#marcel rodriguez-lopez

[saveferris]

ced y the other mar

[lankyledlights]

marcel picmix why da eff not

[haluceongenic]

Am I waiting now?

[pretentious-art-love]

Album Reviews #63 - Weekly Mansions by Omar Rodriguez Lopez

Omar completely reinvented himself as an Indie Pop and Neo Psychedelia artist here! This is a cool album of more accessible electronic, sometimes is weird & ominous and sometimes is dancey and catchy, that's right guys, this is Omar doing dance music, (and sometimes it gets incredibly catchy and joyful) the keyboards and electronics are heavily layered and it reminds me of some 80s Synthpop stuff with some electropop of the 2010s with Omar's distorted vocals, honestly, the fact Omar can output this kind of stuff and succeed at it, it's pretty amazing.

This album has experimental themes and catchy pop songs, there is a lot of sounds you will remember if you have heard Noctourniquet, the first track for example is very dissonant and industrial, noisy, it's like a brain scratcher in all the best ways, the second track has a very freeing and liberating chorus while still being danceable. This formula of pop and experimental is also seen in A Lovejoy. In my humble opinion, one album should have been left with the pop songs alone and the other should have been left with the experimental ambient ones because these tracklist selections sometimes break with the flow even if all tracks are great. I might make a playlist later, aside from that I have to say that this album is pretty great!

7/10

[198d]

The Mars Volta - Ilyena (Music Video)

[youngfcs]

hi cib! im looking for a twin brother (has to pass for 17-20) and also a father (early to mid-30s) faceclaim for jenna ortega. they will be the children of diane guerrero. thank you so much! x

Hi there! Hope you like it <3

Brother:

Michael Cimino (16-23)

Diego Tinoco (17-25)

Fabrizio Guido (16-23)

Michael Garza (16-22)

Marcel Ruiz (14-19)

Father:

Jay Hernandez (36-44)

Mario Lopez (41-49)

Oscar Isaac (35-43)

Pedro Pascal (39-47)

Adam Rodriguez (38-47)

(cib)

[possible-streetwear]

[rainingmusic]

Omar Rodriguez-Lopez - Rapid Fire Tollbooth

[nofoodjustwax]

Omar Rodriguez Lopez Quintet - The Apocalypse Inside of an Orange

Omar Rodriguez Lopez Quintet – The Apocalypse Inside of an Orange

[roulettedares]

favorites from the realidad de los suenos booklet 💞

[alexis-dot-com]

The Mars Volta has two types of song

[soundchxck]

The Mars Volta Are Teasing Something Called “La Realidad De Los Sueños”.

Update: The Mars Volta are releasing a massive career spanning vinyl box set!

Source: stereogum

[elenarodriiguez]

febuwhump masterlist

well i did it - 28 fics in as many days (and yes i did burn myself out in the process!) totalling to almost 34000 words! i don’t quite know how i did it, but i did & that’s the main thing! so in case you missed any, here’s a list:

head wound | chicago pd | hailey upton x reader | 1054

failed rescue attempt | chicago fire | stella kidd x reader | 1333

blood loss | chicago pd | kim burgess x jay halstead (burgstead) | 1168

nightmares | criminal minds | penelope garcia x reader | 613

“let me see” | agents of shield | bobbi morse x reader | 951

natural disaster | chicago pd | vanessa rojas x hailey upton (upjas) | 1742

“i dreamt you were alive” | chicago fire | leslie shay x female!reader | 1129

no anaesthesia | chicago med | crockett marcel x sarah reese (sockett) | 1364

kidnapped | chicago pd | kim burgess x jay halstead x hailey upton (burgtonstead) | 1214

“how long has it been?” | agents of shield | daisy johnson x reader | 938

“i’ll never forgive you” | marvel | sharon carter x reader | 906

spiked drink | chicago med | sarah reese x connor rhodes (rheese) | 1884

won’t regain consciousness | chicago fire | matt casey x hallie thomas (mallie) | 1290

can’t go home | hawkeye | kate bishop x maya lopez (bishpez) | 1132

hidden scars | agents of shield | leo fitz x daisy johnson (fitzdaisy) | 1143

"does that hurt?" | chicago fire | sylvie brett x reader | 685

self-inflicted wound | chicago pd | jay halstead x reader | 1066

forced to watch | chicago pd | erin lindsay x reader | 1844

black eye | agents of shield | melinda may x reader | 759

shrapnel | chicago pd | greg "mouse" gerwitz x jay halstead (moustead) | 2322

help them | chicago fire | matt casey x reader | 679

restrained | chicago fire | matt casey x stella kidd x kelly severide (stellaridesy) | 1512

