#me when the award winning cultural icon musical is really good

[loverboybrightsideghost]

it's gonna be so over for me once i finally get to see wicked life

[evermidnights]

Where is Taylor Swift heading?

I need to talk about what the hell I think is happening in Taylor Swift's head right now. Complete speculation by the way. Obviously. 

Personally, as a Taylor fan, I feel like her career leading up until and during 1989 was a solid natural progression. After she lost Album of The Year for Red, it seemed that she set her sights on making an album that was “sonically cohesive” and full of hits. She was really reaching for a grammy at this time and she did get one, so good on her. If you are a fan of Taylor then you will know that she loves an award, she lives for validation (as most celebrities do), and she likes to know that people give her music the critical acclaim that it deserves. This has served as some frustration to fans because they believe that when Swift doesn’t get any prestigious award nominations for a record, she completely disregards the album and labels it as a failure. Maybe she does focus too much on the grammys, but she is a singer at the end of the day, and they all do. 

However, after 2016 and the cancellation of Taylor Swift, or “Snakegate,” as it was called,  she seemed to veer off course. Maybe she wanted to be out of the spotlight, as she was all over the internet during the 1989 era, but it appeared she wasn’t after the same goals as she was in 2015. The album's reputation and lover, whilst being great albums, didn’t hit in the same way that 1989 did. This may be because 1989 was a cultural moment, it was her first full pop album and it completely transferred her from a country music sweetheart to a pop icon. I wasn’t sure if Taylor would ever be able to recreate 1989 because it was a huge shift in genre for her and resulted in so much more immediate fame and attention. 

After rep and lover she entered into a different style of music for two albums, folklore and evermore, winning Album of The Year for folklore. Personally, I believe that fans enjoyed this new genre of music but welcomed the return of her autobiographical writing style in Midnights. I feel like for a while she was basically floating. She didn’t have as much direction in her life, and she was pretty much writing about how much she loved her (then) boyfriend. However, when Midnights came out and Taylor started The Eras tour, I felt like we were returning to 2014/15. 

This will be the biggest tour, so far, in her career and is going to turn her a pretty hefty profit. She is selling out stadiums all over the world night after night and she is also currently putting out re-recordings of her old songs after they got sold out from under her. Taylor Swift is on a hot streak and is everywhere in the media right now. 

Hmmm, remind anyone of anything?

These developments beg the question: Is Taylor Swift on a quest for world domination? She tried it once before but unfortunately stumbled when she was so close to the top, but now I can sense that she is climbing back up that hill. I mean, she is already one of the most famous artists in the world, that’s not the problem. It just seems that Taylor wants to constantly top herself, which must be difficult to do. So this leads me to believe that the real problem is not that she isn’t as famous as she was in the 1989 era, because she is definitely more well known now than she was back then. It is instead the fact that she has been reaching for the success and timelessness of the 1989 record ever since she put it out and she hasn’t quite gotten there yet. 

However, with her recent breakup and massive tour she shows no indication of stopping for a rest on her way up the mountain. She currently has no distractions and is seeming to be very career driven, yet again another reminder of the 1989 era. 

I am excited for what Taylor is going to pull out of her bag of tricks and I fully believe that with her current mindset and where she is placed in the public eye, she can and will achieve a level of success that will stretch higher than the 1989 era, and probably higher than any other artist has ever done. 

[the-good-bad-truth]

I want to talk about how pop culture moments or figures are seen as iconic or praised for wrong reasons. I'm bringing this up because I've seen people or celebrities try to profit or glamorize past famous icons or moments to look cool or to make headlines. I'm going to talk about Marilyn Monroe, Selena Quintanilla, Sid and Nancy and Kurt Cobain. I will first start with Kurt who was the frontman of the 90s band, Nirvana. He tragically committed suicide when he was 27. I included him becuz he is a part of something called the 27 club(where artists have died by 27). A lot of celebs and people like to romanticize and say they want to join this club which is honestly weird to me. The next person is the tejano latina singer, Selena Quintanilla. She was on her way to become a huge star but was killed by a crazy fan in the 90s. She left behind a husband, Chris, who had some issues with her family, mainly her father. A year after her death, a film was made about her and this past year their was a Netflix series on her. I always felt that her father was the one who was pushing her to be more in the spotlight especially when Chris wasn't allowed to ever share her story from his perspective. The family also announced that they were going to release an album that would combine old clips or computer generated parts of her voice.To me this sounds like a cash grab and although yes I would love to hear new Selena music, it feels disrespectful to her. I also hate how people will call toxic relationships true love and wish they had love like Sid and Nancy or other iconic but toxic couples. Idk alot about Sid and Nancy relationship, only that they were both addicted to drugs, violent towards each other and that it ended with both of them found dead in a hotel room. Knowing how the relationship was, it doesn't make sense why mgk would write a song about it or Kourtney and Travis to dress up like them for Halloween just to be sexy. This brings up how Kim Kardashian thought it was a good idea to wear Marilyn Monroe's dress. I don't really get why she would want or thought it was ok even if they gave her permission cuz one it didn't fit her or the theme. It also took away the significance of the dress because now it's not Marilyn's dress but also Kim's. I think what bothers me is because Hollywood won't let Marilyn Monroe rest. I understand that they should pay their respects to her being an icon but most of the time they profit off of her. There's a biopic of Marilyn Monroe which is like the 5th movie about her. I was reading what it's going to be about and it said it was going to talk about the conspiracy theories or the dark side of her life. There's just something eerie about people wanting to talk about other people's trauma and using it for views, money, or a role that could possibly win them an award. It's like the Pam and Tommy series. Especially considering how Hollywood treated Marilyn Monroe and the horror stories I heard she experienced just makes it seem that Hollywood is trying to act like they respected Marilyn and cover up how they really treated her.

