#like its 2014. time for classic tumblr

[freezer-bird]

1

[absolutebl]

Okay, FINE, the shows you should watch for BL's QUEER AF roots

You ready to go hunting?

Many of these are difficult to find. Also many of the images of them and their posters have been block/banned by tumblr, so, no screen grabs for you! (Good times.)

I don't necessarily *like* any of these, but if you are queer and in this fandom and need to dialogue around BL's queerness - these are going to provide a foundation for you. They are important for various industry, reputation, directorial, and cultural reasons. As seeds often are.

Trigger warnings throughout.

The true beginnings:

Boys Love, Japan's 2006 movie is a REALLY rough start featuring a journalist + hot model = murder gay, mild necrophilia, cheating, abuse, rape, and suicide for love. Start as you mean to go on, why don't you, Japan? Is it queer... maybe? Is it BL... honey, I am very sorry to inform you, this started BL.

Note: Yoshikazu Kotani is famous in og BL circles since he acted in 3 early BLs, both Boys Loves and then Same Difference. Also he v tall and hawt.

Eternal Summer, Taiwan 2006 - unlike Japan, Taiwan did NOT start how it would, eventually, go on. But what a messy way to start. A high school story of 3 besties in a love triangle, self discovery, and sexual awakening that fucks it all up.

No Regret, Korea 2006, is a very unhinged queer catastrophe piece about a lost gay man who ends up a host and then almost a murderer because of both his job and his identity.

Note: This is the directorial feature film debut of Lee-Song Hee-il Korea's (so far as I know) first openly gay director who specialized (to this day) in queer content.

The Love of Siam, Thailand 2007, this was Thailand's queer awakening, sure they would backpedal for YEARS after, but in 2022 they began to remember what this movie was (and did) and overtly referenced this quiet little masterpiece. This movie is sad but stunning in that way that the best queer works from Thailand can be (like Present Perfect or ITSAY.) It has Thailand's quintessential softness around theme and character, which you'll understand perfectly when highlighted against the backdrop of the early 2000s works from Japan, Korea, and Taiwan. Thailand will never lose this soft style and it's one of the most attractive qualities of Thai BL: it's never very harsh with us or its characters. This movie very easily COULD have been quite harsh indeed.

I thought long and hard about including Rice Rhapsody AKA Hainan Chicken Rice (Hainan ji fan) on this list and finally decided it doesn't really qualify. Still let me mention Hong Kong's 2005 movie. It is amazing, fascinating, and very rough going for an ostensible comedy. It wasn't the actual beginning because few saw it and Hong Kong never really picked up or ran with BL let alone QL, but it was hella queer. It's also hella homophobic.

Just Friends? (2009 Korea) - this is Korea's first (kinda) upbeat version of a BL featuring already established boyfriends, one of whom is on military leave, trying to decide on coming out, family life, and the future. All of these are themes Korea will pretty much never tackle again, retreating as they would to their bubble. But what a fun little offering this little show was and is to this day. You should watch it.

Like Love 1 AKA I Love You As A Man: Part 1 - China's 2014 offering is actually pretty classic early form live action yaoi with things like whipping boy, a university setting, rich/poor jock/nerd pairing, hard grumpy/sunshine and a very odd title. It's pre-censorship with an HEA, also explicit, yeah China once did that. This is a lot less queer that it is classic BL and classic Chinese romance, neither of which have any kind of connection to reality. But hey, that's what I'm here for. But it's important to note the drifting away from queerness beginning to occur.

Love Sick - Thailand's 2014 "boys in blues shorts" high school set soapy (in all ways) offering is widely considered the true beginning of Thai BL and by default, eventually, BL as we know it today. (As the biggest producer they somewhat dictate taste and trends in the genre.) This is one of those BLs that owes almost nothing to yaoi, although it started a number of tropes that are now endemic to Thai BL. What it is, instead, is a well scripted story of bisexual self-discovery and the inherent chaos of loving someone of the same gender for the first time, all wrapped up in hormones, existing relationships, and communication issues. It is high school queer angst at its messiest. Nothing is going to be easy for these boys because queer isn’t easy but also because life isn’t easy… welcome to adulthood sweethearts. Is is overtly queer? For 2014 Thailand? Sure is.

Love Next Door 2 a movie from 2014 and one of Thailand’s early very high heat pieces, it’s odd, but sexy I guess? Some unexpectedly decent queer rep including femme characters getting screen time + HEAs. (Part one from 2013 has the same high heat content and features the same lead character (and actor) discovering he is gay with the sex worker next door, but isn't as good nor is it relevant to this installment.)

A few other unknowns, for the queer babies

Wait For Me at Udagawachou AKA Udagawachou de Matteteyo - from Japan in 2015, this is a story about two boys in high school one of whom is a repressed outsider and the other who has a terrible secret (body dysmorphia & cross dressing). When the first boy discovers what's up with the second one, his reaction is very much fetishization. "Oh Japan must you?" kinda started for me with this show. But in this case, Japan, weirdly MUST. This is the ONLY show laboring under (and testing) a pointedly straight lens (or is it?) and identity examination (yes but which boys' identity? that's the question) that I've EVER seen even edge into the BL genre. It is crazy queer, even as it mostly focuses on the fetishization of identity from an outsider's perspective. I WISH more people in fandom would watch it so I could at least talk to someone about it.

The Lover (BL Cut) Korea's 2015 series had multiple couples in an apartment complex, one pair of whom is a BL romance between a Korean man and a visiting Japanese tourist (played by a Kpop idol). It's comedic, slapstick sexy only (no kissing), but basically starts up Korea's bubble and use of idols in BL. It's kinda fascinating to watch them dodge around and still represent gayness in what (is sadly destined to become) a very Chinese way, but which Korea in pursuit of Hallyu and market share would morph into the bubble.

Mr. X and I from China in 2015 is a compilation piece and, I think, the first of this kind of multiple narrative shorter grab bags AKA "Sampler Pack BL." Two of the stories are very queerly sad, but the third is CLASSIC BL of the kind that would become China's best (and last) true BL, Addicted.

Sweet Boy, (Thai 2016) Chimon's first gay role and it is quite sad, oddly sexy, and similar to Dew the movie or My Bromance (just so you know what you are in for) but the acting is on point. When Thailand goes dark, this is how they do it, but this is rough going for baby queers because that's the darkness it is exploring. Our old thematic friends: the pain of self discovery and coming out into a homophobic environment and unfriendly reality, and the cost of being the one able (and willing) to stay in the closet.

Method (Korea 2017) this movie is a May/December actor/idol pairing, that should have been everything I wanted in life but is more about the older character cheating on his wife and their weird “artsy” relationship and frankly, I hated it. And I don’t say that lightly. Is it queer? Who tf knows, but is sure has some interesting things to say about the nature of PERFORMATIVE queerness.

Red Balloon is Taiwan's 2017 precursor BL to their biggest and most famous prestige piece Your Name Engraved Herein. If you're making a choice, choose that instead, but this series certainly paved the way for it to come into existence. Both shows tackle the pressures of culture and social structures on self acceptance and identity and the loneliness inevitably caused by conflict between the two.

(As indeed does Life Love On The Line, Present Perfect, Grey Rainbow, Tropical Night, My Sky, and many other queer meets early BL pieces that revolved around coming out and family acceptance.)

China's 3 2017 "they tried to censor the gay... and it went HORRIBLY wrong":

Beloved Enemy,

The Fairy Fox,

Mr. CEO is Falling in Love with Him.

Honestly these 3 are basically the uncanny valley of BLs.

The Novelist AKA The Pornographer series (2018-2020). Messy psychological machinations, gaslighting, fetishization, sexual corruption, and more good times from "well, what did you expect?" Japan, but also no holds barred queer, just well and truly fucked in the head (and arse) about it.

The Cornered Mouse Dreams of Cheese AKA Kyuso wa Chizu no Yume wo Miru (Japan 2020) - Drama llama queers so queer and so dramatic it's like Japan is trying to PROVE something: obsession, cheating, break-up, reunion, then break up again, all of it explicit. This show is just SO JAPANESE. I can't even, but you should watch it and you'll know exactly what I mean. Something like My Personal Weatherman owes it's lineage to this kind of BL. If you like Japan naked, boney, emo, and smoking (hot & ciggy) you will love this, and should watch it. It's objectively amazing, I can't stand it, but I NEED people to talk about it more.

More Queer Stuff about BL from moi

BL Linguistics & Queer Identity - I Am Gay versus I Like Men 

Will BL Get More Honestly Queer? 

Actually gay, not BL gay - the idea of “by queers, for queers, about queers,” the BL bubble, sanitized gay, and a queer lens

Queer lens (from the director) and chemistry (from the actors) in BL (A Tale of Thousand Stars)

Touch & Daisy in Secret Crush On You - Queer Coded Language and 3rd Gender Identity

BL in Taiwan & Gay Marriage

Debating Queerbaiting in BL ( + Devil Judge… is it queerbaiting?) 

BL Actors and the Assumption of Queerness - outing actors, coming out, being out, more:  Is that BL actor actually queer?

So is it really fetishization? straight women loving bl 

Some BL fans are sasaengs, and it’s a problem in this fandom 

BLs That Highlight How Society Treats Queers

10 BLs That Are Honest to a Queer Experience 

If you like these kinds of shows try the "Moody Arthouse Smackdoodle" section of this post too.

Happy watching!

(source)

[cassettefuturism]

A brief introduction to Cassette Futurism

Cassette Futurism is a subgenre of science fiction that's characterized by outdated technology from the 70s-90s like cassette tapes, VHS, early computers, floppy disks, telephones, polaroids, game consoles and other analogue technology, architecture and music reimagined in a retro-futuristic style.

The genre also includes general appreciation for the actual technology and aesthetic of the time period, which also includes references and callbacks to 70s-90s pop culture.

The exact origin of Cassette Futurism is hard to pinpoint but we know its popularity began to see a rise in the 2010s on websites like YouTube, Instagram, Twitter and Tumblr.

The genre most likely branched out from other movements that involved nostalgic elements like Cyberpunk and Vaporware.

All of them have similar key elements such as:

• Retro-tech aesthetic

• Neon-lit color schemes

• Distorted, glitchy visuals

• Synth-heavy soundtracks

Examples of Cassette Futurism in media:

Movies

• Solaris (1972)

• Star wars (1977-)

• Alien & Aliens (1979)(1986)

• Back to The Future Part I & II (1985)(1989)

• Deadpool and Wolverine (2024)

TV Shows

• Classic Doctor Who (1963-1989)

• The Mandalorian (2019-)

• Infinity Train (2019-2023)

• Loki (2021-2021)

• The Book of Boba Fett (2022)

AniManga

• Akira (1988)

• Ghost In The Shell (1995)

• Neon Genesis Evangelion (1995-1996)

• Cowboy Bebop (1998-1999)

• Lycoris Recoil (2022)

Video Games

• Half Life (1998)

• Portal series (2007)(2011)(2022)

• Alien: Isolation (2014)

• Bomb Rush Cyberpunk (2023)

• Intergalactic: The Heretic Prophet

Community:

Wiki

Subreddit

Facebook Group

Aaaaaaand that's about it, thank you for reading this far and I hope you all have a wonderful day.

And remember, The Future is saved 200KB at a time.

[crowsintheforest]

2024 is the year where I got a job at a library (huzzah!!!) which meant that I read a lot. and a lot of that was from previous years! so here's my top 10 not of 2024 list, which is 40% books.

(end of year top 10 tag)

a wizard of earthsea (ursula k. le guin, 1968): I can't believe I've never read these books. I love le guin's writing, and excellent podcast "shelved by genre" reading these was a good incentive for me to actually get off my ass and read a bunch of le guin. her book of poetry from 2017 was almost on this list as well, beautiful and funny and old. going to go after more this year!

the seventh seal (dir. ingmar bergman, 1957): did you know that one of the classics of cinema is really good? also really funny? so go play chess with death and think about the end of all things

scavengers reign (joseph bennett and charles huettner, hbomax, 2023): this show made me weep. beautifully haunting and hauntingly beautiful, a scifi story that could be a cosmic horror if you forget that even the horrors are part of a greater ecosystem, and sometimes the horrors are not unknowable but merely unknown and strange. I still think about this show, and probably will for the rest of my life. best show of the decade so far.

look back (fujimoto tatsuki, 2021): putting the manga over the (also exceptional) ova because I think fujimoto's overall artistry hit just a bit harder. a story about the reasons we make art, and the companionship in finding another weirdo to make art with, and how we move on while looking back at what inspired us

a visit to san sibilia (peter eijk, 2021): I tried to play a few solo/journaling rpgs this year, and san sibilia was my favorite. also has a great playlist!

true detective s1 (showrunner nic pizzolatto, hbo, 2014): watched this after finishing aw2 and in the run-up to "night country" (also good, better in retrospect than I gave it credit for at the time), and this classic of Two Weird Dude Cops Coping Poorly with Manhood is excellent television. still bummed it wasn't as paranormal as it could have been, but them's the breaks.

"COUNTER/weight" (friends at the table, 2015-2016): come for the mecha rpg, gorgeous worldbuilding with millennia-old robots and sociopolitical intrigue, and the mashup of space/cyberpunk/giant robot anime; stay for aria joy scoring girls by failing super duper hard. also giant tarps.

gris (nomada studio, 2018): both the game and the ost, so I'm cheating here for a top 10. a story about grief and mourning and song and color, up there with scavengers reign for most beautiful thing I experienced this year.

palestine (joe sacco, 1991-1992): sacco's graphic journalism of his time in palestine during 1991 and 1992 is both of its time (specifically right after the first intifada, with ongoing riots and imprisonment and interviews with palestinians of all backgrounds) and imminently timely (given the ongoing genocide in gaza and israel's occupation of palestine). it's a hard project to read, but invaluable for being incredibly humanizing, and humbling, and necessary. sacco's upcoming collaboration with art "maus" spiegelman is going to be one of my most anticipated comics.

a memory called empire (arkady martine, 2019): do you like political intrigue space operas? do you like murder mysteries? do you like future cities heavily influenced by byzantium and the aztec empires? how about language, linguistics, and the reaches of empire? wait, this is tumblr. do you like messy gays? if so, have I got the book for you! (also the sequel, a desolation called peace, is fantastic, so you've got TWO books in one recommendation! aha, I cheat again at top 10 lists!)

[tbhimnoteasyonmyself]

Rak's Cartier Bracelets - EPISODES 1 TO 5

Hello, Tumblr. Today I hope not to be simply another Tumblrina with opinions but also a neurodivergent Tumblrina with hyperspecific interests and life history that come in handy for this particular purpose.

What interests and what history, you ask? Ah, but, of course! My deep knowledge of the Cartier Love Collection from, obviously, being a HunHan conspirationist in 2014 at the ripe age of 12.

Now, if I've satisfied your curiosity, let us begin.

So I was watching episode 5 today (don't blame me, I wanted to watch it sooner but I was on vacation bc my sister gave me a trip to Sevilla as a birthday gift) and one thing caught my attention during the argument scene.

That bad boy I very carefully (not really) identified for you is one of the most iconic Cartier products ever: A Love Bracelet™.

"Ok. Cool. But why does that matter?"

Well, for once it proves Rak is rich as fuck. Those bracelets go for THOUSANDS of euro. Like... The cheapest bracelet in the Love Collection is the intertwined rings bracelet in gold and rose gold (the white gold one is more expensive)

And it sells rn for 2120€ (2300$).

And that's for sure NOT the version Rak has!

From what I can tell, he's wearing this version:

Which is the classic Love Bracelet design in white gold.

This one is selling rn for 8750€ (9490$).

I think there can be an argument that he's actually wearing either the brushed version (left photo) or the small version (right photo)

which, respectively, are being sold for 8750€ (9490$) and 5650€ (6121$) but I think the version Rak has is

too shiny to be the brushed version;

too thick to be the small version.

Either way, it's a fucking expensive bracelet.