"don't leave!" | chicago med | ava bekker x sarah reese (reesker) | 2590

too weak to move | swat | chris alonso x reader | 982

muffled screams | eternals | druig x makkari (drukkari) | 1060

"please don't do this" | private practice | cooper freedman x charlotte king (charcoop) | 950

shower breakdown | agents of shield | daisy johnson x elena rodriguez (quakeshot) | 677

presumed dead | criminal minds | elle greenaway x spencer reid (reidaway) | 888

[writemarcus]

Savion Glover, Jason Robert Brown, Priscilla Lopez, More Join NYPL I'm Still Here Benefit

BY ANDREW GANS

JUN 16, 2021

The upcoming benefit, celebrating the New York Public Library's Billy Rose Theatre Division, honors George C. Wolfe and the late Harold Prince.

Additional artists have joined the upcoming I'm Still Here benefit, celebrating the 90th anniversary of The New York Public Library for the Performing Arts’ Billy Rose Theatre Division and the 50th anniversary of its Theatre on Film and Tape Archive.

Honoring Tony-winning directors George C. Wolfe and the late Harold Prince, I’m Still Here will stream on Broadway on Demand June 23 at 8 PM ET.

Jason Robert Brown, Savion Glover, Priscilla Lopez, Susan Stroman, Marisha Wallace, and Christopher Wheeldon have joined the starry roster of participants. The evening, as previously announced, will also feature archival content of several Broadway productions preserved in the archive, including the newly announced Angela Bassett and Samuel L. Jackson in The Mountaintop; Bette Midler in I'll Eat You Last; Brian Stokes Mitchell in Ragtime; Kelli O'Hara and Paulo Szot in South Pacific; Christian Borle and Tim Curry in Spamalot; and Craig Bierko and Rebecca Luker in The Music Man.

Viewers can expect to see Glover, Jimmy Tate, Choclattjared, and Raymond King in Bring in 'da Noise, Bring in 'da Funk; Meryl Streep, Marcia Gay Harden, and Larry Pine in The Seagull; Lin-Manuel Miranda, Robin de Jesús, Christopher Jackson, Karen Olivo, Andréa Burns, Janet Dacal, Eliseo Román, and Seth Stewart in In the Heights; and Glenn Close in Sunset Boulevard.

Watch Stephanie J. Block Belt Out She Loves Me's 'A Trip to the Library' for NYPL I'm Still Here Benefit

Also taking part: Annaleigh Ashford (Sunday in the Park with George), Alexander Bello (Caroline, or Change), Laura Benanti (She Loves Me), Malik Bilbrew, Alexandra Billings (Wicked), Susan Birkenhead (Jelly’s Last Jam), Shay Bland, Alex Brightman (Beetlejuice), Matthew Broderick (Plaza Suite), Krystal Joy Brown (Hamilton), David Burtka (Gypsy), Sammi Cannold (Endlings), Ayodele Casel (Chasing Magic), Victoria Clark (The Light in the Piazza), Max Clayton (Moulin Rouge!), Calvin L. Cooper (Mrs. Doubtfire), DeMarius Copes (Mean Girls), Trip Cullman (Choir Boy), Taeler Elyse Cyrus (Hello, Dolly!), Quentin Earl Darrington (Once on This Island), Robin de Jesús (In the Heights), André De Shields (Hadestown), Frank DiLella (NY1), Derek Ege, Amina Faye, Harvey Fierstein (La Cage aux Folles), Leslie Donna Flesner (Tootsie), Chelsea P. Freeman, Joel Grey (Cabaret), Ryan J. Haddad (The Politician), Sheldon Harnick (Fiddler on the Roof), James Harkness (Ain’t Too Proud), Marcy Harriell (Company), Neil Patrick Harris (Hedwig and the Angry Inch), Mark Harris (Mike Nichols: A Life), David Henry Hwang (M. Butterfly), Cassondra James (Once on This Island), Marcus Paul James (Rent), Taylor Iman Jones (Hamilton), Maya Kazzaz, Tom Kirdahy (The Inheritance), Hilary Knight, Michael John LaChiusa (The Wild Party), Norman Lear (Good Times), Baayork Lee (A Chorus Line), Sondra Lee (Hello, Dolly!), Telly Leung (Aladdin), Ashley Loren (Moulin Rouge!), Allen René Louis, Brittney Mack (Six), Taylor Mac (Gary: A Sequel to Titus Andronicus), Morgan Marcell, Aaron Marcellus, Joan Marcus, Michael Mayer (Spring Awakening), Sarah Meahl, Joanna Merlin (Fiddler on the Roof), Ruthie Ann Miles (Sunday in the Park with George), Bonnie Milligan (Head Over Heels), Rita Moreno (West Side Story), Leilani Patao (Garden Girl), Nova Payton (Dreamgirls), Joel Perez (Kiss My Aztec), Bernadette Peters (Into the Woods), Tonya Pinkins (Jelly’s Last Jam), Jacoby Pruitt, Sam Quinn, Phylicia Rashad (A Raisin in the Sun), Jelani Remy (Ain’t Too Proud), Leslie Rodriguez Kritzer (Beetlejuice), George Salazar (Be More Chill), Marilyn Saunders (Company), Marcus Scott (Fidelio), Rashidra Scott (Company), Rona Siddiqui (Tales of a Halfghan), Ahmad Simmons, Rebecca Taichman (Indecent), Jeanine Tesori (Fun Home), Bobby Conte Thornton (Company), Sergio Trujillo (On Your Feet), Kei Tsuruharatani (Jagged Little Pill), Ben Vereen (Pippin), Jack Viertel, Christopher Vo, Paula Vogel (Indecent), Nik Walker (Ain’t Too Proud), Shannon Fiona Weir, Helen Marla White (Ain’t Misbehavin’), Natasha Yvette Williams (Orange Is the New Black), and Ricardo Zayas (Hamilton).