[introvertguide]

Pulp Fiction (1994); AFI #94

The most recent movie for review was the Quentin Tarantino crime thriller comedy (probably more things) Pulp Fiction (1994). It is a very complicated story that is told out of chronological order and focuses on scenes of meaningful character interaction. This confusion meant it lost out to movies with a more straight forward time line at the Oscars, since the move was nominated for seven awards but only took home one. The single win for best screenplay was well deserved and I still believe it is one of the most creatively written films of all time. I want to go over the plot to show what I mean, but let me do my standard due diligence:

SPOILER WARNING!!! I AM ABOUT TO GIVE THE BASIC DETAILS OF ONE OF THE MOST COMPLEX STORY LINES IN MOVIE HISTORY!!! IT WILL NOT LIKELY SPOIL MUCH OF ANYTHING, BUT I AM STICKING THIS WARNING ON JUST IN CASE SOMEBODY FINDS SOMETHING!!!

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The film begins with what is pretty much a prologue but what turns out to be about the middle of the film chronologically. A couple is at a diner and they are talking about robbing banks. They only refer to each other as Pumpkin (Tim Roth) and Honey Bunny (Amanda Plummer). They discuss the best kind of places to rob and they decide that a diner would be a good change of pace. Impulsively, they pull out guns and hold up the diner and...title card with awesome spaghetti western music!

Two hitmen are talking about Europe as they go to do a job. Vincent Vega (Jon Travolta) talks about his adventures with Jules Winnfield (Samuel L. Jackson) as they pull up at an Los Angeles apartment complex. The two discuss their boss Marsellus Wallace and how touchy he is about his wife. The boss has apparently sent them to get something from a bunch of guys. Jules and Vincent call on an apartment with 3 college age men and intimidate them into giving over a briefcase with something glowing inside. The case is what they came for, so the hitmen take it and kill two of the men at the apartment...

Flash to a new scene in which Vincent is going to get some drugs from his dealer (Eric Stoltz). Vincent is a heroine user despite cocaine being the popular drug. It turns out Vincent was asked by his boss to take out his wife...the one he is very protective of. He just needs to hang out with her so she is not bored and not get into trouble. To accomplish this, he shoots up some heroine and goes to meet the wife named Mia Wallace (Uma Thurman). They seem to get along and he drives her to a restaurant called Jack Rabbit Slims. The place is fantastic, all the waiters are dressed up like American movie icons and the booths are repurposed cars from the 50s (if this place actually existed, you can be sure I would search it out and go there at least once). The two bond over dinner and then volunteer for a twist dance contest.

Mia and Vincent go back to her house and Vincent goes to the restroom to talk himself out of trying to score with Mia. She is pretty cool, but not worth dying for. While he is away, Mia finds some heroine in the pocket of Vincent’s jacket and thinks it is cocaine. She snorts it and immediately starts to overdose. Vincent panics and decides to drive her to the dealer’s house. The dealer has a nurse kit that comes with a giant needle full of adrenaline which Vincent stabs her with. She wakes up and Vincent takes her back home and is glad that he will live another day...

We jump to a flashback of a young boy who is has lost his father in Vietnam. An officer is visiting that has a gift. Apparently, there is a family watch that belonged to the boys great grandfather and had been passed down through the generations. His father had it when he was captured and gave it to the officer before the father died in the POW camp. The officer escaped and found the boy to give him the watch...

A boxer named Butch (Bruce Willis) wakes up from a dream. He is the boy all grown up. He is about to throw a fight for Marsellus Wallace (Ving Rhames), the same boss that everyone is afraid of. Butch does not throw the fight and accidently kills the other boxer. It turns out that he bet on himself and now he needs to get out of town before Marsellus Wallace catches him. He goes to a hotel where his rather dumb girlfriend is waiting for him. They go to bed and then are about to leave the next morning when it turns out that she forgot his watch. Butch freaks out and goes back to their old apartment to get the watch (note the very long take following Bruce Willis as he takes a back way to get to the apartment). Vincent is there waiting for him, but Vincent is in the bathroom and Butch is able to get a gun and kill Vincent as he is coming out of the bathroom. Things seem good so Butch drives off...

As Butch drives home, he sees Marsellus crossing the street in front of him so Butch hits the gas and runs down the boss but also hits an oncoming car. Both men are injured but Marsellus gains his senses and chases Butch into a shop where both are captured by a weird redneck with a shotgun. Butch and Marsellus are tied up in the basement of the shop and a man named Zed shows up. The shop owner has a gimp in a box (all leathered up and everything) and other fetish things downstairs. After a quick game to pick who goes first, they take Marcellus into another room to rape him. Butch manages to escape and is running away...but he decides can’t leave somebody to be assaulted like that. He grabs a weapon from the shop and kills the shop owner and frees Marsellus from Zed. Marsellus is not happy and says he will go “medieval” on Zed and allows Butch to leave town. Butch collects his girlfriend and leaves immediately...