But this is not even why I wanted to point this out, I mean, yeah, of course Rak is rich, we are all well-aware of that.

The point here is that this bracelet is not just famous for being pretty (which, as far as my judgement goes, it really isn't, sorry not sorry). It is famous, more than anything else, bc of its meaning, which I'll let the brand tell you all about:

Which is why it caught my attention that Rak, of all people, is wearing one of these. Like... What the hell does this mean???

So I decided to investigate when did this bracelet first appear in order to have a feel whether or not this could potentially be plot-relevant, a character descriptor or simply a fashion choice. And what I found, my dear friends, is that this bracelet first appeared right at the beginning of ep.4.

Which is very suspicious because ep.3, we all recall, ended with Rak promising Mut that he'd stay on the island for a bit more.

BUT, before we start jumping to conclusions, I decided to check whether this bracelet stands the trial of ep.5 and remains until the very end which, big and revelant surprise, it does NOT.

It gets replaced, in the scene of the day after the fight by this one:

Which, I get it, it might be hard to see and identify but it's actually an old friend. In fact, it's the only other bracelet Rak has ever worn:

This has been on his wrist from the beginning of ep.1 to the end of ep.3 (excluding times when Rak was showering, sleeping or doing other activities where having a metal bracelet in the shape of a sharp nail would be impractical). And, would you look at that, if it isn't indeed: another Cartier bracelet. This time, a Juste Un Clou Collection bracelet.

Now, Juste Un Clou (literally Just a Nail), which is also fucking expensive (9500€ - 10292$ for the model he is wearing) has a bit of a different concept than Love, which is:

So what does it mean?

Well, there are some options but I'll tell you what I think makes the most sense:

Throughout the first episodes we see Rak being this person who's different from everyone else on the island. He's from the city, he's rich, he has a desk job, he even looks different from the people in the island, from what Muk says! (which, I get it, it's colourist and has it own set of issues and I don't love it at all but hey, I don't make canon, I just comment on it, so that's what we got and that's what I'll be doing)

He's also independent, he has his own money, pays for his own stuff, doesn't rely on other people. He wants to do everything alone, without Mut, even when it makes his life harder, when it's impractical, when it would be better to have help.

He also tries to be fearless, put on a front. He argues with Mut, wants to cast a shadow way bigger than himself to assert his place, wants to seem untouchable, like nothing could bring him down. We know, of course, it's not true, both us as the audience and Mut learn that through prolongued contact with Rak and exposure to his weaknesses and traumas but he still tries to uphold that image.

And, of course, he tries to be free in the sense that he tries not to create emotional attachments. ESPECIALLY not to Mut. Because he doesn't believe in love and doesn't think he can fall in love and he tries so, so hard not to let himself want and need people, he likes to act like he has no strings attached, like he can go about the world without thinking of anyone that gives sense to the word "home".

So, by making Rak wear this bracelet, what the show is telling us is essentially who Rak is or who he tries to be. These are the values that Rak upholds. In this sense, the Juste Un Clou bracelet is a character descriptor.

HOWEVER, after the most vulnerable, most beautiful post sex conversation in the history of Thai BL, Rak begins wearing the Love Bracelet. And this indicates a shift.

Now, the shift is not so much a change in Rak's personality (although there is some, he's been slowly changing since ep.1) but rather in what the narrative wants us to know now. Because, by now, we know Rak. We can discern all these characteristics, we don't need the bracelet as an identifier. What we need, rather, is to know that Rak means what he told Mut. Because he feels it.

See, contrary to the Juste Un Clou bracelet which is a bit more remarkable because of its unusual shape, the Love Bracelet seems fairly common, especially if you're not staring at Peat's people's dainty wrists. So you, much like the people around Mut and Rak, could miss the way in which Rak cares for Mut, because that love is unconventional, not bound by those traditional ways in which people demonstrate that sort of feeling (like Mut does, for example). Some could say... Free-spirited. Or, as well, because Rak himself is trying his hardest not to take note of it, burying it away and dismissing it. To no avail, however, because it is still there, as all of us can see (just like the bracelet). And, by the looks of it, will be locked there forever.

"Okay, Dante, but then why does Rak go back to the other bracelet? Is he no longer in love?"

Please have object permanence, darling, not all that exists can be seen at all times. Kkdkddjsjsks /j

Or, in other words: no, that's not it.

What it is, though, is that the narrative, once again, wants us to focus on other stuff.

As Mut tells Rak this episode (ep.5, for those in the future), he's been away, doing other stuff, buried in work... He's been complying to his duties and going back to the bad habits that cast a shadow over Rak's personality and who he really is, what he really wants.

So, that's why, when he chooses to indulge Mut and pay attention to him on his own (unlike what happens earlier in the episode, where Mut has to ask for this attention), he is back to wearing the Juste Un Clou bracelet. He's showing his colours again, of that independent person who's not just another city guy in the city but special in his own way.

It also serves to show us the subtle ways in which Rak is chaging. That free quality, for example, is slowly starting to mean not free from attachments but rather free from the chains of the trauma that is holding Rak back from forming and indulging in those attachments.

And, to top it all off, I have one smaller notice to add which is refering to the colour of the bracelets.

Now, for those who aren't familiar with jewelry metal, white gold is not white, it's silverish. And I say silverish because I mean exactly that: it is NOT silver, it's silverish. It still retains a warmish yellow undertone to it.

But I know, if you have a good eye, you can tell neither of the bracelets I showed you have a warmish yellow undertone to it. Good spot! That is because Cartier's bracelets have something that is actually pretty common: a rhodium-finish. This is what makes them so silver. And precisely why I think the colour matters.

You see... To the average person, who has no idea about Cartier bracelts and whatnot, both the bracelets might seem like a common metal bracelet. Not very valuable. And yet, they are white gold and worth a considerable amount of money.

If we translate that into the meanings I just explained, that would mean that people see Rak, this brat, spoiled, cold man and think him annoying, heartless, not worth their time. Same as I explained with Rak's kind of love: weak, barely even there, not real. Or even, if you want to interpret the Love Bracelet as a representation of Mut himself, then him as well. Judged as a simple person, boring, with nothing to offer but that is actually worth a lot. At least to Rak, who bought both the bracelet and Mut.

SO, what are the conclusions? Well...

Rak is FUCKING LOADED (and if he wants to provide for me as well, I'd gladly accept the offer, thank you);

Rak is an extremely complex character whose secrets are very much fun to uncover;

This series pays a lot of attention to small details and I love it for it!

And that's it.

It was a long post, I know so I'm sorry but I had to share my thoughts sdjkdjdkdjskdj

I'll keep an eye on this for the next episodes and if I have anything to add I'll let you guys know.

Also if you wanna add to this discussion feel free to, I'd love to hear it!!

All the love!! 💜💜💜

[jacqueline-p-rose]

In this year I finally ditched Spotify for good in favour of rebuilding my music library offline and, since May, I have been collecting again the music that was lost to time in the great iPod crash of 2016. 98% of the music I listen to now are mp3s on my phone (using the Poweramp app), and most of those songs are ripped from CDs bought cheaply and secondhandly from eBay. I feel that I listen to music differently from the yoothes in that I put on an entire album and listen to it through, so in light of the recent flight from Spotify in hand with my unsuppressed FOMO, I've decided to give you my top ten albums of 2024. So hear, my Not-ify Wrapped 2024!

1 - Antemasque - Antemasque

This is the real reason it's a list of top ten albums and not top ten songs, because the top 12 most played songs on my list are the 12 songs on this album. It's great, not only my favourite album of (2014) 2024, but one of my favourite of all time. I wrote a little more about why here if you're feeling read-y.

2 - London Grammar - If You Wait

A classic of a specifically difficult time in my life, brought back into another increasingly difficult time of my life. "Interlude" specifically gets to me and makes me cry, and you KNOW how I love to cry!

3 - Soundgarden - Superunknown

When I first heard Soundgarden as a pre-teen I remember thinking it was a bit too heavy for me, like... Too metal. It's taken being in my 30s to finally appreciate this bad boy. I don't know what I was thinking back then, maybe I was as soft as un-moulded jelly, but it's now one of my favourite albums of all time.

4 - Le Butcherettes - Sin Sin Sin

A prize for accepting the challenge of trying new things. I love how perfectly this slots in alongside The Dead Weather, while being far more interesting. Beautiful, beautiful, wonderful thing to come into my life.

5 - Boys Next Door - Door Door

Nick Cave was a better father to me than my real father. This album (along with Henry's Dream with the Black Seeds) I have plucked from the nostalgia of dads cigarette-ridden Pajero and claimed as my own. I hope my children have a more positive memory of it in future.

6 - Made Out Of Babies - The Ruiner

Made Out Of Babies is my answer if someone were to ask me what my favourite band is, so it's a little surprising to me to see it so low down on the list, although it's really an even match for play count with most of the other stuff on this list. The Ruiner and Trophy are a fantastic extrapolation of 90's grunge into the new millennia. Coward I don't like so much, maybe I'll appreciate it the same one day, but it is not today.

7 - Warpaint - Warpaint/Exquisite Corpse/The Fool

Really it's only Warpaint that is this high on the list, but I'm including the other two because I often play them all in a row. These are very new purchases to be on the list at all, but my partner likes it so I can get away with playing it during the day. Drone-pop my beloved.

8 - Spectacular Spectacular - Blur

This album is always left off those lists of trans musicians that get shared about tumblr, which is a shame. It's not screamy punk or noisy synth so maybe it gets overlooked amongst the GLOSS and HERS and Against Me! types, but there are other trans experiences and expressions, and this is one. Beautiful and heartfelt, a must listen when I'm sad about boys (which is often).

9 - Audioslave - Audioslave

Though often thought of by the cool kids as less than the sum of its parts, I really dig Audioslave. Just because it plays on the radio doesn't mean you can't enjoy it too, loose your grip on ego and enjoy yourself, I know I am.

10 - Portishead - Portishead/Dummy

Some guy I used to work with put on Portishead one day and was crestfallen when I said "I used to cry to this as a lovesick teenager." He clearly thought he had found something super obscure and was proud of himself for showing it off. Serves him right for playing "Sour Times" the day after I broke up with my girlfriend.

Honourary mention - Adam And The Ants - Kings Of The Wild Frontier

The reason I say 98% of my music is offline is because I listen to Adam Ant a lot on Youtube. This album seems impossible to find as a CD for some reason, even though it was reissued in 2004. It's on Spotify, but I've been struggling to find a copy of it off the streams, so while it's not in my top 10 from Poweramp, it is top 10 in my heart.

So there you have it, my top 10 albums of 2024. There are at least another five albums I would have thought would be on this list and aren't, but I guess the stats don't lie. In an era where Spotify doesn't pay artists unless they get over 1000 listens, and even then their cut is split with the giants till it's almost nothing, I think there's no better time to cut the umbilical to constant access and be more intentional about the music we listen to and the artists we support. I buy digital albums from Bandcamp when I can, but even when I'm buying old CDs at least I'm actually getting something for my $15 a month. The wait for them to arrive in the mail and the space they take up means that I have to be very deliberate about what music I enjoy and will actively choose to listen to, and that makes me enjoy them more. Sitting with the album cover reading through the booklet as it rips onto my hard drive and plays in the background is very grounding, in a way it gives me confidence in other life decisions, it's small practice in making choices and expressing intention, and being rewarded for it. I highly recommend you to try this too, and maybe next year your wrapped will be music you have had a connection with and felt something about, and not just a bunch of songs you listened to without thinking.

[waitmyturtles]

Turtles Catches Up With Old GMMTV: Love of Siam, The Intersectionality of Expectations and Demands, and the Tentacles of Influence On the BL Genre Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, in a long post, I cover the pre-BL film Love of Siam, and its tremendous influence on today's Thai television BL genre.]

As we recover from the first weekend of Only Friends...now for something a little different, ha.

I mentioned a few weeks ago that while I was on the chronological journey through my Old GMMTV Challenge watchlist, that I jacked up my watch schedule to roll back in time to add two pre-television-BL movies in Love of Siam (2007) and My Bromance (2014). My review of My Bromance will drop later this week, but I want to give more attention at the moment to Love of Siam, a seminal film for queer media in Thailand, and a definite influence and harbinger on the development of the future genre of television BL in Thailand after the film's release. Considering our beloved Thai BL auteurs who have been knowingly influenced by LoS: it's a must-add for the list.

Now that I've watched Love of Siam: while I know I'm reviewing it in my 2023 watch schedule out of order, I am tremendously glad that this review will sit on top of the enduring list as the first of the Old GMMTV Challenge syllabus, as I think it contains a number of themes that get explored in the future of television Thai BLs from 2014 on. As well, the film also opens a door into how Thai, pan-Asian, and international audiences of various demographics receive and have received the film over the last 16 years since the film's release.

Most importantly for this piece: I'd like to address Love of Siam in an intersectional analysis, specifically analyzing the film from the queer lens/perspective and the Asian lens/perspective. What I'd like to address about LoS is as follows:

1) A summary of the movie, why Love of Siam was remarkable when it was released, and a quick overview of who has been influenced by it in Thai BL auteur circles, 2) How the ending of the movie (spoiler alert) has been received and understood by specific audiences, 3) An intersectional overview of those potentially differing expectations and opinions, and what that intersection means for how the global television BL fandom watches and understands Thai television BLs today, 4) What we see today, theme-wise, by what works and artists I think were influenced by Love of Siam,

and other floating points as I come to them.

It was the inimitable @bengiyo who recommended -- nay, insisted -- that I watch Love of Siam, not only for the OGMMTVC syllabus, but also as a means of analyzing I Told Sunset About You by way of its story structure and resolution, which I'll get into in a few moments. (I actually had the very great pleasure of joining @bengiyo and @shortpplfedup, along with a few other clowns, to talk about ITSAY on an upcoming The Conversation podcast, in which Love of Siam came up as a topic -- thank you, Ben and NiNi, for the honor! I'll talk more about the conversation that took place in the podcast in a few moments.)

Love of Siam focuses on Mew and Tong, two young schoolboys who were separated by a family tragedy in Tong's family. After Tong's sister disappears and is presumed dead, Tong's father turns to alcoholism, and the family moves away. Tong's mother takes up the mantle of breadwinner and the glue that keeps the rest of the family together. When Mew and Tong reach high-school age, they reconnect in Bangkok's Siam Square mall. I'll try to not give too much more away, because there's a tremendous follow-up to Tong's sister's legacy within the film, but the movie is perhaps best known for its ending, in which Mew and Tong do not get together. The two had spent the film negotiating their attraction to each other in the face of the intervention of Tong's mother, who worked on keeping them apart, and reconnected with the help of a mutual friend in Ying, who originally had a crush on Mew before discovering he was gay. The ending echoes the common endings of the majority of queer media at the time, in which couples did not get together, and/or were forcibly separated, and/or were tragically eliminated. (Brokeback Mountain was released two years earlier in 2005, and André Aciman's original novel, Call Me By Your Name, comes out in the same year as LoS, in 2007.)

For broad cinematic context, Love of Siam was Thailand's entry in the 2009 Academy Awards for Best Foreign Language Film (now called Best International Film). To compare LoS to television BLs on the OGMMTVC list, only the Nadao Bangkok works (I Told Sunset About You, etc.) come at all close to the quality of LoS's filming. The acting, the cinematography, the pacing, and the story structure of this movie were all superb. I enjoyed every minute of it, despite the ending. (We had our first instance of Kob Songsit playing a father named Korn, which -- was it a coincidence that he did the same in KinnPorsche? Especially considering KinnPorsche's happy ending -- it's a high likelihood. More on this in a bit.)

The movie received a fair share of controversy upon its release, as it had been originally marketed as a love story between two heterosexual teen couples. The "surprise," as it were, of finding out that Mew and Tong were the main romantic protagonists, caught Thai audiences by surprise. The filmmakers reported that they were unaware of the modern extent, at that point, of Thailand's common homophobia, but @bengiyo also let me know that at the same time, fans of the film were devastated to not see Mew and Tong get together in the end. Despite the competing controversies, the film was the most successful film in Thailand in 2007.