The program will also feature interviews with Broadway artists plus the re-conception of classic musical theatre songs, including "A Trip to the Library," “Wheels of a Dream,” “Another Hundred People,” “Love Will Find a Way,” and, fittingly, “I’m Still Here.”

READ: The Woman Who Fought to Record and Preserve Broadway Shows

The virtual benefit is produced and conceived by Boardman and Doran and features direction by Steve Broadnax, Sammi Cannold, Nick Corley, Ty Defoe, Lorin Latarro, Mia Walker, and Jason Michael Webb, choreography by Ayodele Casel, Latarro, and Ray Mercer, with new music arranged by Rachel Dean and Annastasia Victory, arrangements and orchestrations by Brian Usifer, and casting by Peter Van Dam at Tara Rubin Casting.

Tickets are donate-what-you-can, with a recommendation of at least $19.31 in honor of the year the division was founded. Visit StillHereat90.com.

[pretentious-art-love]

Album Reviews #56 - The Mars Volta's Self Titled Album

In the era of self-made records and bedroom pop, TMV take advantage of their status and decide to self produce, self mix and edit an album in their own homes. While TMV have ventured in more straightforward type of songs in Noctourniquet before, this time the band went further ahead and fully embraced an Indietronica sound with a focus on melody rather than dissonant solos and long improvisations. TMV's new album came up and with the huge change in sound it is fair to expect it to be very polarizing. At the end, in my opinion, it all comes down to if Omar and Cedric managed to do what they set to achieve. I do have a subjective, personal opinion of the album about how I feel most of the material is underwritten that you can read below. But first, I believe some context is relevant.

It is no secret that most artists don't like to have their music tagged, rejecting the labels that were put into them, Cardiacs with prog, Aphex Twin with IDM, My Chemical Romance with Emo, Debussy with Impressionism, Dada artists with Dadaism, you will find that despite people liking tagging stuff to find music better, artists generally don't like this mindset, because it feels it puts them in a box, and Omar is no exception. Omar, as a lot of prog artists, never liked the prog rock word, being associated with King Crimson and put expectations on what they write when they are just doing what they feel. Omar always liked pop too, but it seems he lacked the confidence to do pop properly, saying he couldn't master it. Along the years Omar has done a lot of pop songs in the past in his solo records and different side projects as well.

Now, while some people might consider using the name The Mars Volta for such a different style might be some sort of trick to gain more money with what they want to publish now. A lot of people say that this is not a sell out because even when they shifted to an Art Pop direction, their music is not designed to be played in Top Hit Radio stations. And to them I say, was that really something anybody actually believed? For starters, what kind of top hits radio station zwould play Indietronica made by a couple of 40 year olds that had never been in the genre scene and had not released music in the last 10 years? To those who point it is a sellout, the accusation is that it is a name sellout, rather than a music sellout. On the other hand, it is more likely that for Omar and Cedric it feels that using the TMV name for this album gives them an opportunity to get more seen with a certain type of music they always wanted to try and play along with while also getting rid of the preconceptions people had of the band in the past. In a certain way, it's all about perspective, so not really a cash grab.