Flash back in time (we know this because Vincent is alive) to right after Vincent and Jules shoot the guys with the case. Another guy in the other room jumps out and unloads six rounds at the two and misses every shot. The hitman kill that man, but Jules is shaken and decides to give up the business. They take a fourth gut with them in the car to go back to see Marsellus. On the drive over, Vincent accidently shoots the passenger while going over a pothole. The inside of the car is absolutely covered in blood and brains, so the two have to find a safe house. They go to the home of Jimmie (Quentin Tarantino) who will help them but says they have to get out in a couple of hours before his wife gets home. They call Marsellus, who sends over a cleaner named Wolf (Harvey Keitel). They are able to get everything cleaned up in time and leave with the car and the body. Jules and Vincent have to change out of their bloody clothes and decide to take a cab out to a diner for some food before seeing Wallace.

The two are at a familiar looking diner discussing whether their survival was a miracle and whether Jules should quit. Vincent goes off to the bathroom and, while he is gone, Pumpkin and Honey Bunny from the beginning declare it a robbery and it is evident that we have circled in time back around to the beginning. The couple hold up the diner, but, when they get to Jules, he takes Pumpkin hostage and devises a plan for everybody to leave. Jules allows the couple to leave alive with all the wallets, then the two hitmen follow quickly behind them before any police can show up.

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I put a spoiler warning at the top, but there is so much to this film that there is no way you could spoil everything. I find new things to enjoy about this movie each time that I watch it and the watch count has to be at least two dozen times at this point. This film is so rich with allusion and homage to movies of the past that you might never see everything. Tarantino is truly a lover of old films and he worked every reference he could into this film. This is truly like candy for a cinephile. 

I have, however, had a love hate relationship with this movie: I love this movie and I hate it when people tell me it is too violent. There was a lot of negative response to the films toxic masculinity, romancing crime culture, incredible amount of swearing, drug use, extreme gun violence, and very adult themes. There is a very famous interview between Quentin Tarantino and Jan Wahl in which she accuses him of using excessive violence and he tells her it is because it is a lot of fun to watch. His stylistically gory violence stems from exploitation films of the past and there is an established audience that enjoys it. He makes his movies for himself and this group of people.

Kind of like the comedy of Eddie Murphy, Richard Pryor, and George Carlin, you have to wade through a sea of swearing to find the comedic banter. The things that Jules and Vincent say to each other are some of the funniest stuff I have ever heard, but you really have to pay attention. Their attempts to express their feelings while maintaining their hard exterior persona is ridiculous. This is probably why many people enjoy the scenes with Vincent and Mia: there is a lot more courtesy which reduces the tirade of cursing.

The violence is very very over the top, but it is no where near the level of gore that Tarantino has become known for over the years. I must admit that he likes his torture scenes and this film is no exception. I would like to note how clever the torture scene with Butch and Marsellus is because they are both tied up and facing camera so only the audience can see the mischief that is being prepared behind them. 

The soundtrack for the film is well worth mentioning as it also pays homage to 50s, 60s, and 70s exploitations films. There is a lot of silence in the film with sudden bursts of fast paced music that help with transitions. Most famous is the intro music after diner prologue, a surf rock classic by Dick Dale and The Del Tones called Misirlou. It is pure speed guitar riff along the lines of Wipeout and transitions the scene perfectly. Take a listen for yourself:

https://www.youtube.com/watch?v=ZIU0RMV_II8

Maybe the biggest thing about this film and Tarantino in general is the inspiration of the slick gangster dialogue. There had been a push for more melodramatic dialogue or the complete absence of much talking. Tarantino added in this slick, fast moving comedic dialogue that is said over extreme violence and adult situations. Marsellus Wallace talks about having some crack heads torture a man to death immediately after being raped in a basement. The hitmen talk about appropriate manners while cleaning out brains from the back of a car. Jules talks about the meaning of the bible during a robbery. Everything seems out of place in the real world but perfectly acceptable in Tarantino’s world. This is probably why I have no problem with the violence in the film.

So should this film be on the AFI top 100? Absolutely. It is an homage to film history while simultaneously introducing a sub genre that mixes current dialogue and exploitation touches to grindhouse action. It is fascinating and fun. Would I recommend this movie? If you are old enough. I can’t emphasize enough how fun I find this film, but I cannot deny that it is filled with adult situations like drug usage followed by driving, secret dungeon rape, and cold blooded murder with no consequences. If you can differentiate between Tarantino’s world and the real world, then this is great. If you can’t, then maybe try something else with slick dialogue like Butch Cassidy and the Sundance Kid.

[kevinskorner]

2020 VMA’s Recap!

Every year, I always look forward to a few things and one of those things is definitely the MTV Video Music Awards. The VMA’s have been iconic every year since it’s inauguration in 1984 with Madonna’s Like A Virgin performance. As the insanely obsessed pop culture person that I am, the VMA’s are like a national holiday and I prepare myself heavily before they happen. For this year, obviously things are different because of a little thing called the Covid-19 Pandemic but anyhow, I was still excited. When the nominees got announced I was a very mixed bag of emotions. I was very excited because Lady Gaga and Ariana Grande got the most nominations of the year (9) but, I was disappointed because Harry Styles and Dua Lipa only got technical nominations and didn’t get any in the main category. One of my friends shared the same disappointment with me and they said how every nominee in Video of the Year was from North America and I didn’t even think of that. I wish they didn’t nominate some things... but that’s alright. As the weeks went on, I voted for my faves and MTV announced Keke Palmer was hosting whichreally got me excited again because she is a queen. Also, when they announced the performers, my favorites being Miley, Gaga, Ariana, and Doja, I became thrilled.

Now, here I am with my Rain on Me shirt on, a few hours after the ceremony ended and I got to say, I am IMPRESSED!!! That was an AMAZING ceremony. For an award show during a pandemic, I got to say MTV pulled, it, off. Let’s get into it!:

OH. MY. GAGA. 