It's well known that many of our favorite Thai television BL auteurs, like Backaof Noppharnach, Jojo Tichakorn, New Siwaj, and others, watched and were influenced by the film -- they've talked about it previously in interviews in Soonvijarn and other arenas. I haven't seen My Only 12%, but @bengiyo tells me that New Siwaj directly tackles Love of Siam in that series. I'll come back to talk more specific works by these auteurs, and how I think some of these auteurs responded to the influence of Love of Siam in their works, in a bit.

As I mentioned previously: the ending of Love of Siam is controversial. Tong's mother intervened with Mew to tell him to stay away from Tong. She equates Tong being with Mew romantically to "losing her son" (a notion that is repeated in the 2019 film, Dew), which she clearly doesn't want after losing her daughter. Tong's mother is later shown as seeming to accept Tong's sexuality -- but it's not clear if she will ever accept him being in an actual relationship. That's not addressed. Separately, Mew's and Tong's friend, Ying, gives up on her romantic hopes towards Mew to help Tong reconnect with Mew after their brief separation.

Ying helps Tong find a meaningful token of his past with Mew. After gifting him the token, Tong says to Mew:

"I can't be your boyfriend. But it doesn't mean that I don't love you."

And Mew, smiling, says: "Thank you."

The end of the movie shows Ying sobbing heavily among her group of friends, and Mew sitting and crying in a room, saying "thank you" once more.

Jumping ahead a bit: during my participation in The Conversation podcast, the topic came up of whether or not ITSAY was an "apology" for Love of Siam. I think this question is a great way to enter what I briefly want to analyze intersectionally by way of how various audiences can interpret LoS's ending.

In conversation with the wonderful @bengiyo and @so-much-yet-to-learn (thank you both!), I understand that international queer audiences were severely disappointed in LoS's ending, for obvious reason. There was a lot in this movie that seemed to otherwise indicate acceptance of queer relationships and queer love, including by Tong's mother. That a relationship itself could not be confirmed was painful to watch.

When I was watching this film, I knew that the ending wasn't going to be good -- I just didn't know how it would play out exactly. I've had this experience before, where I'm aware that an ending of a thing I'm watching is going to be questionable, and when I get to the actual ending, I'm like -- OHHHH. Wait. I get why this ending is the way it is. The last time I felt like that was when I watched 2gether. In 2G, the ending/lack of intimacy immediately gave me a holistic understanding of why the show performed so well in Asia.

I watch Asian shows first and foremost with an Asian lens -- because I am an Asian. (I'm also a cishet woman.) My expectations of media coming from Asia are different than the expectations of non-Asian audiences. Maybe even as a cishet Asian woman -- my expectations of Asian media might be different from other Asian demographics, like Thai or pan-Asian queer audiences.

Generally speaking, the ending of LoS did not surprise me in the least, especially for being a piece from 2007. When Mew said "thank you," I was like, yep. Of course this was going to be how the movie ended.

Going back to the point I made earlier about queer media, globally, of this moment in 2007 having expected bad endings -- we come to an intersectional interpretive crossroads for Love of Siam's ending. Queer audiences were disappointed to be let down. I'm going to guess that the majority of Asian audiences, like myself, had a less surprised reaction (although again, to @bengiyo's point, it seems like some Thai fans protested the ending).

Non-happy, open-ended, and/or "bad" endings proliferate more in Asian media than in Western media. I've written about this before in a Big Meta on pain and suffering in Asian dramas. As an Asian consumer of Asian media, I've been conditioned all of life to not expect for the best of the characters I'm watching. Many of the Indian movies from the 1940s, '50s, and '60s that my parents showed me in my childhood had sad or politically-driven endings. Love being yanked right away for the sake of a "moral" or "ethical" lesson -- I'm conditioned to expect it. Most memorably for me, when I was a young lass, my parents showed me and my siblings Chemmeen, a 1965 film about a married woman nursing a long-lived lost-love with a man outside of her marriage. They had been separated all of their lives for various social status reasons. At the end of the film, when they finally embraced, they are wiped out by a storm. After the "WTF, mom and dad?!" outbursts from me and my siblings, my parents simply said -- this is the moral of a story that was important when we were growing up. You don't fall in love with someone you are not supposed to fall in love with. (Probably the saddest ending I've ever experienced in Asian media is Yoshimura Akira's Shipwrecks. I recommend it highly, but it's a bruiser.) (And MANY THANKS to my dear friend and fellow desi-homey, @neuroticbookworm, for tracking down Chemmeen based only on my hazy childhood memories!)

I've talked at length with @neuroticbookworm about our instinctual expectations of Asian media and when Asian media either toes the line of predictability (sad endings) or when it pushes the paradigm to, for us, new results (happy endings). (And this is in spite of Bollywood, which of course often has happy endings, but even Kuch Kuch Hota Hai, one of the biggest Indian movies of all time, was laced with sadness.)

LoS did something different than the media I grew up with, which I appreciated in the film. It was subtle, but as @bengiyo noted to me -- it was there. A whiff of acceptance was in the movie. This was the Thai film industry's way of beginning to play around with queer acceptance. I personally think that while the ending statements of "thank you" were stark, they did not indicate anything by way of emotional conclusion for Mew. When I saw Mew crying during his last "thank you," and Ying bawling at the end of the movie -- I took from that their acceptance of the devastation of a socially and culturally-based decision that needed to be made by Tong and his family.

Mew and Tong could acknowledge their love to each other. But for 2007 Thai cinema, they could not go further than that. To flirt with the idea that a Thai family would, in fiction, accept a gay relationship, was likely too progressive. Censors, the government, even Thai audiences, all may have balked.

The intersectional crossroads of this decision are important for me to root myself in. On the one hand, there's the disappointment of Thai, pan-Asian, and international queer audiences that Mew and Tong could not come together.

(I want to note that specifically for Western/non-Asian audiences of all demographics, there is a reality that a DEMAND that Asian filmmakers create happy endings — like Mew and Tong coming together — might be coming from a colonialist point of view, one that may ignore or not consider common Asian media practices and cultures. I unfortunately see this often in shipper culture emanating from the West, and I'm heartened that some Thai content makers are beginning to call international fans out on it. I note down below that market expectations of these endings have certainly changed in today's age, but checking privileges upon demanding something specific of Asian content is something that is always worth doing.)

On the other hand, there are Thai and pan-Asian audiences that interpret Mew and Tong not coming together as a matter of timing (the market not being ready for a confirmed queer relationship on screen), and as well, a matter of expectation that what we'd HOPE for -- Mew and Tong being together -- could AND would not happen, because conversationally, that kind of happiness would be culturally and socially impossible both in art and in real life. For instance, for Mew and Tong to negotiate their relationship with their respective families, on screen, in 2007? Talking to their parents about how they could get together? Damn. I can't.... for that time period, I cannot imagine Asian media, Thai or otherwise, going there. To involve families talking about acceptance -- I don't believe the market, Asian-based audiences, and even international Asian-diaspora audiences being ready for that. (And that's not to say that people of my generation wouldn't have welcomed it. But, for instance -- my parents' generation would have been in protest for movies depicting that kind of conflict, resolution, and outcome playing out in any sort of positive way.)

Remember, again, this is 2007. Let's jump WAY ahead for a second -- to the now, when we can have a show like My School President in 2022. A show, like LoS, that depicts two high school boys navigating attraction and love. A show that actually features a high school band (Mew being a lead singer in a band is a main plot point of LoS). And a show that includes young men falling in love and navigating their families. And Gun and Tinn end up together.

How far we've come from 2007 to now. As I noted above, the expectations of audiences outside of queer circles among Asian and international audiences for positive endings have changed drastically. I haven't even watched MSP yet, but imagine if Gun and Tinn DIDN'T get together. Think about it for a moment. Even as someone who hasn't watched the show yet -- even I know how crazy that sounds, from what we've been habituated to expect out of Thai television BLs, since the rise of the genre from Love Sick in 2014 -- a full seven years after the release of LoS. Thai, pan-Asian, and international audiences of all demographics would have been up in arms.

We know now -- again, seven years after the release of LoS -- how seminal Love Sick was for Thai television BLs, in including the Phun x Noh storyline in the context of an ensemble drama. And now, I feel like I have even more context for how UTTERLY seminal the ending of Love Sick was -- for Phun and Noh to consciously decide to BE TOGETHER, and to end the show that way, in the face of the line of previous expectations that LoS had originally had to toe. It fills my heart that so much progress could have been made in such a short time. Seven years doesn't seem short. But this is where I often drop a comparative point -- that it took 50 years for gay marriage to be legalized in America. Change sometimes seems long, but in hindsight -- change can also happen fast in context.

I think the intersectional conclusion to this is that Thai filmmakers didn’t give up in pushing to experiment with positive endings in a genre — queer media — that didn’t commonly have them. By having Phun and Noh confirm their relationship in Love Sick; by having TeeFuse and FrameBook CELEBRATE their relationships in the early BL series, Make It Right/MIR 2 — these shows began to change an expectedly doomed paradigm of sadness and heartbreak. And — AMAZINGLY! — these early shows that took such risks found accepting audiences. And the market has since responded.

Now — with these shows also came the rise of toxic shipper culture and continued homophobia of actors who are actually out and gay. That’s the gray side to all of this. But Thai BL auteurs then and now still play in this sandbox. As akin to the legislation of gay marriage in America, the progress of LGBTQ+ acceptance in Thai media and Thai society is rocky. (Remember this: Barack Obama did not outright support gay marriage when he first ran for office. He was already president when he permanently changed his public tune.) But that road is continually being paved as audiences in Thailand and globally grow ever more accepting of equal rights for all. While queer audiences celebrate this with bells on — I also am beyond thrilled that Asian audiences can take away learnings about LGBTQ+ equality, especially in countries where homosexuality is banned (Malaysia), where same-sex marriage is legal (Taiwan), and in everywhere in between, where there may be outward social practices of acceptance and internal practices of continued familial or even social homophobia. The general consistency of moving the dial forward on Thai BL media showing equality is good for ALL audiences, no matter how you cut it.

I want to take a moment to talk about the clear and enduring influence that LoS had had on present-day Thai BLs. Like I said earlier, many of our favorite Thai BL auteurs have stated that they were influenced by LoS, and I want to just do a little nerdy comparative analysis out of admiration for those creators that I simp on.

As I wrote previously, I thought LoS was brilliantly written and filmed -- it was a gorgeous movie, even at a 2.5-hour run time. LoS was rooted in a few major themes (but there are more within the film) that I see cropping up in present-day Thai BLs.

The first is the use of religion and spirituality as a means of indicating cultural mores around queer acceptance. Tong's family is Catholic. Catholic imagery peppers the film -- most notably for me, towards the end of the movie, when Tong flops on his bed with a huge poster of the cross pasted on the wall above him. Like I wrote earlier, Tong's mother has said to Mew -- if you two get together, I will lose my son. Tong being in a queer relationship is clearly against the family's Catholic practices -- the cross hovers in Tong's most intimate space.

On the flip side, Mew's family is Buddhist, and clearly demonstrated as so. I would also argue that Tong's Catholic family benefits from Buddhist beliefs, in a reincarnation plot that includes Tong's sister. As we know from the many Thai BLs that incorporate depictions of Buddhist practices -- Buddhism does not generally speak to a condemnation of the LGBTQ+ community, although local expressions and practices may differ. He's Coming To Me, Until We Meet Again, and Big Dragon are three shows that, to me, include Buddhist frameworks most distinctly, but of course -- our beloved BL guys are going to temples all the time and making merit. Even Gay OK Bangkok has multiple temple scenes -- and that's an overtly queer, non-BL drama. A temple is often a common locale that we see our beloved queer couples able to be together safely, outside the privacy of a home.

The second theme of note emanating out of LoS is filial piety. When Tong says to Mew, "I can't be your boyfriend," part of what he's saying is -- I can't do this to my family. Filial piety is SUCH a presence in many BLs -- to me, most notably in I Told Sunset About You, as I reflect on Teh's hugely emotional reaction in giving up his university admission for Oh-aew, and the fall-out vis à vis his mother that results from that decision (and Oh-aew has his own filial piety storyline as well). (I want to note that the ITSAY links include a phenomenal reblog from @bengiyo that talks in part about how ITSAY speaks to LoS -- a must-read.) Part of the presumed danger of coming out in Thai BLs, to me, stems from not only fearing rejection of one's own sexuality by a character's family -- but in also disappointing one's family in the public and private Asian family construct, especially considering that we're witnessing mostly young men coming out, who carry their own load of gender-based expectations from their families.

This harkens back for me Thun's coming-out conversation with his mother in episode six of He's Coming To Me. In episode five, Thun asks, famously, on a rainy rooftop -- "I have this feeling, but I don't know what to call it" (which, I think, is an Aof callback to Tong asking Ying in LoS -- "what am I, Ying?"). In episode six, Thun, a young man who has already lost his father, clearly sits with concern that he might lose his mother. And, of course, Thun's mother comes back with the most empathetic response to a coming-out that I've ever seen in a Thai BL. Maybe Thun's mom is also a response to Tong's mom.

Finally, I want to go back to the theme and the idea of sad endings vs. happy endings. When I first began to get OBSESSED with Thai BLs was when I watched Bad Buddy for the first time. Bad Buddy, to me, encapsulated a feeling I had that what I was watching was DISTINCTLY, PROGRESSIVELY Asian by the many themes it included that I relate to as an Asian, from filial piety, to intergenerational trauma, to keeping secrets from family and friends, and so much more.

I think, for my interpretative stance at this point of the OGMMTVC, that it's clear that Aof Noppharnach has most commonly addressed themes and influences from LoS in his work (again acknowledging that New Siwaj did something similar in My Only 12%). I think I admire the endings of He's Coming To Me and Bad Buddy in particular because Aof did something that I think is really hard to pull off. As I said to @so-much-yet-to-learn, Aof pulled off not-necessarily-happy, open-ended resolutions to those two shows that hewed far more to real-life-level conclusions about queerness than overtly happy endings in the face of other tenuous influences, such as family rejections. At the end of He's Coming To Me, Thun is in love with a ghost that may be reborn at any point in time — Thun could lose Med without a moment’s notice. At the end of Bad Buddy, Pran and Pat are not out to their families and are separated by distance. But -- à la Love of Siam -- there are subtle indications that acceptance may be on the horizon on the part of Pran's and Pat's families.

To me, Aof negotiating these endings is just so brilliant, and hews authentically to the journey, to the path that Asian audiences, like myself, can once again relate to from the media we grew up with. If we as Asians grew up not expecting happy endings, how does that change our experience of watching shows that end happily now? By watching media with inconclusive or pointedly unhappy endings, Asian audiences are led to think that life is more complicated and gray than a happy ending would lead one to believe. From a queer lens — if the MAJORITY of queer media ends badly, then it seems that the underlying message is that the community ITSELF doesn’t DESERVE happiness. I will always appreciate the majority of Thai BLs changing this paradigm.

Many of Aof’s work sit in the middle of this, either by ending or by journey. Moonlight Chicken indicates a painful growth and acceptance process of internalized homophobia for Jim, the chicken rice vendor. Same for Phupha, from A Tale of Thousand Stars to Our Skyy 2. Pat and Pran are physically separated and mostly closeted. Thun is dating a ghost. Even Type and Man in Still 2gether are almost permanently separated by Type’s job. Aof doesn’t shy away from loose ends. He’s not giving devastation. He’s balancing, I think, the history of what was expected, with what real life often gives by way of what actually happens in imperfect situations.