The discussion as about if a band or act should keep their style on brand or be allowed to change if they want to is certainly an interesting one. I agree partially with something someone told me once, and that is that everyone should approach bands like King Gizzard & The Lizard Wizard fans approach music. "Those dudes can release anything and will never get a response like "they should've released this under a different name, this isn't king gizz". In the other hand, other people might say that King Gizz learned that right with their own varied discography, being varied is their brand, and again, it helps to keep things simple when looking for new music, searching for different acts that you like, what to follow, and that's why a lot of artists use a different name for projects that end up sounding different than their previous works. Regarding a prog band going pop, there are a lot of bad cases that give the fame to such change as a bad one like it happened with a lot of prog acts in the 80s, but the fact is that there were also some great ones like King Crimson with Discipline and my absolute favorite Yes with 90125, so there are examples that show that it can be done amazingly well. So, anyway, enough about the context, what matters for the review at the end is if the music is good or not, regardless of the style. Is this album (regardless if it's from TMV or not), good? In my opinion, I would say no.

I feel that what it is happening here is a similar case of what happened when Arcade Fire released Reflektor, the band was trying to do all these different new styles that were new for them for the simple sake of… doing them, to prove they could do them, while not actually do anything new or unique with them, which caused a lot of a polarized reaction too. Arcade Fire had an unique and distinct sound but when they switched to a new sound, it seemed as if they didn't have anything new to add with the ideas they were presenting. It also caused issues with the fans, some people liked the new material, I myself agree there are some fantastic songs in the record like the self titled track. But for others it felt as if people were rejecting the music just because it was different, and in some causes they were right because no matter what you do changing your style is going to lose you and attract new fans, that's what it is.

And this record, for what it currently is, it presents some of the most forgettable and bland pop I have listened in the past. Tracks like Blacklight Shine show what could have been a refreshing and nice Latin Rock/Art Rock album keeping tribute to the Latin side Omar has always been proud of, adding more genres of the Latin America music-sphere with nice pop hooks carried over by Cedric's voice, but most of the album goes in an Indietronica direction and rehashes melodies that are nothing sort of remarkable or even catchy, a lot of times you will feel the tracks end before they even start since a lot of the material doesn't seem to be even properly developed. Not even due to a lack of experience, since The Cloud Hills Tapes, Part III has already shown Omar playing Art Pop songs and allowing each one of them to breathe and establish themselves.

A big missing piece that could be attributed to several of these songs is the lack of a bridge before they reach the final reprise of the chorus or verse. On pop songs the bridge (which in rock songs is represented by the guitar solo a lot of the times) is given as a final moment of emotionalism and variety to the song before they wrap everything together in the final moment of the song. A lot of pop songs have the universal formula verse → chorus → verse → chorus → bridge → chorus → verse or a variation of that that places the bridge around 3/4 of the song. The bridge is meant to represent the climax of the story the music is trying to tell. Which added to their short duration and tight structures, makes the songs feel repetitive, claustrophobic and bare bones. In other words, the pop formula is incomplete. And nothing is really given to the listener to replace it on its place. And it is not because Omar is unaware of it, since he has done pop songs in the past that meet these requirements.

The melodies are, sure, serviceable, but they aren't anything special, they "do the job" but don't actually show anything remarkable and even if I have listened some of the songs several times I simply forget about them once they are over. Contrary to what I thought at first with Vigil, this album isn't really that generic, it has several ideas through it, but they are so scarce in this album to even carry out individual songs. A lot of the songs focus on atmosphere rather than melody even and that just doesn't help them out any further because this kind of atmosphere is nothing anybody hasn't heard before, it is just alright. Rich Costey is not mixing this apparently so it could have been a factor as well. Cedric's voice has this sort of processing that sounds really grating. And the thing is that it is a bit unfortunate because Omar has shown to be able to do good pop songs in the past, some of my favorites being Burning Those Bridges from Zen Thrills, Black Mass and Mariposa (my absolute favourite) from Blind Worms, Pious Swine, Running Away from Corazones, Corazon from Cizaña de los amores, Paint Yourself A Saint from The Cloud Hills Tapes, Part III (An entire album of Omar ventures in Art Pop and Alternative R&B styles) and so on.