Lady Gaga was the star of the night and I am NOT disappointed one bit. Going into the night as the most nominated artist (tied with Ariana) I had high hopes. When I heard she was performing, I screamed because I couldn’t believe we were FINALLY getting a performance in the Chromatica era. Knowing that she had so much planned for the era, it’s been sad to see none of it come to fruition. Now let’s live in the present. THIS PERFORMANCE?!? FREAKING INCREDIBLE. I don’t even know where to start. The beginning of the performance with the old television, her laying down on the couch (mask on!), and seeing the TV have the 1999 VMA’s (with BRITNEY mentioned!) was when I knew it was going to be one of the best performances of her career. THEN, she WENT DOWN THE POLL and Chromatica II started playing and I almost threw up. I was so excited that she chose to do that interlude and sing some of 911 (maybe the third single?)! I was shook. Next, she had a quick change and started singing Rain on Me, and I immediately was hyperventilating. When Ariana came out, I really thought I was gonna pass out. In that moment, I was just seeing a dream come true in front of my eyes. I saw two of my ultimate QUEENS come together and give me all the life I need. I mean, the outfits, the masks, the chemistry, ARIANA’S HIGH NOTE?! GAGA’S VOCALS?! I can’t even. After that, when she started walking to the Brain piano, I thought she was about to do 1000 Doves (Piano Version) but I was mistaken! It was the first single, STUPID LOVE! Honestly, I was so happy she performed Stupid Love and got it’s moment because that wasn’t even performed live yet before tonight. Her speech in between the Stupid Love performance was beautiful and I loved when she brought the beat in and danced her ass off. Ugh, I just love her so much. 

Onto the actual awards, I cannot believe that she won FIVE! I expected Best Collaboration and was hoping for Artist of the Year but I was NOT expecting Song of the Year! The one that I didn’t even know was happening thought was the FIRST EVER, TRICON AWARD?! The fact that MTV gave Gaga her OWN award for being an icon, a legend and a triple threat was filling my Little Monster heart with such PRIDE and JOY! Seeing her go up on that stage in a new look with a new mask each time, gave me a little boost of serotonin each time. She is just a goddess. There is no one like her and there NEVER will be. 

GOOD GOLLY, MISS MILEY

It feels amazing to be a Miley stan tonight. Miley has been one of my absolute role models since I was a child. I have followed her and supported her my whole life even when people didn’t and I got to say, tonight felt really good. Her performance was PHENOMENAL. Starting off with her GORGEOUS silhouette in that STUNNING black dress and  cross necklace with the red chrome light shook me because I was not expecting that. And, that break before the first chorus?!? LOVED. After, it went to a blue chrome and she started walking while it went full color. When I saw her walk towards some stairs, I had to catch my breath. Suddenly, I see a disco ball. Then she took the bottom half of the dress off and hopped on the disco ball and I SCREAMED. LOUDLY. The fact that she has such an ICONIC moment like Wrecking Ball where she can do something eerily similar and EVERYBODY knows it, is fucking SENSATIONAL! HER VOCALS WERE ON POINT, FACE BEAT, BODY SNATCHED. She just gave the most perfect glam rock pop star performance that I’ve ever seen. Miley having this mainstream moment again just made me so happy. ALSO?! SHE WON TWO AWARDS TONIGHT. I cannot believe Miley won two VMA’s tonight. She doesn’t win a lot of awards (which is extremely disappointing) and to see her win TWO for MOTHER’S DAUGHTER a single from last year that peaked at #54 on the Billboard Hot 100 felt incredible. I just love when she gets the recognition she deserves.   

Other Thoughts:

The Weeknd’s opening performance was so great!! Recently, I have gotten sick of Blinding Lights but this performance totally revitalized for me how great of a song that is. I don’t know how he was up so high but he did an awesome job and the fireworks were great! Also, I’m happy he finally won his first two VMA’s for Best R&B (even though it’s a pop song) and Video of the Year. 

Keke’s hosting was entertaining as hell. She was the perfect host for a time like this for many reasons. She’s funny, relatable, beautiful, entertaining and so many more positive things. I found her really funny and I just love her presence as a whole. Even her little performance was cute too! 

Doja Cat actually blew me away. I was not expecting her to serve that hard. The performance was so futuristic and felt like I was in a new universe. I loved her outfit and LOVED the Say So mix! Also, so happy she included Like That because it’s such a jam. I love Doja and ever since I discovered Juicy last year I've been stanning and this definitely solidified the stan for me. I am so happy that she won (RIGHTFULLY SO!) for Best New Artist. She has had a great rise and her performance definitely gives me high hopes for her future. 

My rankings of the performances are:

Pre Show:

1. Chloe x Halle - Ungodly Hour (THESE QUEENS ARE THE FUTURE!)

2. Machine Gun Kelly w/ blackbear & Travis Barker - My Ex’s Best Friend/Bloody Valentine (I have become really obsessed with his new music recently and love him)

3. Tate McRae - You Broke Me First (surprised by this cause I didn’t know anything about her before but she did a good job!)