And this isn’t entirely universal in Aof's works. In the two previously existent series that Aof "took over" in Kiss Me Again and 2gether: Pete and Kao are solid at the end of Dark Blue Kiss. Sarawat and Tine end nice and heaty in Still 2gether. But what I think is particularly brilliant about Aof’s overall oeuvre is that balance and appreciation he clearly has for art that questionable, open-ended endings gave to pieces back when he and I were younger folks. Aof doesn’t devastate us, or his characters. But he certainly makes all of us — his characters and his audiences — contemplate the meaning of our existences and our roles in society by way of the obstacles and inequities we all face, by the time a show of his is concluded. Those searing examinations are what I live for in his repertoire in particular, and they are what remind me the most about the Asian media I grew up with vis à vis Aof’s modern works.

I have to thank him for that. Maybe as an older viewer of Thai BLs (I'm close in age to Aof), I sometimes need a bridge to the robust happy endings that shows like Make It Right, Dark Blue Kiss, Still 2gether, and more have. Love of Siam reminded me of where we once stood. Aof's works are the bridge to a kind of 180-degree turn-of-perspective, towards a happiness in fiction that, as a child of Asian media, I never knew I could enjoy. And I'm glad, in today's age as I continue to robustly enjoy the genre that is Thai BL, that I can experience that kind of satisfaction in Thai art now.

[So all of this is happening while we're getting early into Only Friends, and Dangerous Romance premieres this week. The riches! So much going on!

Later this week, I'll publish a (hopefully short-ish) review of another film, My Bromance (2014) to talk about the Flukes and yaoi influences on BL. Then, FINALLY (!!!) will come my Manner of Death review, my A Tale of Thousand Stars rewatch review, my Lovely Writer review (LOVED THIS SHOW), and somewhere in-between, a non-OGMMTVC review of Jojo Tichakorn's The Warp Effect, which I'm HOUSING for the sake of Only Friends.

Hit list below! Hit me with feedback! (Tumblr's new web editor is jacking with this list below and not letting me strikethrough those shows that I've watched. For the most updated list, check this link right here.)

1) The Love of Siam (2007) (movie) 2) My Bromance (2014) (movie) (review coming) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review coming) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (review coming) 27) Lovely Writer (2021) (review coming) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 29) I Promised You the Moon (2021) 30) Not Me (2021-2022) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 34) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 37) The Eclipse (2022) (tag here) 38) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults) 42) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 43) Only Friends (2023)]

[married-2-the-music]

K-pop Discography Deep Dives: Red Velvet (Part ONE)

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. All this to say, for the love of god, I’m a sleep-deprived student and I don’t have time for internet hate, so don’t kill me. With that being said, enjoy!

Here are my credentials: Red Velvet was the first k-pop group I ever loved, even though Blackpink was really my introduction. I became a ReVeLuv in 2019, because of Russian Roulette, and I’ve been a fan since, including of the members’ solo careers (Wendy in particular). But as I’ve gotten more into k-pop and since they come back so infrequently, I haven’t really been keeping up with them and I feel like I’m less of a fan than I once was. So, I’m super excited for their comeback on the 13th (especially with a full album!) and I’m hoping that through this deep dive, I’ll fall back in love just in time for the new album.

Red Velvet is almost a decade old, having debuted with four members (Wendy, Joy, Irene, and Seulgi) in 2014, with the 5th, Yeri, being added the year after. Red Velvet is known for their dual concept: the poppier, brighter Red side and the R & B focused, more sensual Velvet side, which sets them apart from many girl groups of their time that were pigeonholed into either “cute / naive” or “sexy / mature”.

Happiness is their official 2014 debut (again, with four members). While I do like this song, I don’t find myself coming back to it often because it just doesn’t sound like Red Velvet to me; it’s bubbly and odd, but in a similar way to a lot of k-pop; it sounds like many other “quirky” k-pop groups from the same time, and just a bit too young for a group who were all adults at the time. Wendy’s bridge remains a highlight, but like NingNing’s vocal showcase in Next Level, it doesn’t fit the song enough, and I wish it was in a better one so I could love it more.

Be Natural is the balance of sorts to Happiness, a more mature R & B track that’s a cover of the 2001 classic by S.E.S. I love the jazzy background of this one, and the kind of drawn-out pull of the vocals that sound much smoother than in Happiness. It was this song that proved RV could be more than just their debut, and could tackle both more childish and more grown-up concepts. While this is a cover, they put their own spin on it, though I admit I’m not a fan of Taeyong’s part, as I’m almost never in favor of random rap verses in very subdued songs. Also, I’m not a choreo blog, but shoutout to all the difficult work that they do dancing on the chairs, because my back hurts just watching it.

Ice Cream Cake marks the introduction of Yeri, which gives me a fair bit of bias towards this as I’m happy to see them all together. It’s bubbly and bright with almost impressive amounts of aegyo that’s definitely a product of its overly bubbly 2015 k-pop world, especially the rap verse that just jumps in out of nowhere. While it has far more personality than Happiness does (like in the slight creepiness of the playground-esque lalalala’s and the bizarre music video), I think that it’s still very much a marker of the beginning stage of Red Velvet’s career when they were still figuring out their identity as a band. I want to be clear that it’s not a bad song. But it doesn’t stack up to the instant classics that we’ll see in a bit.

Automatic, like Be Natural for Happiness, is the Velvet balance for Ice Cream Cake, and where ICC feels very young, Automatic is far more sleek and graceful in its delivery. It’s a gentle R & B track that glides along like it’s dancing on its tiptoes the whole time. It clearly was put together after the success of the Be Natural cover, and while there are similarities, I prefer Automatic for two reasons: a) Yeri’s there, rounding out the voices well, and b) It sounds more like a Red Velvet song, with a few little quirks. The instrumental is minimalistic, which lets the voices speak for themselves, and it’s the first title in this series I’ve loved on first re-listen.

From the Ice Cream Cake EP, Stupid Cupid was an immediate favorite. Starting off with that Western-movie-esque guitar, its intonation and production is reminiscent of a 2nd gen title, Girls Generation in particular. Normally I’m not a fan of a slight drop between pre-chorus and chorus, but it works here. I even don’t mind the rap verse, as the humor in it fits more with the tone of the song than one usually does. I never gave this song a second thought before, so I’m glad I found it.

Dumb Dumb is the first song that feels quintessentially Red Velvet in this review. It’s very much a “throw things at the wall” track, with that delightfully funky instrumental and a never-stopping drumline that feels like it’s beating your heart for you. It’s a song that feels like it shouldn’t work, between the key changes, the tempo changes, the many repetitions, the chanting, etc, and yet…it does? Dumb Dumb toes about five dozen tightropes perfectly, and I have no idea how. This song has so many things that are genuine pet peeves of mine, but I love it anyway, and if anyone could pull this off (with a random verse honoring Michael Jackson), it’s them.

The Red is almost universally known as an excellent album, and I can’t talk about every song (even though I would!), so I’ll just talk about a few of my favorites: Huff n’ Puff, Campfire, and Don’t U Wait No More. Huff n’ Puff bounces back and forth with an oddly warped instrumental and off-beat clapping, then ties it all together with a great bridge and its titular refrain. Campfire has more sing talk than I normally enjoy, but it’s still melodic and its brassy chorus more than makes up for it. And Don’t U Wait No More has an interestingly clipped call and response in its chorus that is now very much stuck in my head.

One Of These Nights is a surprising choice for a single, especially for 2016. Many reviewers responded with mixed or even negative opinions on it after the delightful bombast that is Dumb Dumb, and I can see why they did. One Of These Nights is not a song for everyone; it’s quiet, melancholy, and honestly depressing, and yet it’s so beautiful and heartfelt that it’s honestly my favorite of their singles. It was made to mark the Korean festival of Chuseok (that is, in legend, the one day of the year where two fabled lovers can reunite, before they have to part again), and that gentle yearning and happiness with an edge of tragedy is so comforting for anyone coming out of grief but still remembering the good times. Red Velvet’s voices are something special; they’re great separately, but together, they’re just stunning.

The Velvet is less critically praised than The Red, but I love both Rose Scent Breeze and Light Me Up. Rose Scent Breeze may seem like just another b-side at first, but it soon goes from gentle melancholy to a furious guitar riff-led power ballad that lifts you up without losing its palpable emotion. Light Me Up is an R & B song too, but has a youthful energy and a joy not found in their other “Velvet” songs. As both a queer person and a huge fan of Wendy’s voice, I admit I like her “La Rouge” version more than the original, though the harmonizing at the end feels like honest-to-god floating.

Russian Roulette starts with a similarly creepy “lalala” to the one in Ice Cream Cake, and was actually the first Red Velvet song I ever heard. It bounds forward with the choppy energy of a classic video game, and between the insane catchiness of its hook and the bizarre combination of murderous Tom-and-Jerry imagery and skyscrapers of aegyo, it’s no surprise it went viral. It both fits perfectly into k-pop cliches and pokes fun at them in the process, zig-zagging between what seems like a sweet love song and the visuals of a gang of expressionless dolls. It is…utterly bizarre, and, just like the first time, I’m utterly enthralled.

What to say about the EP? I love this entire album, and it’s so hard to choose a hidden gem. Lucky Girl, Fool, and Bad Dracula are all excellent tracks, and I love all of the different combinations of doo-wop, synth, and other vintage genres too. I’ve got to say that my favorite is Lucky Girl, though, partially for the delightful catchiness of the song as a whole, partially for the inclusion of actual “shoo-be-doo-wop” vocalization, and partially for the immaculate Girls Generation-esque 50’s/60’s production.

Rookie is not and never has been a song for me. It’s not that it’s a bad song, per se, and I actually enjoy the greater part of the verses. Red Velvet’s voices are great as always, and I also love that bridge. This song, truth be told, annoys me more than anything, because it’s so, so close to being good. But why, why, why, did they have to give it a chanty, aegyo-filled hook? Come on, guys, we were almost there. We could’ve had another so-crazy-it-just-might-work situation like Dumb Dumb, but instead there’s too much crazy and not enough working for me.

From the Rookie EP, I honestly preferred almost every song to the title, but Little Little was my favorite. It’s slow and quiet at first, and during the verses, you’ll think it’s bound to be depressing. But then, like an opposite version of Rookie, the chorus completely changes the song, turning it into a dreamy R & B ballad that’s been a fixture on my sleep playlist for years.

If the last few songs have been upbeat, Red Flavor is practically jubilant. It’s been called THE summer k-pop song, and for good reason. It bounces off the metaphorical walls, full of delight and youthful energy. Even the verses, albeit slower, set up that juggernaut of a chorus with its distinctive “red, red, red flavor” distortion in the post. I’m sure this is just me being a ReVeLuv, but this song is so nostalgic for me and never fails to make me a bit sappy, especially the slightly wistful outro. I don’t mind the rap, but I wish we could’ve gotten more of the singing section of the bridge instead. Overall though I really like this one.

The Red Summer is one of their strongest EPs, and while I wanted to give Mojito a quick shout-out, my hidden gem is, without a doubt, You Better Know. If you’ve read at least one of the disclaimers at the top of my reviews, you’ll know I’m neurodivergent. I have autism, and I kind of didn’t let myself believe it for a while. But one day I was walking outside and this song came on, and its message was just what I needed to finally let go and let myself stim for the first time. If you don’t have autism, it’s almost impossible to explain the pure rush of joy that stimming (especially after so long repressing it) can bring, and so whenever You Better Know comes up on my playlist, I find myself fighting a huge grin and getting the urge to dance. God, I love this song so much. I’m trying not to smile right now.

Peek-A-Boo: this was the song I considered my favorite Red Velvet single for a while, although One Of These Nights currently takes that trophy. From the start it crackles with an odd, tongue in cheek humor and a “well what do you want from me” shrug. The instrumental seems to pop out of random places, between a twinkling piano, snapping fingers, and some kind of chime that I can’t place, which go far better with the vocals then I would have assumed. I wish they’d pushed the voices more to be honest, because they feel a bit subdued here (and not in an expressive way like in Automatic), besides the last chorus, but otherwise this one still holds up for me. Because hey, who doesn’t want to watch five girls in rainbow dresses kidnap pizza boys from their cabin in the woods?

From the Perfect Velvet album, I have one main stand out. Kingdom Come needs no introduction for ReVeLuvs since it’s already practically required reading for anyone looking to get into the fandom. I admit I was put off from it for a while because it didn’t live up to being treated like the second coming of Christ, but I’ve definitely warmed up to it. It’s so soothing and warm, like a cat curled up by a fireplace, and Red Velvet’s voices come together almost perfectly to set the scene.

Bad Boy takes an even greater shift away from the Red side and towards the Velvet. One would think that a song like this would be boring and barely leave an impact, and they would be completely wrong. Bad Boy possesses a self-assured and smooth R & B flair reminiscent of Taemin’s more subdued tracks, and moves forward with an unhurried strut. It’s often cited as the pinnacle of their Velvet side, and I might have to agree. I don’t have a hidden gem for the Perfect Red Velvet repackage, since it’s only a couple songs.

So this is where we’ll take a break, because I think we’re about halfway through their discography. Like in the BTS review, I’ll leave my final thoughts until next time, and invite you to touch some grass and eat some Doritos.

I’ll see you in a few days for a boy group supplemental and then next weekend for the second part of Red Velvet. Tschüss!

[dweemeister]

2023 Movie Odyssey Award for Best Original Song (preliminary round)

Tumblr’s new post editor has disabled completely the ability to make indented bullet points. I apologize in advance for how ugly most of this post looks.

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OPEN invites to (or at least people who are committed to the final, but would like access to the prelim): @birdsongvelvet, @derricklogan2, @dog-of-ulthar, @inmyworldblr, @machpowervisions, @memetoilet, @metamatar, @myluckyerror, @noelevangilinecarson, @phendranaedge, @plus-low-overthrow, @qteeclown, @shadesofhappy, and @the-lilac-grove. Some of you have participated in past MOABOS editions, some of you are longtime followers I've not really spoken to, but have interacted with quite a few of my posts... if you are interested, please let me know. I'll assign you a group or I'll put you into the final.

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Hello everybody,

If you were tagged here, that is because you graciously accepted my invitation to help out with this year's edition of the Movie Odyssey Award for Best Original Song (MOABOS). I welcome you to the eleventh edition of MOABOS (MOABOS XI) and the tenth edition with outside help from family, friends, and followers on tumblr. When I first opened this up to other folks in 2014 (MOABOS II), I believed that this would last but only a few years, at most. And every time the year is new, I have no clue whether or not there will be another edition of MOABOS.

But here we are yet again. The Movie Odyssey Award for Best Original Song is not possible without all of your help.

For newcomers near and far: This is a classic film blog (concentration: pre-1980s Hollywood, but I have various specialties outside of that and watch plenty of newer films). That blog's primary purpose is to host my nearly 800 film write-ups tagged "My Movie Odyssey" (an index can be found here). MOABOS is one of my blog's year-end traditions, and just a smaller part of a larger one. On my blog, the Movie Odyssey Awards honor some of the best achievements from movies that I saw for the first time this calendar year (the "Movie Odyssey") with an Oscar-like ceremony. I choose all the nominees and winners from each category, save one: Best Original Song. It is the only category that does not require you to watch several movies in their entirety. MOABOS is my way to say thank you for your friendship and moral support no matter how long I've known you. It is, sneakily so, a way to introduce all of you to music and movies I enjoyed this past year. And you might learn a snippet of film history through this!

INTRODUCTION

An unspecified number of songs have already advanced to the final round. 24 songs will contest this preliminary round in two groups - Group A and Group B. After three years of pandemic disruptions, the 2020s are finally making a significant mark on MOABOS, perhaps with a vengeance. Some of the highest-grossing films of both 2023 and 2022 are here to contend, as is a movie newly-minted as one of the highest-grossing anime films ever. But the defending decade, the 1980s (through Dolly Parton's title song for 1980's 9 to 5), has plenty of entries this year. It is the decade of pop culture I like least, but the 1980s have a decent shot at being the first decade to defend a MOABOS title.

