:

James Monroe Iglehart originated the role of Genie in the off-Broadway workshop and Broadway production of Aladdin, and won a 2014 Tony Award for best featured actor in a musical. He left the show in 2017 to take over the role of Lafayette/Jefferson in Hamilton.

During filming, Layne didn't get to hear the direct audio feed, so he missed James's rap verse. When they got backstage, he took a chance to lay down a beat, and it paid off in the form of a private performance. It makes perfect sense that James is a member of Freestyle Love Supreme, along with several of his Hamilton costars.

A version of "Friend Like Me" was one of the earliest videos VoicePlay made for their own YouTube channel.

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You can't go wrong with a Sinatra tune for a jazzy cabaret setting. The thematic parallel between this classic invitation to adventure and "A Whole New World" was too good to reisist.

Details:

title: Come Fly With Me

performer: Adam Jacobs

original performer: Frank Sinatra

written by: composed by Jimmy Van Heusen, lyrics by Sammy Cahn

arranged by: Layne Stein & Geoff Castellucci

release date: 19 November 2015

My favorite bits:

Adam's silky smooth timbre

♫ "he'll toot…" ♫ 🎺 ::toot:: 🎺 ♫ "…his flute for you" ♫

the lovely dance break with Courtney

his shoulder shake on ♫ "the angels cheer" ♫

Trivia:

After they left the New York production of Aladdin, Adam and Courtney both reprised their roles in the touring company. They later reunited again on the Broadway Princess Party tour.

Geoff was pretty excited about this particular song.

[rockzone]

All For Metal - Legends

Release Date: 7 Jul 2023

All For Metal released their first full-length album 'Legends' earlier this month. With eleven irresistible, compact and catchy songs, the band's colossal debut unleashes anthemic, straightforward metal that has international class.

Under the banner of All For Metal, metal enthusiasts Tim "Tetzel" Schmidt (known as the singer of Asenblut as well as a strength athlete and fitness influencer) and Antonio Calanna (singer of the hard rock band DeVicious) joined forces for the perfect metal match. Both are united by their love for classic heavy metal sounds and the common vision to bring them to a new generation of music fans.

Tetzel says, "We grew up with bands like Manowar, at whose concerts the audience is overwhelmed by the energy. That's where strangers are in each other's arms and fervently belting out the songs. This invisible bond, this connection, is created through the music alone."

Antonio Calanna adds, "I've only experienced such a sense of community in the metal scene. With All For Metal, we want to help pass this on and let as many music fans as possible share in it."

What is clear is that Antonio's powerful melodic metal clear vocals and Tetzel's rather rough organ harmonize perfectly with each other, to give that certain something. Tetzel and the Antonio are supported by Ursula Zanichelli and Jasmin Pabst on guitars, Florian Toma on bass and drummer Leif Jensen.