4. Jack Harlow - What’s Poppin (cute ig)

5. Lewis Capaldi - Before You Go (🙂)

Main Show: 1. Lady Gaga w/ Ariana Grande - Chromatica II, 911, Rain on Me, Stupid Love (FUCKING AMAZING. SENSATIONAL, &, UNREAL)

2. Miley Cyrus - Midnight Sky (MY QUEEN SO ICONIC I LOVE HER SO MUCH)

3. Doja Cat - Say So/Like That (SO FUTURISTIC AND SOLIDIFIED HER WIN AND SHOWED THAT SHE CAN SERVE)

4. The Weeknd - Blinding Lights (really made me love the song so much more)

5. BTS - Dynamite (I like these boys but the fanbase is so much it stresses me out).

6. JP Saxe & Julia Michaels - If The World Was Ending (so cute, love Julia)

7. Dababy - Peep Hole, Blind, & Rockstar 

8. Maluma - Hawái (loved the drive in aspect)

9. Keke Palmer - Snack (wish she had more time)

10. Black Eyed Peas w/ Nicky Jam & Tyga - Vida Loca/I Gotta Feeling (no one can take Fergie’s place)

11. CNCO - Beso

To end this, I’m just gonna leave this picture here. :)

[bbclesmis]

David Oyelowo says Les Miserables is a story for today

The real tragedy of Victor Hugo's 1862 post-French Revolution novel, Les Miserables, is that the story of injustice and unrest seems ever more relevant. In 2018, while filming was underway on the BBC's miniseries adaptation, British-American actor David Oyelowo (Spooks), who plays sadistic Inspector Javert opposite Dominic West as Jean Valjean and Lily Collins as Fantine Thibault, recalls that the streets of Paris erupted with Yellow Vests protests against economic inequity.

Now, with the six-part series due to air next month on the ABC (Saturday, July 4 at 8.30pm and currently available on iview), Oyelowo is confined to his Los Angeles home, and not just by the pandemic. When he spoke with The Sunday Age/The Sun Herald, curfews in response to the Black Lives Matter protests across America had been lowered to 5pm. Five miles from his house, he said, military tanks were rolling down the streets.

"I wish Les Miserables wasn't as timely as it is, but here we are, and that's exactly why I wanted to do this show," Oyelowo says. "If a period television show is just a chocolate-box piece of entertainment, I'm not interested. History is reflective of the now and Les Miserables, unfortunately, will never be irrelevant, considering how insistent we seem to be on subjugating people and marginalising them – economically, racially and along gender lines as well."

Although reluctant to call himself a method actor, Oyelowo declined to joke along on set with "prankster" West, and found the conditions in freezing rural Belgium where early scenes were shot helped with character immersion. He hopes viewers will gain a deeper understanding of Javert than the archetypal villain of the musical version.

"Javert's the antagonist, but he really believes, from a moral perspective, that he's doing the right thing. His job is to keep order. In his mind, he was doing something incredibly noble and heroic."

Oyelowo is "not so naive" as to have been surprised at controversy surrounding the decision to cast, for the first time, a black actor as in the role. His 2001 award-winning performance as King Henry VI with the Royal Shakespeare Company had also bothered pedants. He calls such reactions "selective outrage", and explains that what has been termed the "colour blind casting" of Javert isn't merely creative license.

"We have whitewashed history. There were black people, and not just subservient black and brown people, in France at that time. The Count of Monte Cristo is based on a black French general. There's a book called The Black Count. All people would have to do is read a little bit to realise that they've been sold a bill of goods in terms of how black and brown people participated in European life back then.

"I'm constantly trying to debunk revisionist history because partly how black and brown people have been subjugated is to tell lies about their history and their contribution to the great things that we as human beings have accomplished. If you buy into the narrative that black people, back in the day, were only slaves, you're able to buy into the notion that, as a white person, you're superior."

Interestingly, no one seemed much to mind that the French peasants in the miniseries speak Cockney and that iconic scenes play out on London streets.

"We did a far weirder thing than me playing Javert by transposing Paris onto London life. People think, ‘As long as I'm represented, as long as I'm satisfied'. Prejudice is born out of ignorance, but that surely is where we all celebrate and embrace education. So if a byproduct of me playing that role is people's ignorance being eroded then I'll take that as a side dish to entertaining them."

https://www.smh.com.au/culture/tv-and-radio/david-oyelowo-says-les-miserables-is-a-story-for-today-20200603-p54z60.html

[redcarpetview]

Fellow Singer/Songwriters and Friends Remember and Mourn the Loss of Rock ‘N’ Roll Icon Little Richard

        NASHVILLE, Tenn. - Grammy Award winning, Rock ‘n’ Roll Hall of Fame member, Little Richard, the mastermind behind legendary hits “Long Tall Sally,” “Rip It Up,” “Good Golly Miss Molly,” “Tutti Frutti” and many more, has passed away at the age of 87. Little Richard's music broke racial barriers and his impressionable style shattered all that was standard. The eccentric star paved the way for other stand-out acts with his unique nature, flamboyant flair and inspiring innovations to culture. With an unmatched career of stellar achievements, the musical giant leaves behind an unforgettable legacy. Little Richard was not only a distinct entertainer but a friend to many in the music industry.

       Fellow artists mourn the loss of their friend and share fond memories that have left them forever moved by the Iconic, Little Richard.