Last year was regrettably a monolingual field of songs. Folks, multilingual MOABOS is back. This year, across both groups, English, French, Hindi (returning for the first time since 2020, or MOABOS VIII), Japanese (also returning after a three-year absence), Brazilian Portuguese, and Vietnamese will be represented. For their respective movies, they capture just a part of a nation's soul and filmmaking culture at a certain time. MOABOS, too, is its own sort of time capsule.

After a few years of slight decline, the preliminary round of MOABOS drew a record 36 people casting rankings. Might that record fall this year? That same preliminary saw a resounding rejection of American folk music (or spoofs of American folk, at least) and a decidedly mixed opinion of the style of Golden Age 20th Century Fox musicals (their plots might be silly and nonsensical, but at least they have no pretensions of being anything more than that!). No American folk this year, but 20th Century Fox has a few contenders this year.

1980s and contemporary pop have historically performed well in the preliminaries. With some formidable entries this year that receive regular radio play, does that hold up or are there upsets in the cards?

2019's MOABOS (MOABOS VII) preliminary remains the gold standard for sheer chaos. The miraculous comeback of "I Dug a Ditch" from Thousands Cheer (1943) in the prelim's final hour brought a song that seemed dead as a doorknob back to life. A song about digging a hole got out of its hole, if you will. No group since has ever matched that drama. Might this be a nailbiter of a result?

INSTRUCTIONS

Please rank (#1-11) at least seven of your group's songs. Please consider to the best of your ability (these are only suggestions, not strict guidelines): 

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics (incl. and not limited to lyrical invention and lyrical flow); 

Context within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable; I know that almost none of us have a dancing background, but let's not discount this aspect entirely);

The song's cultural/sociopolitical impact and legacy/listenability outside the film's context (if applicable, and, in my opinion, least important factor)

A notice on audio/video quality and colorization of black-and-white film: Because it is sometimes difficult to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song while you are drawing up your rankings - you're on the honor system on this one. In addition, in respect to personal and blog policy, I will not provide colorized videos of films that were originally in black-and-white. You can call this snobby all you want. But to yours truly, film colorization of B&W is disrespectful to the artisans who plied their craft and made decisions based on the fact the film was shot in black-and-white. It is essentially redirecting a movie without consent.

You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The top six songs in each group automatically advance to the final round. Unlike previous years, no at-large wild card picks outside the top six will advance to the final.

The deadline for submission is Wednesday, December 13 at 11 PM Pacific Time. That is 9 PM Hawaii/Aleutian Time. That deadline is also Thursday, December 14 at 1 AM Central Time / 2 AM Eastern Time / 7 AM GMT / 8 AM CET / 9 AM EET. This deadline - and some of you have joked with me that this is inevitable - will be pushed back if there are a large number of people who have not submitted in time. However, I very much do not wish to extend the deadline because the final round is more intensive and usually involves more participants. A small group of longtime MOABOS veterans will be asked to do both groups, if possible (but they are required to complete their assigned group first before moving on) - they are generally selected for their longevity of MOABOS participation and promptness. Tabulation details are under the "read more".

Please pay attention to the groups you have been sorted into, and please only submit rankings for the group you have been assigned. For your convenience, the YouTube playlists for both groups follow:

PLAYLISTS: (GROUP A) / (GROUP B)

Group A: be warned, I am somewhat trolling you on one of these songs. At least it comes early!

Feel free to listen as many times as you need, and I hope you discover music and movies that strike your interest. With the deepest appreciation from this grateful classic film fan, here are your group's songs. The following is formatted... ("Song title", composer and lyricist, film title):

GROUP A

“Apartment for Sale”, music and lyrics by Cate Blanchett and Todd Field, Tár (2022)

Performed by Cate Blanchett

After her cross-hall apartment neighbor dies, composer/conductor Lydia Tár (Blanchett; whose character is the first female music director of the Berlin Philharmonic) learns from the deceased's family that they think the classical music emanating from Tár's apartment is an unlistenable racket. They bluntly request Tár to stop playing music entirely when they meet with potential buyers. Moments after that encounter, this is her response. By this point in the film, Tár's rationality is very much in question. This is a drama about the hubris and manipulative ways for a person in power.

This is the shortest song ever to qualify for a MOABOS preliminary round.

“Barsaat mein hamse mile tum sajan (In the Rainy Season, We Met One Another)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949)

(initial version) / (end-of-film reprise)

Performed by Nimmi (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). Later in the films, we will find Pran (Raj Kapoor) and Reshma (Nargis) quickly falling in love. But this song surrounds the womanizing Gopal (Prem Nath) and Neela (Nimmi), whose faithful love for Gopal goes largely unrequited. After much convincing from Neela, Gopal attends a local festival – and doesn't pay much attention to this Neela-led song-and-dance number.

In the reprise, Neela has died near the end of the film. Reformed, realizing too late how horrible he has been to Neela, Gopal carries her body to her funeral pyre as the monsoon rains – as hinted in this film's very title – finally arrive.

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio (2022)

Performed by Gregory Mann

In this stop-motion animated adaptation of Carlo Collodi's Pinocchio, director Guillermo del Toro injects the tale with his signature gothic touch – moving the narrative up in time to Fascist Italy and not shying away from the original book's grotesqueness and the title character's sociopathy. This song appears as part of a montage where Geppetto (David Bradley) goes in search of Pinocchio (Mann) after Count Volpe (Christoph Waltz) abducts the wooden son.

“Esse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu (1964, Brazil)

Originally performed a cappella by Antônio Pitanga; provided version performed by Marina Lutfi and Adriana Lutfi (lead vocals), Sérgio Ricardo (vocals), João Gurgel (vocal/guitar), Alexandre Caldi (winds), Marcelo Caldi (piano/accordion), Lui Coimbra (cello), Giordano Gasperin (bass), and Diego Zangado (percussion)

Lyrics in Portuguese (extremely rough translated lyrics... "Saravá ogum" is an Afro-Brazilian exclamation; I'm not sure what "Mandinga" means in the song's context, but it's an Afro-Brazilian word that either refers to an ethnic group or "magic")

In this film almost never screened outside Brazil, two separate romantic storylines – a white couple and a black couple – play out in a Rio de Janeiro favela. In the latter storyline, Antônio Pitanga plays a shoeshiner. One day, while setting up his shoeshining equipment along the beach, he sings this song – an optimistic number in hopes for a better tomorrow. Black Brazilian romance was and is rare in Brazilian cinema, and the inclusion of such a romance so prominently featured in this film makes it a landmark of the nation's film history.

From the song's humble origins and use in the film, Sérgio Ricardo turned it into bossa nova. That's the late composer/film director himself in the provided video (the older man furthest to the left). The lead singers are his daughters.

“Hold My Hand” , music and lyrics by Lady Gaga and BloodPop, Top Gun: Maverick (2022)

Performed by Lady Gaga

Nominated for the Academy Award for Best Original Song

This song, with touches of '80s arena rock and torch songs, appears at the top of the end credits. It is not quoted in the film's score at any point in this equally jingoistic sequel to the original Top Gun.

“I Know Why (And So Do You)”, music by Mack Gordon, lyrics by Harry Warren, Sun Valley Serenade (1941)

(initial version) / (reprise)

Performed by Glenn Miller and His Orchestra, Lynn Bari (dubbed by Pat Friday), The Modernaires, and John Payne; reprise by Payne and Sonja Henie

This song's melody forms the backbone of the film's score throughout. In the opening minutes of this musical, we find the Phil Corey Orchestra (Glenn Miller and His Orchestra) rehearsing in preparation for a Christmas concert they will be headlining in the mountainous resort town of Sun Valley, Idaho. The first 48 seconds of the first video are an instrumental version of Glenn Miller's "Moonlight Serenade".

The reprise occurs near the end of the film as Norwegian refugee/figure skating extraordinaire Karen Benson (Sonja Henie, a 3x Olympic gold medalist in figure skating) and pianist Ted Scott (John Payne) find themselves stuck in a mountainside cabin. Karen, who has fled Norway due to the Nazi takeover there, has been pursuing Ted for almost all of the film, and Ted finally succumbs to her charms here - to the outrage of his girlfriend (Lynn Bari). Suffice it to say nobody should watch 20th Century Fox musicals for the plot (but refreshingly, they're not pretending to be any more than what they are).

“Jean”, music and lyrics by Rod McKuen, The Prime of Miss Jean Brodie (1969)

Performed by Rod McKuen

Nominated for the Academy Award for Best Original Song

Adapted from Muriel Spark's novel of the same name and set in 1930s Edinburgh, The Prime of Miss Jean Brodie stars Maggie Smith as Jean Brodie, a teacher at an all-girls school. Brodie, a woman with unorthodox teaching methods, has a cadre of favorite students nicknamed the "Brodie Set": Sandy (Pamela Franklin), Monica (Shirley Steedman), Jenny (Diane Grayson), and Mary (Jane Carr). Each of them are around twelve years old when the film begins. This film, an atypical "teacher movie", is about a breakdown of professionalism, betrayal of trust, loss of innocence, and hubris.

The melodic structure is inspired by the style of Scottish folk songs, and it forms the central spine of the film's score and plays throughout. The song itself is not performed with lyrics until the end credits. Due to the events in the film's closing act, the tone, placement, and lyrics of "Jean" become ironic. The lyrics are decidedly romantic but, in context, it's anything but.

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple (1985)

Performed by Margaret Avery (singing voice dubbed by Táta Vega)

Nominated for the Academy Award for Best Original Song

Based on the book of the same name by Alice Walker, The Color Purple stars Whoopi Goldberg as Celie Harris in her breakthrough role. Celie, forcibly married off to Albert "Mister" Johnson (Danny Glover) as a teenager, has grown resigned after a lifetime of parental and spousal abuse. Mister has a mistress named Shug Avery (Margaret Avery), who works as a showgirl in Memphis. After one stormy evening, a sickly Shug appears at Mister's homestead for the first time and, over a few weeks, Celie nurses her back to health. The two grow attached and, as tribute, Shug performs this song at the local riverside juke joint.

In the book, the romantic relationship between Celie and Shug after this moment is more explicit. Director Steven Spielberg's greatest regret over this film was not making more of this romantic relationship. Given that the movie was released at the height of the HIV/AIDS crisis and in an environment where LGBTQ+ themes were verboten to the major movie studios, I don't believe much more could've been done in 1985.

“Pink”, music and lyrics by Lizzo, Mark Ronson, Andrew Wyatt, and Ricky Reed, Barbie (2023)

(initial version) / (reprise)

Performed by Lizzo

After narrator Helen Mirren describes to the audience Barbieland, we are introduced to Barbie (Margot Robbie), just awakening from a good night's sleep, with the initial version of "Pink". At the end of that day at the nightly dance party, Barbie asks her fellow Barbies if they ever think about death – a Barbie faux pas. Barbie corrects herself, but remains haunted by her question when she goes to bed that evening. We hear the reprise as Barbie awakens the next morning after barely sleeping, and everything that can go wrong does go wrong.

“That Darn Cat!”, composed by Richard M. Sherman and Robert B. Sherman, That Darn Cat! (1965)

Performed by Bobby Darin

Appears in the opening credits and final minutes of this comedy. That Darn Cat! marked the end of an era and the start of another. This was Hayley Mills' final of six films for Disney (a run that included the title character in 1960's Pollyanna and in her dual role in the original Parent Trap) and Dean Jones' first for Disney. The provided version includes audio from the opening credits, extracted directly from the film itself (a stipulation in Darin's contract means that the original soundtrack version is nowhere to be found online).

“Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)”, music by Phạm Hải Âu, lyrics by Phạm Hải Âu and Chung Chí Công, Good Morning and Good Night (2019, Vietnam)

Performed by Hà Quốc Hoàng and Trần Lê Thúy Vy

Lyrics in Vietnamese (translation in provided video)

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art. This song appears at the top of the end credits. Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“When I Grow Up”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple; first reprise (not provided) by Billy Gilbert and Arthur Treacher; second reprise (not provided) by Esther Dale

Orphan Elizabeth Blair (Temple) performs this at a charity show meant to raise funds for the orphanage she is staying at. At certain points in this song, she dresses up in a wedding gown and dons "old" makeup in respect to the lyrics.

Where Alice Faye and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the dire straits of the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

The folks assigned to GROUP A include: @cinemaocd, @cokwong, @emilylime5, @exlibrisneh, @idontknowmuchaboutmovies, @maximiliani, @shootingstarvenator, and @stephdgray. You are also being joined by 15 others including myself and my sister.

GROUP B

“Animal Crackers in My Soup”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple

Young Elizabeth Blair (Temple) and her elder sister, Mary (Rochelle Hudson) are living in an orphanage and are the primary entertainers for their fellow orphan girls. This number occurs early in the film and is quoted multiple times in the film's score. For those of you who despised this song's placement in those Shirley Temple DVD infomercials, I have no apologies to offer you.

Where Alice Faye (MOABOS X's "A Journey to a Star" from 1943's The Gang's All Here) and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the dire straits of the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

“Barbarella”, music and lyrics by Bob Crewe and Charles Fox, Barbarella (1968)

Performed by The Glitterhouse

Played over the opening credits (not provided, because they are extremely NSFW) in which the title character (Jane Fonda) slowly undresses herself in zero gravity. Based on a controversially racy and heavily sexualized comic book series in France (even for the French!), Barbarella is a campy sci-fi movie that obliterated Fonda's homespun image in cinema. The movie was and is far more popular in Europe than it was in the U.S. (where it never became anything more than a cult classic).

In the years since, Fonda, a noted liberal activist, has essentially pleaded no contest to accusations that the film was anything but feminist.

“Captain Crow”, music by Nell Benjamin and Laurence O’Keefe, The Sea Beast (2022)

Performed by chorus

Appears in part during a celebratory night at a pub in the film's opening act. Full appearance at the top of the end credits. This is a sea shanty celebrating the legendary monster hunter Captain Crow (Jared Harris). The melody is seldom quoted in the film's score. In The Sea Beast, an unnamed country has waged a centuries-long campaign to kill sea beasts, in defense of humanity. Similar to American Westerns, the film and this song plays with ideas of how popular narratives or mythoi are spun.

(Instrumental-only version for those interested... many versions in different languages are available on YouTube, including French, Hindi, Italian, Spanish, Vietnamese, and more – some lyrically clunkier than others)

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie (2023)

Performed by Ryan Gosling and company

The Kens of Barbieland have just taken over power from the Barbies. In response, the Barbies, Allan, and Mattel employee Gloria and her daughter Sasha have manipulated the Kens into fighting each other while they attempt to reestablish control. According to director Greta Gerwig, the dance segment seen here was influenced by "Lullaby of Broadway" from Gold Diggers of 1935 (1935; see the warm-up playlist I sent to many of you) and "The Broadway Melody" from Singin' in the Rain (1952).

“Mujhe Kisi se Pyaar Ho Gaya (I’ve Fallen in Love with Someone)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949, India)

Performed by Nargis (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of vacationing city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). This film juxtaposes the story of the womanizing Gopal (Prem Nath) and Neela (Nimmi), with that of Pran (Raj Kapoor) and Reshma (Nargis). It is the beginning of Pran and Reshma's romance that we see here, after she has been rowing Gopal and Pran around for the last few days.

“Qu'est-ce qu'on fait de l'amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest and Celestine: A Trip to Gibberitia (2022, France)

Performed by Pomme

Lyrics in French (rough translation)

This song appears at the top of the end credits of this sequel to 2012's Ernest & Celestine, which was nominated (against the odds) for the Academy Award for Best Animated Feature. The original was, as I wrote back in 2014, "cinematic friendship at its most rewarding and profoundly beautiful." In this sequel for our dynamic mouse and bear duo, Celestine (the mouse) accidentally breaks Ernest's (the bear) precious Stradibearius violin. It leads the unlikely friends to search for an old violin maker acquaintance of Ernest's back in his homeland of Gibberitia ("Charabïe" in the original title, a name derived from "charabia", the French word for "gibberish").