The fans who don't like it because it's different are defensive saying this is not The Mars Volta, the fans that who don't like it not because is different because they feel it is forgettable are defensive because they expected more of this direction, the fans who liked it are defensive with the ones who didn't like it saying that if it had been a new group by different people it would have been liked. Even TMV saying the most revolutionary thing they could have done is releasing a pop record is kinda funny, in mi opinon, because from their end to do it under the TMV band and even more so in a comeback album it is bold, while others simply say they have lost it and the record is just mediocre.

In the interviews I have seen about this album, they talk every little about their musical process, and at the end their point comes across as "you're not a fan if you don't like our new stuff" and "well actually making pop is a huge musical statement" which just isn't true at all. At the end I don't see a reason to defend it or spend more of my energy on it when most of the music is so safely done and the whole album it's such a so by the numbers record. For those who wanted to listen better results made by Omar himself in a direction like this, I would rather recommend them The Cloud Hills Tapes, Part III, Blind Worms, Pious Swine, Corazones, and the fantastic Weekly Mansions.

2/10

[fatalesbeauty]

FATALES   I   

Do your legs look like they’ve spent the past few months hibernating in tights? Tom Ford Soleil Blanc Shimmering Body Oil adds a sexy golden sheen in seconds. Its amber-and-sandalwood scent was inspired by white-sand beaches.

La chaîne Fatales met à votre disposition une large gamme de produits cosmétiques, parfums, maquillage et soins dans les marques les plus sélectives : LITTLE MARCEL,  AA Cosmetic,  Abril et Nature,  Agatha Paris,  Aigner,  ALEXANDER MC QUEEN, Anastasia Beverly Hills ,  Antonio Banderas ,  Armani,  Atelier Maquillage,  Azzaro, Beauty Pro, Beyonce,  Blauer,  Bourjois,  Brasil Cacau,  Bronx Colors,  Burberry,  Bvlgari,  By Terry,  Cacharel, Calvin Klein,  Carobels,  Carolina Herrera,  Cartier,  CERRUTI,  CHANEL, Chloé,  CIGAR collection , Clarins,  Clinique,  COLAB,  Copines Line,  CREIGHTONS,  David Beckham,  Davidoff,  DEBORAH, DIEGO DALLA PALMA,  Diesel,  Dior,  Disney,  Dolce & Gabbana ,  Elie Saab,  Energie Fruit,  Escada, Estée Lauder,  EVOLUDERM,  Façonnable,  FARMAVITA,  Ferrari,  FOREO ,  Franck Olivier,  Furla, Garnier,  Givenchy,  Gosh,  Grace Cole, Gucci,  Guerlain,  Guess,  HEI POA,  Hermès,  HorseBall, Hugo_Boss,  IKKS,  IKOO,  ISADORA,  Issey Miyake,  jacadi,  Jean Paul Gaultier,  JENNIFER LOPEZ , KABEAH,  Kaloo,  Kenzo, Kérastase,  Keune,  KOTO,  L'Action,  L'oréal,  L’OCCITANE,  Lacoste, Lancôme,  lasplash,  liu jo,  LOLITA LEMPICKA,  Louis Varel,  Lulu Castagnette,  Mades Cosmetics, Maison Margiela, Manoush,  MARC JACOBS,  Marco Serussi,  MAUBOUSSIN,  Maxfactor, Maybelline,  Metallic Flash Tattoos,  Miss Cop,  Moliabal,  Morgan,  MOSCHINO,  Mugler,  Narciso Rodriguez, Nelly,  Nina Ricci,  NOU,  Paco Rabanne,  Pascal Morabito,  Payot,  PEPE JEANS,  Polaar, Porche Design,  Prada,  PROFUSION Cosmetics,  PUPA,  REAL TECHNIQUES,  René Furterer, Replay, REVLON,  Rexaline,  Rimmel,  Roberto Cavalli,  Saint Hilaire,  Sally Hansen,  Salvatore Ferragoamo , Schwarzkopf,  Shiseido,  Sleek,  Terry De Gunzburg,  Tom Ford,  Valentino, Versace,  Viktor & Rolf, VITAMASQUES,  Women Secret,  YUNSEY,  Yves Saint Laurent,  Ziaja,

Explore our Magazine