            “In my book, Little Richard was the king of rock ‘n’ roll. He carried a full horn orchestra and wrote most of his songs. He was the first really crazy rock 'n roll guy that everybody loved, black or white. I always had a Richard album or two even when I was broke. One of The Jordanaires told me that when he met Richard in the 50's his face was painted purple. That about says it all.” - Don McLean

       “I knew Richard for more than 60 years. He truly was one of the founding fathers of American contemporary pop music, so we all need to tip our hat out of respect for the contributions he made not just the American culture but to the world. RIP Little Richard.” - Sam Moore

      "Little Richard and I worked together multiple times over the years. I believe the last time we shared the stage was in the 90's. When you think about Rock and Roll music, he is one of those at the top. What amazed me the most about him was the great records he made with none of the technology like there is today. He will be greatly missed by all." - BJ Thomas

          “Little Richard was a pioneer in the world of Rock and Roll. He excited audiences with his stage presence and through his music. In an era of James Brown and Elvis, Little Richard still captured millions of fans. I will not forget meeting him on the Celebrity Wheel of Fortune. My family and I send prayers to those who loved him.” - Lee Greenwood

        “Little Richard was a Rock and Roll pioneer and his legacy will remain as such. Years ago we had him on as a guest on our Oak Ridge Boys Live from Las Vegas TV show on the old Nashville Network. What a sheer joy he was… backstage as well as onstage. Energy just flowed from him... Rest easy man… you took R&B and turned into ROCK and ROLL!” - Joe Bonsall / Oak Ridge Boys

     “I’m so sad to hear of the passing of the fabulous, flamboyant Rock Icon, Little Richard. He came into this world breaking barriers with style and music! He was so sweet, so much fun and truly, bigger than life! I’m so glad I got to know him! I loved him! I know he's still breaking barriers, Onward and upward!!! Rock on in peace Little Richard." - Deborah Allen 

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[mimitxtghost]

[Q&A - ARTICLE] TXT SHOWCASE  |  190305

TXT, the newest boy band from BTS’ agency Big Hit Entertainment, made a grand debut on Tuesday. 

It is Big Hit’s first band in six years since BTS’ debut in 2013. The highly anticipated five-piece act consists of leader Yeonjun, Soobin, Beomgyu, Taehyun and Hueningkai. At the showcase, TXT, which stands for Tomorrow by Together, performed “Crown,” title track of the five-track EP “The Dream Chapter: Star” and showed a music video that was released the previous day. The boy band gave a cheerful and bright performance, matched with powerful and iconic choreography that was in sync with what Big Hit is known for.

Q: What kind of advice did Big Hit Entertainment CEO Bang Si-hyuk give you? Soobin: He emphasized on the importance of practice, which is basic for confidence. He would say: “Practice hard and be free on the stage. You will realize the importance of practice when you go on the stage.” These are words Bang told BTS as well from the beginning. BTS still always practices hard before going on the stage. Hueningkai: He emphasized teamwork. “Please cherish the team’s value.” Q: BTS mentioned TXT during the award ceremonies earlier in the year, as well as at the Grammys. Were you surprised? Yeonjun: BTS is a seonbae (senior) and the members are much higher than us. Because they are performing all around the world, we don’t get to see them often. We were very surprised when BTS mentioned our name, saying “Please look out for TXT.” It’s such an honor and we are grateful for their heartfelt advice. Beomgyu: I am a great fan of BTS seonbae. When I ran into BTS members at the company, I was so nervous and didn’t have the guts to talk first. But they gave us wonderful advice, such as think of the team first, become awesome artists. They said they are cheering for us as well.

Q: What is your goal this year and in the future? Taehyun: Big Hit artists communicate through their album. With our album, we want to become artists who communicate with fans. Soobin: It will be great to win the rookie award this year. It’s a once-in-a-lifetime award, so it will be great to win the prize, because we have prepared hard and waited long for our debut. There are a lot of talented rookies this year, so we will work even harder. Q: You are dubbed the “little brother of BTS.” What do you think of this nickname? Do you receive pressure because of such hype and anticipation as Big Hit’s next rookie? Soobin: We are honored to have that nickname, and I am not sure if we can be called that. We are grateful. We will work hard and not cause any trouble to our seonbae. Q: How did you get to be picked as a member of TXT? What are your charms? Taehyun: Lovely could be my charm. Yeonjun: During the audition I think the company saw my passion, and I fit the image that Big Hit is going for. Beomgyu: I am the entertainer of the group, with my energy that never ceases. I also am the only member who uses dialects. Hueningkai: My cuteness, I think. Soobin: I am not a charismatic leader, but more of a supportive leader, who takes care of members and cheers them. Q: Soobin, you are the leader of the group. Why do you think you were picked as the leader? Soobin I am not the oldest, but my age is in the middle. So I think other members feel closer to me and are more comfortable. Q: How did you pick “Crown” as your title track among five songs? Taehyun: “Crown” explains what we want to say through the song. We can also show a great performance that matches our voice well with the song. Q: Do you have producing and composing abilities similar to BTS members like Suga? Beomgyu: I am working hard on writing and composing, but fall much behind the ability of (BTS). When my ability improves, it would be great to have my songs in an album in the future. Hyueningkai: Me too. My producing ability is still insufficient, but I will work hard to compose good songs.

Q: Hueningkai, you are the only non-Korean member. Are you adjusting to life in Korea? 

Hueningkai: At first, my family was worried a lot, but now I am used to Korean culture and the language and I feel comfortable. The members take care of me very well, also because I am the youngest member of the group. I am very grateful.

Q: Hueningkai, What brought you to Korea?

Hueningkai: I was born overseas. But after a few months, my family moved to China and lived there for a long time and then moved to Korea. My mom is Korean and my dad is American. My dad was a singer in China so I got acquainted to music from early on. I took an audition from Big Hit and thankfully made it. I also felt like I matched well with Big Hit’s music style.

Q: All the members blood type is A except for Beomgyu who is AB. Do they get sulky often or do you feel differences?