A further shameless plug for all of you reading this to seek out animation that is not from the major American and Japanese studios.

“Return to Sender”, music and lyrics by Winfield Scott and Otis Blackwell, Girls! Girls! Girls! (1962)

Performed by Elvis Presley

The eleventh of Elvis' 31 movies (if MOABOS returns for future editions, let's just say there's a lot more Elvis to come) and the second shot in Hawai'i after 1961's Blue Hawaii, Girls! Girls! Girls! is a misnomer as there are only two girls vying for Elvis' affections (it would be an appropriate title for many other Elvis movies). My sister thinks this film should've been titled Girls? Girls. Girls!

Here, Ross Carpenter (Elvis) is a fisherman who spends his evenings as a nightclub singer. Fellow nightclub singer Robin Gantner (Stella Stevens) and the secretly wealthy Laurel Dodge (Laurel Goodwin) are very much attracted to him. This number occurs after Ross starts seeing Laurel, inflaming Robin's suspicions, and resulting in a spat at the bar that immediately preceded the song.

“Something He Can Feel”, music and lyrics by Curtis Mayfield, Sparkle (1976)

Performed by Lonette McKee, Irene Cara, and Dwan Smith

(use in film) / (soundtrack version with Aretha Franklin)

Loosely based on the history of the Supremes, the musical Sparkle is the story of the three Williams sisters (the late Cara as lead singer Sparkle, McKee as Sister, and Smith as Dolores). They decide, along with two of their boyfriends, to take their church singing experience and turn into a semi-professional group called the Hearts.

This song appears midway through the film, as the boys have dropped out to become the group's managers. The Williams sisters have renamed the group Sister and the Sisters (I would've kept the original name). The performance of this number is intercut with glimpses of Sister's troubled personal life – the film's Rubicon crossing, setting up the conclusion of her storyline.

The film's original soundtrack does not contain any of the original performances. Instead, Aretha Franklin sings all the songs from the film in the soundtrack.

“Suzume”, music and lyrics by RADWIMPS, Suzume (2022, Japan)

Performed by RADWIMPS and Toaka

Lyrics in Japanese (extremely rough translation)

This song's melody (especially the eighteen-note vocalized motif) appears throughout the film. But this version, with lyrics, only appears as the second song in the end credits. In this film, 17-year-old Suzume and a young man named Souta must journey across Japan to close a series of mystical doors. Mysterious phenomena are passing through these once-locked into our world, and are causing natural disasters.

Makoto Shinkai's latest, unadjusted for inflation, is the fourth-highest grossing Japanese film of all time. MOABOS regulars will recall previous entries from Your Name (2016) and Weathering with You (2019) – all RADWIMPS compositions. Suzume directly addresses a trauma that Your Name and Weathering with You danced around: the 3/11/11 earthquake, tsunami, and Fukushima Daiichi nuclear disaster.

“Take My Breath Away”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun (1986)

Performed by Berlin

Winner of the Academy Award for Best Original Song

This song plays during romantic dialogue between Maverick (Tom Cruise) and Charlotte "Charlie" Blackwood (Kelly McGillis). Top Gun never plays the entire song. In its inexplicable four appearances in the film in a 20-minute span, the song itself is played muted underneath the dialogue, its lyrics barely discernible in those respective scenes.

“Tiền”, music and lyrics by Trần Khắc Trí, Good Morning and Good Night (2019, Vietnam)

Performed by Trần Lê Thúy Vy, Hà Quốc Hoàng, and company

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day. This song appears about a third of the way through, after a conversation about money ("tiền" means "money" in Vietnamese). Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“We Don’t Need Another Hero (Thunderdome)”, music and lyrics by Terry Britten and Graham Lyle, Mad Max Beyond Thunderdome (1985)

Performed by Tina Turner

This song plays at the top of the end credits of the Mad Max series' third entry. In this movie, the late Tina Turner herself plays the antagonist (but neither true villain or antihero) Aunty Entity - who leads a post-apocalyptic trading post called Bartertown. "Thunderdome" refers to a gladiatorial arena in Bartertown in which conflicts are settled in a battle to the death (an aside: awkward as "Thunderdome" sounds as a lyric, it makes more sense than "Thunderball" from the 007 movie of the same name).

The folks assigned to GROUP B include: @addaellis, @halfwaythruthedark, @rawberry101, @rosymeraki-blog, @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal. You are also being joined by 14 others including myself and my sister.

Would you like to know something more about a song or a movie featured above? Do you have a question or comment about MOABOS's processes? Feel free to ask me! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

You will be contacted for the final round regardless of your participation or non-participation in the preliminary. If turnout in one group is lagging behind compared to another, I will ask some of the more senior participants to participate in the other group, too. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines near.

Once more to all of you here, my thanks for your support for the Movie Odyssey, the blog, and for me personally over however long I've known you. It's a privilege and a pleasure to share all these movies (well, excerpts of them) and musical numbers with you. It's my hope that you not only learn something new about film and/or music, but that you also find this very fun to do!

Happy listening, all. And thank you again!

TABULATION FOR THE PRELIMINARY ROUND

This preliminary round uses a points-based, ranked choice method which has been in use since MOABOS II (2014). A respondent’s first choice receives 10 points, the second choice receives 9, the third choice receives 8, etc. The winner is the song that ends up with the most total points. The tabulation method described here for the preliminary round is used only as a tiebreaker in the final round (more on how the final is tabulated when we get there). 

The tiebreakers for the preliminary are:

total points earned;

total #1 votes;

song(s) which is/are ranked higher on more ballots than the other(s);

average placement on my and my sister's ballots;

tie declared

[the-whispers-of-death]

thinking about mārītes girlfriend rn and how they would even like. happen.

imagining them starting off as just online friends who later realize "oh fuck. we're both in the uk!!!! we should meet up!!!" (much to the hesitance of sylvester) but maybe he ended up being like "fuck it youre 16. youre basically a grown up. go. call me if you need to get a ride back. and dont tell stone i dont need him freaking out, love you have fun" and thats that

imagining them first talking to each other at like maybe 13 or so, so theyve had a *while* to get to know each other. yknow. late night calls and messaging each other constantly

i wanna say that the GF is one of those classic nerdy types, because i love the trope thats nerd x jock (well mārītes not *really* a jock but she does do a lot of sports and loves being outside, while admittedly, not doing the best at school itself)

also until i think of a proper like. english-sounding name for her, she'll just have to stick with being "the girlfriend" because such is the oc creation process at times

i feel like they only actually started dating a few months after they met irl and were like "oh okay you didnt kill me in the 1st meeting. sick. anyways."

i imagine the GF, while being a nerd, if extremely extroverted as well, going hand in fucking hand w mārīte. loves attention and people and affection

oh. and i think shes human. for the most part.

slooowly forming an image of her in my mind and. its just one of those 2014 tumblr hipster outfits. like. side-braid, big round glasses, flannels and skinny ripped jeans. yeah. i feel like that channels whatever the fuck she might be

wait a fucking name just came to me. along with a full on dialogue line from her: "yeah, my names katie, but call me kat. yknow. like, meow :33" and then just a horrified realization that her gf is a cat hybrid, followed by confusing feelings about what just came out of her mouth and if that might offend mārīte (it didnt. shes on the fucking floor, wheezing at that because "what the FUCK do you mean by "yknow like MEOW"???"

anyways. Katie. yeah. last name? shrug emoji,,,

stumped now between making her parents either dead or super rich. hm.. decisions decisions... wait no i just made a decision: she should live in her late-parents home still (thats literally A Fucking Palace) under the care of one of the maids there, whos basically a surrogate mother

i think this derailed a little and is all over the place. but yknow i come up with these things as i type the ask so what else am i expecting lol

also dont tell stone one of his daughters is now dating a basically-millionaire 17 y/o who's parents disappeared under mysterious circumstances. yeah. i feel like hed just about die

~ rusty

It's okay because Stone's other daughter, Saira, posted a picture of herself kissing a mystery woman at a pride parade Stone had no idea she had even gone to and he's freaking out about that.

Mārīte and Saira are just out here making Stone worry.

[god-has-entered-my-body]

❤️🥳

Hiii thanks for this!!

❤️ What is your favorite line that you’ve written in a fic?

one of my faves is a small bit from If you're too shy pt 1 (pt 2 coming super soon i promise xx) 'The creak of the bed as he throws himself onto it is incredibly loud. The sound of his zipper is even louder.' I do have a few others, but it's mostly banter i wrote for MPIND. I do have the opening line for IYTS pt 2 that i'm sort of proud of 'They say feeling diminishes over time, sensations are lost to memories, forgotten.' bit cringey now that i read it but its here x Also theres the classic 'I'll show you hobbit feet you fucking cunt' from MPIND's first chapter that i got a lot of laughs on, i did actually giggle a bit whilst imagining that scene. Love u MPIND George you will always be famous.

🥳 Why did you start writing fanfic?

I started writing because i couldn't really find fic that fit my sort of 'niche' preferences anywhere on tumblr or Ao3, so i just decided to write my own thinking people wouldn't really read it? Especially with fics like the first few chapters of MPIND or Facedown/Please be naked, i had thought that it wouldn't really get any attention since a lot of the fics on tumblr feature a more dom Matty, and that just seemed to be the most popular version of him at the time. But i've gotten so much love and support for MPIND and IYTS and how i characterize Matty in both those fics and i'm so grateful for all the positive feedback and compliments, they really do motivate me to keep writing even through some of the worst moments of my life. Writing fic has become my escape, i can just open my glitchy ass 2014 macbook and forget everything in a google doc. Its an outlet of sorts, which i think is a bit obvious with the darker/more serious themes of MPIND. I guess i've also sort of migrated from being terrified to write smut to it being the only thing i really do write, even if it is a bit shit in my eyes, you lot seem to enjoy it xx God this has become a super long rant but i do have a few thing i need to get off my chest and this seems like the opportune moment? I'm sorry for not having a regular post schedule, and its either 4 fics in two days or one every two weeks. Bit wanky, but writers block is real for me too. You're all actually amazing if you read, like, or comment on any of my stuff, it does find its way into my little 'ppl like you (maybe)' foto album and i look at it sometimes if i'm going through a bit of a dry patch. You guys are so so so nice to me even if i've been here since about March, and i've only been writing fic for like a month and a half. Love u guys so much, keep well for me x

[metalsongoftheday]

Tuesday, March 5: Queensrÿche, "Breakdown" [ENCORE]

The Today’s Metal Tune tumblr posted its first song March 5, 2014.  Amazingly, 10 YEARS LATER we are still here and going strong.  A huge THANK YOU to everyone that has followed, liked, reblogged and commented over the past 10 years, this tumblr has been a passion project that took on a life of its own and far exceeded humble expectations, and that is all because so many have listened and gotten in on the fun.  To celebrate the past decade, we are revisiting some favorites from the early years.  Stay Metal everyone, there’s much more still to come…

Depending on whom you ask, Queensrÿche started sucking either after 1984, 1988, 1991 or 1995.  But despite the numerous controversies (and numerous questionable albums) that the band perpetuated since the departure of founding guitarist and primary songwriter Chris DeGarmo in 1998, there is one post-Empire (or post-Promised Land- again, it depends on your point of view) record that deserves revisiting: 1999’s Q2K sank like a stone upon initial release, but in is actually somewhat underrated.  Yes, it was another departure from their classic prog-metal sound, and it was most definitely created in reaction to both the musical climate of the day as well as DeGarmo’s leaving.  But it was also one of the only times (and definitely the last time until the Todd La Torre era) Queensrÿche just rocked out, without explanation or excuses.  And “Breakdown” is the most metallic of the bunch: the guitars storm, swirl and crunch, Geoff Tate wails with conviction (also one of the last times he would stretch his range), and for those who complain about the songs being too direct, Scott Rockenfield’s drumming is nothing if not complex.  “Breakdown” and Q2K represent the last time there wasn’t an air of defensiveness about Queensrÿche, and as such both should be appreciated on their own terms.

[collabs-bunny]

I saw your recent video essay/3 hour ttrpg understanding extravaganza and just. DAMN!

You're an excellent mind to listen to discuss a topic so near and dear to my heart. I'm a ttrpg designer with a couple little games; what's your reading list for ttrpg design as a topic? what books, videos, podcasts etc have shaped how you think? because i love the way you think, and would love to know more

Well hello, thank you for my first tumblr ask of all time. 😅 Congrats on tracking this blog down, and I'm glad you liked the video.

First of all, read Luke, Jared and Snow's blogs. Just read whatever strikes your fancy (https://lukegearing.blot.im/, https://jared.blot.im, nerves.games). Snow's most recent post is actually a reading list, I livestreamed a bunch of Luke's posts, and Jared is Jared. If Jared's ideas and opinions sound declarative, that's his voice. I think he dislikes half-committing to ideas, or couching his thoughts, and he has big opinions, so they can come off uh... standoffish? Unfriendly? But he's a big softie, I love him.

For proper philosophy, read Against Procedurality by Miguel Sicart (blog post: https://gamestudies.org/1103/articles/sicart_ap), and his book "Play Matters." His ideas on appropriation and playfulness have literally changed the way I move about the world in my day-to-day. Not every chapter is a banger, but it's good. The Forms and Fluidity of Play by Thi Nguyen is also great (https://gamephilosophy.org/pcg2014/wp-content/uploads/2014/11/C.-Thi-Nguyen-2014.-The-Forms-and-Fluidity-of-Game-Play-PCG2014.pdf), as is Cybertext: Perspectives on Ergodic Literature, even if it was written in the 90's. It's very readable, which is important, but also full of excellent ideas.

I'd also recommend um... just reading a lot of adventures. There's a lot of bad ones, but I trust you to form opinions! I'm currently reading Luke Gearing's Wolves Upon The Coast and loving it for different reasons than I loved his adventure The Isle. I'm a big fan of Mothership's instant classics Dead Planet and Pound of Flesh, and I hear the Warden's Manual in the upcoming Mothership boxed set will have some good practical advice. Dread Manse by Micah Anderson was a recent read I liked a lot. I also love/hate/love Orbital Intelligence, but buyer beware: it's a weird as fuck bibliography. XD Dip a toe in as a treat, and treat all of them (including Crapland) at least a little bit seriously.

Also go watch my Zedeck Siew video and pick up a copy of whatever you think sounds coolest. Spy in the House of Eth is a good start, alongside Lorn Song of the Bachelor and of course Reach of the Roach God (which I haven't read yet, but is available at spearwitch.com). This one's a bit sad because of some recent drama, but the books are still good. Oh, and go listen to the Adventure Tourism podcast, and if my episode on Deep Carbon Observatory sounds cool, go read the original (NOT THE REMASTER).

I will say: Don't read any rulebooks for context. Vanilla Game is alright, but people (including me) have said some really Forge-y stuff about Mothership's mechanisms, DCC is huge and its spells aren't especially fun to read, Best Left Buried is... like, I don't want to say anything bad about it because I was (under)paid to edit it, but ehh.

I say that because a lot of those adventures are for """"OSR"""" games, which people say are inherently high-lethality. This is almost always parroted and twisted to be More Forge Bullshit. The rules don't matter. Most of them are D&D clones in lipstick. I recommended adventures (not rulesets) because they're easily appropriated. Just ask how you would use any piece of them at your table, or how you would change them to fit you or your table. It's a good way to play! It's an inherent part of play. I've said it a million times, but my Mothership home game is 2% Alien, 98% Cowboy Bebop, because fuck the rulebook. I don't like the stress and panic rules anymore. Sorry, Sean!