Beomgyu: Other members are all blood type A, but they don’t sulk often. Everyone is open with a good heart, so we get along well.

Q: Are there some aspects you are disappointed about the album in terms of genre or adding more hip-hop music, which Big Hit is famous for?

Taehyun: All the members like hip-hop, but we also like other genres. The five songs from the album are all different genre, to show our varied taste in music, so we are not disappointed.

Yeonjun: “Cat & Dog” in the album is hip-hop genre while members’ mumble rap. 

Q: What kind of input did you give for the album?

Beomgyu: Although our self-composed songs are not in the album this time, we are continuing to compose songs. Yeonjun also came up with the hand gesture of our logo TXT.

Q: The song “Crown” talks about growing pain. What kind of growing pain did you have before the debut? What kind of hardships did you have as trainees?

Yeonjun: I was a trainee for the longest time among all members, for four years. The hardest part was

waiting,

because I was really earnest and wanted to make my debut.

Beomgyu: I have the shortest training period in the group with two years. When I joined the TXT team, it was hard to catch up with other members. But they were very understanding and helped me a lot, so now I am comfortable as a band member.

| By Ahn Sung-mi (sahn@heraldcorp.com)  | Source: kpopherald.koreaherald.com/view.php?ud=201903051733276087332_2

[crampdown]

Cramp’s Comic Recommendations For Fans Of Classic Rock And Co.

Allright here we go. This is my current list of comics/manga/graphic novels you might enjoy if you’re into classic rock. Before we get started I’d just like to let you all know:

- This list is far from being complete. I’m sure there are many more groovy comics out there that I’m simply not aware of yet so if you have any suggestions feel free to add them :)

- I know I said “Classic Rock” but some of my choices may drift into other musical directions

- Needless to say I do not own any of the following images. They all belong to their rightfull owners and I’ll use them as visual reference material only.

- Sorry for eventual misspelling

Let’s go ^^

1. Bob Dylan Revisited 

Let’s start with an obvious choice. This is a collection of 13 well-known Dylan Songs, each of them graphically interpreted by a different artist. The most striking feature therefore is the high variety of different art styles. Some of them are cartoony, some are very abstract while others are almost photo realistic.

Dylan’s mesmerizing lyrics have always been inspirational and these beautiful depictions truly are a sight to see. 

Including works of Thierry Murat, Lorenzo Mattotti, Nicolas Nemiri, François Avril, Jean-Claude Götting, Christopher,  Bézian, Dave McKean, Alfred, Raphaëlle Le Rio, Maël Le Mae, and Henri Meunier, Gradimir Smudju, Benjamin Flao, Jean-Phillippe Bramanti and Zep.

Zep’s take on “Not Dark Yet”

Jean-Phillippe Bramanti’s interpretation of “Knocking On Heaven’s Door”

Definitely worth checking out not only for Bob Dylan Fans.

2. Baby’s In Black” by Arne Bellstorf

I’ve seen several people in the Beatles fandom complain about the lack of Stuart Sutcliffe material when it comes to early Beatles history. 

Well, here it is: a graphic novel that focuses on the relationship between Stuart Sutcliffe and fotographer Astrid Kirchherr who took the very first professional photos of the Beatles during their time in Hamburg (1960-61).

Told mostly from Astrid’s point of view this comic presents itself in a grey and melancholic tone that fits the rather sad story. Bellstorf’s drawings are simplified and charming (they remind me of early sixties children book illustrations which suits the setting’s time period)

If you’re interested in early Beatles history (especially their Hamburg days) you should give this one a try.

3. Blue Monday by Chynna Clugston Flores

I really wish I had known about this amazing comic series a few years earlier, not only because this is a slice of life/coming of age story with teenage characters who are actually likeable and relateable but also because “Blue Monday” is an overall highly entertaining depiction of early nineties teen culture/rebellion in an American suburb that comes with a lot of references to Britpop, mod culture, Buster Keaton movies and Adam Ant (to name only a few).

To quote the author herself: “It’s like Archie on crack, with cursing and smokes”.

The art style of Chynna Clugston Flores is very vivid and expressive and has a certain stylistic touch of anime/manga (like a lot of comics from the early 2000s). I also really enjoy all of the graphic fashion details in this one. Plus, this is the first comic with it’s own soundtrack and that’s always a nice bonus.

I’d recommend “Blue Monday” for fans of Britpop, Punk, New Wave and early 1990′s culture.

4. Punk Rock And Trailer Parks by Derf Backderf

Another story about growing up in American small town madness, this time set in 1980s gritty Punk subculture of the former rubber city of Akron, Ohio. Protagonist Otto who likes to refer to himself as “The Baron” becomes fascinated with Punk after attending a Ramones concert. He meets several Pubk icons (thus as The Clash, The Plasmatics, rock journalist Lester Bangs and many more) and becomes someting of a local punk star himself.

Derf Backderf (who is best known for his highly acclaimed graphic novel “My Friend Dahmer” and his Eisner award winning comic “Trashed”) created a comic that is as “raw and dirty as punk itself”. His art style is an unique combination of expressionism, underground cartoons and punk magazines.

“Punk Rock And Trailer Parks” is a must-have for punk fans (especially if you’re into The Ramones and The Clash. It made me a huge fan of both of them).

5. “CASH - I See A Darkness” and “Nick Cave - Mercy On Me” by Reinhard Kleist

Two biographical graphic novels by Reinhard Kleist, both of them tell the story of a fascinating personality in rock history and both of them are incredibly well drawn. Kleist’s art is full of life and movement and very atmospheric due to his impressive use of stark contrasts. 