Let me know if this is coherent or helpful at all, and thanks again for the ask. :)

[waitmyturtles]

Turtles Catches Up With Old GMMTV: My Bromance and Yaoi Influences Edition

[What’s going on here? After joining Tumblr and discovering Thai BLs through KinnPorsche in 2022, I began watching GMMTV’s new offerings -- and realized that I had a lot of history to catch up on, to appreciate the more recent works that I was delving into. From tropes to BL frameworks, what we’re watching now hails from somewhere, and I’m learning about Thai BL's history through what I’m calling the Old GMMTV Challenge (OGMMTVC). Starting with recommendations from @absolutebl on their post regarding how GMMTV is correcting for its mistakes with its shows today, I’ve made an expansive list to get me through a condensed history of essential/classic/significant Thai BLs produced by GMMTV and many other BL studios. My watchlist, pasted below, lists what I’ve watched and what’s upcoming, along with the reviews I’ve written so far. Today, I cover My Bromance, a 2014 stepbrothers movie rooted in yaoi tropes and structures.]

Okie-dokie, my yaoi smokies! Earlier this week, I reviewed likely the most seminal film to have influenced the Thai television BL genre, 2007's Love of Siam. I took on one more pre-BL movie to round out the early Old GMMTV Challenge list in My Bromance (2014), and I did so for a few reasons.

First, a little time period context: before the launch of proto-Thai television BL in Love Sick (2014) -- an ensemble drama that did not center, but rather included, a queer romance in Phun x Noh -- Thai cinema was where queer relationships were mostly explored. In discussion with @bengiyo, Thai, pan-Asian, and international queer cinema was also where the majority of stereotypes about the presumed endings of queer relationships were mostly held, as I discussed at length in my Love of Siam review.

My Bromance aired in February 2014, and Love Sick aired in July 2014. I don't *think* the two properties spoke to each other by way of art or influence -- in part, simply because My Bromance is rooted in some STRONG Thai yaoi tropes that almost pre-determined the ending of the film (spoiler alert, I'll get into this later). (And I want to note and appreciate the differences in the term "yaoi" as interpreted in Japan vs. Thailand.) Love Sick, while utterly and fabulously chaotic, ended in happiness, with Phun and Noh confirming their relationship.

The second reason why I added My Bromance to this list is because history tells us that Thailand's past and present fascination with Japanese yaoi manga and anime, in part, primed wider Thai audiences for television dramas featuring queer love and relationships. As we know now, Thai filmmakers have made Thai television BL a genre of its own, complete with tropes and built-in assumptions about how the dramas are structured and how the stories are told. The most overt Thai yaoi-influenced drama on the OGMMTVC list is TharnType, and I wanted to add at least one pre-BL yaoi piece to get a sense for how yaoi would then play out on television (and I know there are PLENTY more very early television BLs that were touched by yaoi, but TharnType is the most influential one on the future of the BL genre).

The third reason for this addition is that the two leads of My Bromance -- Fluke Teerapat and Fluke Natouch -- both have long and notable careers in Thai television BL, with Fluke Natouch also having starred in a number of other pre-BL queer Thai films. Fluke Natouch, for me, reached legend-ish status by just existing in Until We Meet Again, which became a fast favorite of mine when I watched it for the OGMMTVC. But separately, I was particularly curious about seeing Fluke Teerapat in a pre-television Thai BL piece. As many of us know, likely his most famous role is that of Wad in SOTUS, GMMTV's first BL from 2016, in which Wad may or may not have been presumed to be paired with the older character, Prem. More importantly, since then, Fluke Teerapat has had a long career in Thai BL screenwriting, penning (with his partner, Tanachot Prapasri) two of the most notable non-GMMTV BLs of the past few years, My Ride and La Pluie. Both of these shows have reached a touch of cult status, and if they were both penned by a guy who's been around the BL way for a second, then -- I wondered if Fluke Teerapat's early acting career could give me insight in any lessons he learned about, maybe, what NOT to do in Thai BLs today.

Welp, I think My Bromance helps with those lessons, lol. @lurkingshan hipped me to the central trope that structures My Bromance -- the yaoi stepbrother trope in which, yes, oh yes, stepbrothers, ya know.

Maybe the first and most overall general assessment I can give of My Bromance is that it could perhaps get a little insane in its storyline by way of how it needed to be centralized around the taboo yaoi stepbrother trope in the first place. I've talked with @so-much-yet-to-learn and @absolutebl in the past about how in some shows rooted in yaoi, or at least a taboo trope or two -- how oftentimes, that show may include two or three or more taboo influences, since the show already decided to go to a different place than a socially acceptable moral or ethical center-norm.

I think I was watching that in My Bromance. Besides the stepbrothers realizing that they were attracted to each other, probably the most remarkable infrastructural inclusion of this movie was the utter cluelessness by Golf, the stepbrother played by Fluke Teerapat, that trying to continue a relationship in the face of everything against them might have been an effort not worth pursuing. That love of this sort might lead to more pain than pleasure.

Golf was a character set up as essentially abandoned by his father and stepmother for the sake of work, as both parents left Golf alone to travel for work constantly -- which left Golf alone in a house with Bank (Fluke Natouch) for lengthy periods of time that allowed them to find out their love for each other. Now, if you and your lover are alone for an inordinate amount of time, then yes -- you are going to think that in that environment, in that particular moment, your love can flourish. But when reality hit, and Golf and Bank were found out, and attempts were made to split them up, man, did Golf ever put the pressure on Bank to just... suck it up.

It was a tough framework to watch. Golf, through Fluke Teerapat's acting, was the living version of denial personified. He would NOT accept, immaturely, that Bank and himself could NOT be together. EVEN WHILE Golf and Bank were ultimately separated, physically and emotionally, Golf expected Bank's love to remain true. (I mean, imagine, this Bank is played by an 18-year-old Fluke Natouch. Bank was taking hit after hit!) And this is even after Golf returns from a years-long overseas stint.... with a girlfriend. Golf still scolds Bank for giving up on their love...

...to the point that they get into a physical altercation with deeply impactful results involving a car accident, surgeries, organ transplants, everything. Apologies for spoiling the ending, but it was so wild for me that I just need to process it for a second and consider its impact on television BLs.

I mentioned before that Bank was taking hit after hit. Before the car accident, his own mother seemed to begin to accept his sexual orientation (!!!) -- even trying to set Bank up with a new boyfriend. Thundering right back to another yaoi framework, Bank replies that while he might be gay, he doesn't need to love another man (what was this movie DOING to poor Bank?!). Then, later on, Bank even reluctantly agrees to try seeing a new guy himself at school. Bank himself wasn't necessarily an innocent blushing maiden -- at one point, he called Golf a coward for not being 100% committed to their love, which I think was an accurate call-out for what Golf was expecting Bank to accept by way of Golf's outward performance as a straight man. The poor kid was just trying to figure himself the hell out in the face of confusion and repeated abandonment.

Then the car accident happens, and Bank is gravely injured, to which Golf responds with a kidney (at least Golf showed up in one way!). And Golf disappears after that.

We learn, after Bank leaves the hospital, that Golf has died. (Here's where we get into the we've-come-to-expect-horrible-endings-for-queer-characters paradigm that I discussed in my Love of Siam review.) Man, Bank was taking a lot. He was under the impression at one point that Golf was going to get engaged. And then he learns that Golf, instead, was gone!

It was a lot -- a lot for a movie that clearly was not going to treat its queer characters well, inconsistently at best, and a lot for a movie that kept piling on the yaoi-ness of the genre it was playing in. These guys stood no chance of happiness, especially with Golf insisting that Bank still love him, despite everything Golf himself was doing in trying to live a straight life with a girlfriend/fiancée before he departs the film.

Now, with the benefit of watching this 2014 film with 2023 hindsight, I knew that Golf would "come back" in a My Bromance television series from 2020. But in 2014, at the end of the first movie -- I am sure audiences were just like, what.... was all that for. Bank had been through the ringer, for a relationship that was going to be difficult to maintain anyway, in a society that isn't easy on gay men in the first place in mid-2010s Thailand. (And the WONDERFUL @twig-tea filled me in on the context of the long wait to get to 2020's My Bromance sequel in the first place -- only for fans to be disappointed again in the quality of that series.)

When I think about this film in the context of 2019's TharnType, and even to a smaller extent, 2018's Love By Chance (both MAME pieces that feature yaoi overtones), it just seems that a common framework of early Thai yaoi BLs was that many of the dudes just didn't deserve empathy in their creation and longevity. That being queer AUTOMATICALLY meant that one was subject to pain. It's interesting for me to ponder this as this expectation was flirted with on television screens, as opposed to the movies. Again, while I discussed this previously in the context of how cinematically-driven queer and/or BL art plays out -- in regards to art that's structured specifically around yaoi frameworks, it seems like a rule that the dudes are supposed to take hit after hit, without the responsibility of the content checking in on the characters and offering them alternate trajectories of emotional discovery.

We didn't see that in TharnType -- TharnType featured a deeply complicated resolution that involved the intentional hurting of feelings over lengthy periods of time, and a redemption for an INCREDIBLY problematic character in Lhong. And TharnType was made not that long ago -- just four years ago from now.

I talked at length in my Love of Siam review about how brilliantly today's BL filmmakers have taken other expectations of Asian media, such as the concept of open-ended endings, to fascinating and artistically challenging results (to me, resulting in beautiful pieces). But when a piece is structured around yaoi rules and tropes, then it seems like many characters don't stand a chance at happiness. I know that's not a hard and fast rule, but it does create an expectation that something might happen.

I haven't seen My Ride and La Pluie yet, but at least with my dear drama clown friends, I followed the La Pluie journey through meta, and it looks about as opposite from My Bromance as anything -- a tight story about an emotional journey that featured a little magical realism and a lot of emotional development. I want to think that Fluke Teerapat saw the early work that he himself was getting involved in, and said to himself -- man, I know how I can make this MUCH, MUCH better, especially to represent queer happiness and queer love. I think he was beginning to address these conflicts in 2020's YYY, which features a wildly fabulous character in Porpla DEMANDING that the men of their life perform exactly to their yaoi standards. By the time Fluke Teerapat gets to My Ride and La Pluie -- it makes me think he had learned ENOUGH about what could go bad to make excellent standalone art.

Because of my respective fascination and appreciation for both Flukes, I'm glad I watched My Bromance, and separately, it does very much deserve a spot on the OGMMTVC syllabus to just show us what was out there on the eve of Love Sick's premiere. We hear so often that yaoi was an important influence to early Thai canon novel BLs and the television genre, so this sets up folks nicely to understand why shows later on like TharnType existed and were so popular. The expectation had been born and bred, and with TharnType's heat included, it drove the masses crazy. For my totally personal tastes, My Bromance wasn't my speed. But I do think and hope that it set up the two EXCELLENT Flukes for developing their standards around good, even GREAT, BLs in their writing and acting futures.

[Allllllllllright! My previously unscheduled detour into early Thai queer cinema is done for the moment, and I am back to the chronology of a few weeks ago, when I left off with Manner of Death watched and unreviewed. That review will drop early next week. My LOVING homage to my first P'Aof Noppharnach BL in my rewatch review of A Tale of Thousand Stars will drop after that. And then, my surprised take on Lovely Writer -- surprised because I did not expect, at all, to fall so much in love with it!

I'm getting through Nadao Bangkok's Last Twilight in Phuket and I Promised You The Moon at the moment, and soon on the horizon, I've got Not Me and 55:15 Never Too Late on deck -- 55:15 on the list because of its integrated BL storyline and commentary. And then a moment that *I* know I've been waiting for -- my long-awaited Bad Buddy and Our Skyy 2 rewatch. Oh, my heart. Can't wait.

The latest list is below -- I welcome your thoughts! (Tumblr's new web editor is jacking with this list below and not letting me strikethrough those shows that I've watched. For the most updated list, check this link right here.)

1) The Love of Siam (2007) (movie) (review here) 2) My Bromance (2014) (movie) 3) Love Sick and Love Sick 2 (2014 and 2015) (review here) 4) Gay OK Bangkok Season 1 (2016) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 5) Make It Right (2016) (review here) 6) SOTUS (2016-2017) (review here) 7) Gay OK Bangkok Season 2 (2017) (a non-BL queer series directed by Jojo Tichakorn and written by Aof Noppharnach) (review here) 8) Make It Right 2 (2017) (review here) 9) Together With Me (2017) (review here) 10) SOTUS S/Our Skyy x SOTUS (2017-2018) (review here) 11) Love By Chance (2018) (review here) 12) Kiss Me Again: PeteKao cuts (2018) (no review) 13) He’s Coming To Me (2019) (review here) 14) Dark Blue Kiss (2019) and Our Skyy x Kiss Me Again (2018) (review here) 15) TharnType (2019-2020) (review here) 16) Senior Secret Love: Puppy Honey (OffGun BL cuts) (2016 and 2017) (no review) 17) Theory of Love (2019) (review here) 18) 3 Will Be Free (2019) (a non-BL and an important harbinger of things to come in 2019 and beyond re: Jojo Tichakorn pushing queer content in non-BLs) (review here) 19) Dew the Movie (2019) (review here) 20) Until We Meet Again (2019-2020) (review here) 21) 2gether (2020) and Still 2gether (2020) (review here) 22) I Told Sunset About You (2020) (review here) 23) YYY (2020, out of chronological order) (review here) 24) Manner of Death (2020-2021) (not a true BL, but a MaxTul queer/gay romance set within a genre-based show that likely influenced Not Me and KinnPorsche) (review coming) 25) A Tale of Thousand Stars (2021) (review here) 26) A Tale of Thousand Stars (2021) OGMMTVC Fastest Rewatch Known To Humankind For The Sake Of Rewatching Our Skyy 2 x BBS x ATOTS (review coming) 27) Lovely Writer (2021) (review coming) 28) Last Twilight in Phuket (2021) (the mini-special before IPYTM) 29) I Promised You the Moon (2021) 30) Not Me (2021-2022) 31) Bad Buddy (2021-2022) (thesis here) 32) 55:15 Never Too Late (2021-2022) (not a BL, but a GMMTV drama that features a macro BL storyline about shipper culture and the BL industry) 33) Bad Buddy (2021-2022) and Our Skyy 2 x BBS x ATOTS (2023) OGMMTVC Rewatch 34) Secret Crush On You (2022) [watching for Cheewin’s trajectory of studying queer joy from Make It Right (high school), to SCOY (college), to Bed Friend (working adults)] 35) KinnPorsche (2022) (tag here) 36) KinnPorsche (2022) OGMMTVC Fastest Rewatch Known To Humankind For The Sake of Re-Analyzing the KP Cultural Zeitgeist 37) The Eclipse (2022) (tag here) 38) GAP (2022-2023) (Thailand’s first GL) 39) My School President (2022-2023) and Our Skyy 2 x My School President (2023) 40) Moonlight Chicken (2023) (tag here) 41) Bed Friend (2023) (tag here) (Cheewin’s latest show, depicting a queer joy journey among working adults) 42) Be My Favorite (2023) (tag here) (I’m including this for BMF’s sophisticated commentary on Krist’s career past as a BL icon) 43) Only Friends (2023)]

[married-2-the-music]

K-pop Discography Deep Dives: Sunmi

A Disclaimer: I was planning, when I first started Tumblr, to be a lurker, but then I began an office job and needed something to listen to to keep myself occupied. And then, I started going through entire K-pop groups’ repertoires, album by album, and jotting down my thoughts. And then, I stumbled into K-pop tumblr and decided, you know what, there’s at least four people on this hell site who would read in depth rants about these discographies and at least five who wouldn’t read it and then get mad because it’s kind of our job as K-pop fans. My lukewarm takes should be taken with an entire silo of salt and the knowledge that this is completely for fun and occupying my very bored, very neurodivergent brain. All this to say, for the love of god, I’m a sleep-deprived student and I don’t have time for internet hate, so don’t kill me. With that being said, enjoy!

So, since I’ll probably be tackling some groups with large discographies, both now and in the future, I thought it’d be good to shine lights on some smaller groups and soloists who either aren’t as popular and/or have much smaller repertoires, so that’s what we’re doing today! These are going to be a lot more chill than my deep dives because they’re really more of a fun break than anything else.

Here are my credentials: I’m totally a fan of Sunmi and consider her one of my favorite soloists, her songs are some of my most-loved in k-pop, and I admire her singing, dancing, and bass playing skills and the amount that she's had to go through. I wouldn’t quite call myself a Miya-ne, but I’m probably on the cusp of it and I’ve got a feeling that this deep dive will turn me into one.

Sunmi debuted with 24 Hours in 2014, and right away it sounds like the beginnings of the idea of “Sunmi-pop”, but just not quite as sharp yet. It feels very 2nd gen, with the beat, styling, choreo, and breathlessness of the vocals, which makes sense as she’d just come off the heels of Wonder Girls’ biggest hits. Even though it’s not a favorite of mine, I did like it and I especially loved the tango-esque slowdown in the bridge, even though the transition back to usual was a little clunky.

Full Moon’s bluesy guitar surprised me right out of the gate, and the song’s slower tempo did too. Sunmi’s voice sounds a bit more similar to what I’m used to but still not quite there yet. Its off kilter feeling and sharpness through the electro beat are more flags pointing towards Sunmi’s later work but still not quite there yet. I like this one too, more than 24 hours, but still not as much as the instant classics I know are coming.

My hidden gem from the first EP, Full Moon, is definitely Who Am I?. It’s unlike other k-pop songs I’ve heard, to be quite honest. From the first beat, it slinks along with a tense, almost minimalistic drum & bass before letting her voice almost snap back like a rubber band in the choruses. The only part I don’t like as much is the rap, which I personally don’t think needed to be there and the song could’ve been much stronger with an excellent bridge.

Sunmi’s voice is another of my favorite k-pop voices, and, like Woosung’s, it’s because it’s not a “typical” k-pop voice. For starters, it’s a bit lower, but also feels sharper and almost more defined in a way. It sounds like the voice of a confident, adult woman, not a kid’s that’s intentionally pitched higher, and because of that and the emotion it carries, it makes her songs feel so genuine and honest. Added to that is the fact that she’s credited as a writer on all of her songs, and after her 2nd EP, she’s written every song herself and was involved in composing most of them too, and you can see how “Sunmi-pop” has become something of its own genre.

Gashina is the first part of Sunmi’s unofficial trilogy of songs, and the song that catapulted her to success. I think, to be honest, that the intense popularity of it means that no matter if it was the best song I’d ever heard, I would have been slightly disappointed on first listen, which is no fault of Sunmi’s. I do like this song, and it’s the first single of hers that, even if I’d never heard it before, I would immediately associate it with her. It’s got that electro base, strange tempo, very specific vocals, defiance, a hint of her trademark cynicism, and a bizarre kind of humor that is very, very Sunmi. The music video too feels so unmistakably her that I can’t help but smile, and it even got a few chuckles out of me.

Heroine is the second part of the trilogy, and the first song of Sunmi’s that I ever loved. It’s on my K-pop Top 25 (which at this point should be a post of its own from how many times I’ve mentioned it), and it’s also probably the reason that I’m not as head-over-heels for Gashina as other people are, because I think Heroine is her best song. Like her 10 out of her 10’s, it doesn’t let a single moment go to waste, and even when it seems to slow down, it’s only to set up the juggernaut of a chorus about to smack you in the face. In the hands of a lesser performer, it could easily become one dimensional, but the song surges forward with such a raw, almost desperate energy, and consistently makes you feel breathless with its sharp near-anguish. But the part that makes it so great isn’t any of its loudness. Instead, it’s a deep sigh, and the quiet, simple, “The show must go on. You must go on.” Phew. Gets me everytime.

Siren is the third part of the trilogy, and even comes with an accompanying EP. Its alarm and slightly softer opening is immediately at odds with the warning in the lyrics, and the two finally clash together in the angrier chorus which starts with the “Get away, out of my face.” The song is like a Siren itself: entrancing, bizarre, unique, and overall dangerous to stand too close to. It feels like floating, almost otherworldly compared to the humanity of the first two. I like this one too, not as much as Heroine but more than Gashina.

From Warning, it was so hard to pick a hidden gem, because I liked them all! I like the choppiness (and the intensely queer vibes) of Curve, the address of fame in Addict, and the sweet lyrics and mellow sound of Secret Tape (about her friendship with Red Velvet’s Seulgi). My favorite is probably Black Pearl, though. Its sleek citypop vibes are immaculate, and I first heard it through her performance of it with a saxophone and a live band. Its lyrics are about opening yourself up to love, even when you think someone could never love your darkest parts.

All in all, this EP is incredibly consistent in its tone and questioning of love and fame, and yet also experimental through different genres, which is not easy to do in only five songs, especially when two of them are under two minutes. Sunmi doesn’t really do EPs, instead usually sticking to singles, and because of this, she never has songs that feel like filler. She doesn’t actually have very many songs, but like with (G)I-DLE, each feels important to her and worthy of their place on an album.

Noir embraces the minimalist beat in its verses and only slightly adds to it in the choruses, throwing convention to the wind and fully embracing its bizarreness in the visuals and the song itself, both a biting critique of the fakeness of social media and an expression of Sunmi’s own mental health issues following her Borderline Personality Disorder diagnosis. It’s satire, but also genuinely scary how blase the entire song is, and it’s just so utterly strange that it’s impossible to look away, which is perhaps the whole point. Like many of Sunmi’s songs, you (like me) may not like it on first listen but something about it will stick with you for a while after.

LALALAY takes a slight departure from Sunmi’s usual sound with its Latin Pop inspired beat and brass horns in the post-chorus, but its sharp lyrics about the difference between Sunmi the person and her performer persona and the sarcastic tone she takes with the whole thing mark it as still very much her. I confess I like the synthpop songs better, but I do enjoy the new direction she took this in; I only wish she took it farther and had more of a cathartic point in the chorus, because in such a tight discography, this one doesn’t stand up to the others. The song in Korean is actually called “Nalari”, which is a term meaning people who try to act cool by partying, drinking, smoking, etc, and she’s backed up with a taepyeongso, a traditional Korean instrument, which is context that’s unfortunately missing from the English translation.

Pporappippam begins with a flighty flute, chiming bells, and some gentle violins. Right from the outset, it’s another song that doesn’t slow down, albeit in a much smoother and prettier way than Heroine. Pporappippam means “purple night” in Korean, and the song is actually a pretty straightforward love song, which is unusual for Sunmi, but she’s an expert at making songs that both try something new and still feel very “her”. Similarly to Gashina, I feel like people overrating this song made me like it less than I would’ve, and while I do like it, similarly to LALALAY, I also wish it had more of an explosive, cathartic moment in the chorus. It’s very vibe-y, and those vibes are immaculate, but in such a strong discography, there’s nothing that distinguishes it from the rest of her work.

TAIL feels less like another entry in her electro catalog and more like a follow-up to her 24 Hours era and especially Who Am I. When I first heard it, I was surprised at what seemed to be so out of left field, but listening in order, it makes more sense. This song too has that kind of creeping tenseness that I loved from the beginning, although I think that for me, it needs more of the rock elements from Who Am I in order to be a favorite of mine. Yet again, I feel like the song should be building to some kind of climax or catharsis, but it just…doesn’t. Although, it, like most of her songs, is slowly growing on me and I like it more than I did before the deep dive.

What The Flower is the b-side from this single, and I actually like it more than TAIL. It has similarly tense, sultry vibes, but with a jazzier, soft-rock piano-led edge and much sharper, angrier lyrics. It talks about the pressure to perform and be perfect for an audience, yells at the viewer to “stop touching her”, and says that it’s not necessary to smile. The name was actually chosen because it’s very close to the Korean word for “fuck”, and she wasn’t allowed to swear in it.

The topic of sexuality in Sunmi’s songs is very interesting to me, because she approaches it very differently to a lot of other idols. Sexuality (and sex appeal itself) is a fixture in her music, from the more overt in songs like TAIL to less obvious in Siren. Instead of appealing to a male audience, she often uses it to emphasize her power and strength and show that she’s the one in control, whether as a femme fatale or just a normal woman who’s taken her power back. It feels like the expression of it is on her own terms, which is a nice shift from groups who often do a “sexy concept”, when you never know if they’re comfortable with it or not.

Finally we reach another EP in 1/6 , with two title tracks. The Korean one, You Can’t Sit With Us, was actually the first song I’d heard of Sunmi’s, and needless to say, the teen movie references, impeccable styling, synthy beat, and of course, the entire insane zombie hunting / romcom plotline won me over completely. The one trip-up I (like many people) have is probably the rap verse, which didn’t need to be there and definitely didn’t need to be in English. But, the whole song is just super fun and doesn’t take itself too seriously so I’m willing to look past whatever minor hang-ups I have. I laugh everytime I hear or see it, and it’s just so unabashedly weird that I can’t help but love it.

Borderline is the English title track, which usually I would criticize for attempting to reach wider markets and be sanitized, but Sunmi actually goes the complete opposite direction, using the different language to open up honestly about her Borderline Personality Disorder diagnosis in a raw, emotional appeal (“why do people keep saying, ‘what’s wrong with her?’?”) only backed up by a guitar and quiet drums, so different from the majority of her synth works. This is one of the songs where her vocals truly have time to shine, and though I admit I didn’t like it at first, I enjoy listening to it more each time I do and it’s slowly become one of my favorites.

My hidden gem from ⅙ is actually the song ⅙, which, despite its seemingly happy production with bright synths and light vocals, is actually another song about her mental health, and takes the interesting metaphor of escaping to the moon, wondering if, if she could go where gravity is ⅙ that of Earth, if her worries would be ⅙ that of what they are now. But I like the rest of the EP too, albeit less than I liked Warning.

Go or Stop?, a single made for advertising, starts with a somewhat trippy electro beat and while it’s not a career highlight, It’d made a nice addition to a gym playlist with its constant energy. Again, like with LALALAY, Pporappippam, and TAIL, it needs just something more, but this time I can’t quite figure out where that “more” needs to be. All I know is something just doesn’t quite work for me.

Oh Sorry Ya starts with an odd bass guitar and high whistle-like contrast mixed with Sunmi’s trademark synth and the combination really works for me. The vocals suit the song well, and I like that the song doesn’t follow a “normal” structure, or really feel “normal” in any way with its many different instrumentals and genres smashed together. It sounds a bit like a more dancy version of Borderline, and it’s apparently inspired by a pun; in Korean “Heosoli” (to be silly) sounds like “Oh Sorry” and she turned it into a song with a deeper meaning. This song is also in English, and the lyrics are pretty good. I like this one.

Heart Burn is another departure from the synth, with a trippy guitar and a vibe that is somehow summery, strange, dreamy, and moody at the same time. Like Siren and TAIL, it follows the narrative of a character that could so easily be seen as just a classic femme fatale if it weren’t for the added depth that Sunmi imbues through her voice. This is one of my favorites from her, to be honest, and in keeping with the story of traveling throughout time, it feels like very 60’s / 70’s and thus, unique while still feeling very her (the calm jump roping while the ghosts of the men she’s murdered hold it for her is what made me go, “ah, there it is, I thought it felt too normal.”). I liked it from first listen, unsurprisingly, and I can’t decide whether I prefer the original or the more lowkey version where she’s playing bass, because they’re pretty neck and neck for me right now.

Childhood, the b-side from the single, is also very dreamy. In fact, it makes me feel like floating in a great way and listening to it for this deep dive almost put me to sleep. The gentle bass and even gentler drums mixed with her voice (which is much less harsh than usual) is a winning combo for me.

Stranger, at time of writing, just came out today, which is why this review is a day late. The teasers intrigued me from the beginning, and the sing-talk beginning scared me because I worried that she was giving up her signature style. Instead, the verses and bridge are synth and the choruses are sing-talk, a combination that almost works but doesn’t. It annoys me because I really, really want to like this song; the Frankenstein meets Wednesday aesthetics are very cool and it has a great sense of humor. But…I’ve never been a fan of sing-talk and I think that it’s safe to say that this one is just not for me. As for b-sides, I did like Call My Name, although not as much as I’ve liked other b-sides in the past.

Alright, that’s the end of our supplemental for this week, folks. Next week we’re back to one group on Sundays because unlike BTS, they don’t have more songs than I have strands of hair, but next time I have a longer group, I’ll likely do supplementals again because these were a nice break for me. As is the standard, I’m glad I did this! I was right that this deep dive would make me a Miya-ne, and I’m happy that it did. I’ve loved Sunmi for a while, and this only made me love her more. I had no idea until this that she writes her own songs, and I give her a whole lot of respect for that because damn, it’s really difficult.

My Top 5 songs of Sunmi’s are Heroine, Heart Burn, Black Pearl, Who Am I, and Siren, with a special shout-out to Borderline. Sunmi gets an 8.75/10 from me; again a personal bias thing, since this is a supplemental, but I really had a lot of fun with this deep dive. I’m a huge fan of synthpop and songs that discuss fame and mental health, so this was a perfect way to end my weekend. Maybe one day, Hera willing, I’ll get to see Sunmi live too!

Next week we'll be back to our regularly scheduled programming with a girl group, so I’ll see you then! Tschüss!

[ashmp3]

teo who have been your fashion it girls in terms of style etc. either past or present

omg i have been thinking about this ask the whole day and night i am so excited to dive in because well... we are gonna dive in. its teo ashmp3 reporting for duty hello its only right! ALSO THANKS FOR ASKING!!!! and that picture... i need him to sleep in my ribcage.

well okay we have to start from the Beginning which means -> my beautiful mommy. she was thee it girl the kind that takes a train from her tiny city in east serbia straight to Belgrade so she can go on a shopping spree... see i take it after her. but okay after my mom come bratz dolls. And rihanna. and fashion magazines... we are in the early 00s i am in primary school and i read OK! and Bravo religiously LMFAO i have a crush on rihanna and nicole scherzinger and lil wayne and im living my life. Oh did i mention i made moodboards bc i also wanted to see if there is any method to the madness and i think there is but u be the judge. anyway all of the bratz dolls i put i had LMFAO i also had a cameron doll and he had baggy cargo military-ish pants and u can bet i made my dad buy me the same ones so i really was Inspired. Also i just put early 00s baddies that were very popular vibe in serbia - bleached straight hair (or BLACK pitch black) with thick extensions, gem teeth, fur jackets, orange foundation. i wanted to be them so bad... but alas i was 9.

next we go into my teenage years which means two things -> fashion bloggers (peep tamara kalinić if u can because i followed her when she looked like that LMFAO. her and zorannah shaped me) meaning zoella and the ginger girl and many many more i cant find. The girl with wings and black dress is a croatian baddie i followed on ask.fm and i had a raging crush on her like a lunatic LMFAO i still remember her being pisces with libra rising. anyway i wanted to be like her saur bad she was so fine to me. Next, we are entering 2013/2014 territory so of course effy, ahs (s1 and coven), chloe sevigny, courtney love, models off duty fits (especially chanel iman, rosie, sasha etc etc), taylor momsen and alexa were my SHIT. and tbh i did dress like this 100% so i will say very accurate 15yo teo fit slash vibe🧘🏼‍♀️ a bit grungy very much a tumblr girl (i did have one even back then but i deleted it in 2015 hehehe)

And now i cant even tell except i have always been into fashion, and i used to be very experimental so i know what suits me and makes me feel the best. I am very tame now compared to before and much more classic and covered lol but i feel like i can style my clothes in a fun and interesting way even though it might not seem that at the first glance. I put some 90s models i get inspired by, olsen twins ofc and i always loved jane birkin a lot especially in the summer.

For the end i put some people that i didnt know where to squeeze in and they are kind of their own personal category. Even back in 2015 i used to love krystal and her fashion always spoke to me. Rosie is my girl and whatever she wears i 1. do to 2. she inspires me to try if i havent already. i remember the first time i saw sarah linh-tran and it changed my life i am not joking. i used to dress more like her when i was at uni. i always liked carolyn bassette and i always loved bella hadid and her fashion... i even put a picture (venice one) i had as a lockscreen for ages. i had like 3 in rotation of her in my lifetime like its serious LMFAO