I personally love his semirealistic way of drawing people and I’d highly suggest you to check out his other works too. He made a lot of biographical comics that really amazed me.

CASH

Cave

Definetly worth reading. Not only for Johnny Cash and Nick Cave fans.

6. Nowhere Men by Eric Stephenson, Nate Bellegarde, Jordie Bellaire and Fonografiks

I talked about this one a while ago but I’ll gladly do it again since it’s just too cool. “Nowhere Men” is set in an alternative past/present and future where scientists became as popular as pop stars (catchphrase “Science is the new Rock n` Roll”) but somewhere along the way something definetly went wrong. 

The hype of science shares obvious similarities with the beatlemania of the 60s and the founding of Apple back then. Furthermore, the characters are partly inspired by well-known personalities of Rock history. There are many more or less hidden nods and references to musical popculture wich is why I put it on this list.

Nowhere Men is a thrilling sci-fi dystopian that requires an observant reader because there is a lot of jumping back and forth i time and inbetween information. The art style is realistic and full of very vibrant colours.

I found myself reading this multiple times to get all of the details in the world building. A thoughtful and brilliant writing indeed. 

7. P.I.L. by Mari Yamazaki

Japan 1983: 17-year-old Nanami couldn’t be more frustrated. Her grandfather loves to spend all of their household money on useless luxury junk and her strict school criticizes her messy hairstyle. Caught between teenage rebellion and responsibility as she tries different side jobs to earn at least a little bit of money, Nanami also has a thing for punk music and overall everything originated from England.

P.I.L. tells the story of conflict between two generations who aren’t as different as they might seem. Sometimes funny and heartwarming, sometimes with a bit of drama this is a charming slice of life/ coming of age josei with a more simplistic but aesthetical pleasing art style.

as the title might suggest, Nanami is a big fan of P.I.L. and other bands of the punk, neo punk and new wave movement such as The Stranglers and The Killing Joke

8. Yellow Submarine by Bill Morrison

A comic adaptation of an animated film such as Yellow Submarine? Yeah, I was skeptical at first too but hear me out: This is really great. Morrison did an amazing job at capturing the trippy and psychedelic feeling of the legendary Beatles film. As the 1968 film used the medium of animation as an actual form of art to accomplish things only animation can do, Morrison did the same thing and used the advantages of the comic medium to accomplish things only comics can do. And it works. It really works.

Every single page of this colourful book has a different panel layout. Some of them are so beautiful and creative that I’d love to have a full-size poster version of them :’D

If you liked the film, if you love the psychedelic age, you’ll probably like the comic too. 

9. In The Pines by Erik Kriek

“In the pines, in the pines, where the sun never shines...”

5 Murder Ballads, some might call them dark Country Music, each of them beautifully illustrated by Erik Kriek. Atmospheric, dark and gritty and always on point to match the spine-chilling western-like storytelling of these ballads, great for fans of horror literature a la E.A.Poe.

10. Andy - A Factual Fairy Tale by Typex

Allright folks this is it:

Typex’s “Andy” is by far one of the best comics/graphic novels I’ve ever red. It defenitely is my personal favourite reading of 2019 (and tbh I kinda doubt anything will top this anytime soon)

This is more than just a biographical take on of the most enigmatic pop-art artists of 20th centuary’s America, this is a portrait of the 20th centuary itself. There are so many references to art, history, literature, music and more that I could fill a book counting them all. And of course this is a monument for the medium of comic itself. Typex really managed to show what comic’s are capable of (At this point I’m really sorry I can’t explain it better I’m not good in writing stuff like this yet...)

Visually one of the most appealing things are the different art styles Typex manages to pull off so well for every chapter in Warhol’s life because each of them are a mirror of their zeitgeist. The introduction of Warhol’s childhood during the 30s is drawn in a cartoony style of old news paper comic strips. The chapter of 1967 has a psychedelic edge. The chapter of the early 60s shows similarities with the works of Roy Liechtenstein

So many icons from the 1930s-1980s have a cameo in this graphic novel it’s just amazing. If you’re even remotely interested in anything of this time period you’d definitely should read this. (seriously, READ THIS). But at this point I’d also like to mention that this comic does not shy away from showing very explicit content and sensetive topics (please keep in mind this has a mature rating for a reason)

Yeah so I couldn’t give this piece of art enough praise. It is absolutely brilliant, a masterpiece in every sense and word.I wasn’t too aware of Typex before but appearentely he also did a graphic novel on Rembrandt. I’m gonna read this too.

Some honorable mentions:

California Dreamin` by Penelope Bagieu

I haven’t red this one yet so I can’t say anything more about it. But I wanted to let you know that a graphic novel about the life of Cass Elliot exists.

Before Watchmen: Silk Spectre by Darwyn Cooke and Amanda Conner

One of the prequels of the legendary “Watchmen” by Alan Moore and Dave Gibbons. It’ “only” an honorable mention because you’ll have to be familiar with the Watchmen universe to fully get all of the story. This prequel focuses on Laurie Jupeczyk, the second Silk Spectre and her own adventures during 1967, the summer of love in San Francisco.

Hip Hop Family Tree by Ed Piskor

Another one I haven’t fully red yet, but so far I’m loving it. It basically tells the history of Rap and Hip Hop from the early 70s to the mid 80s. The art style is intentionally old-school wich really fits it’s tone and setting.

Fritz The Cat by Robert Crumb

I suppose I can’t make a list like this without at least mentioning an absolut icon of the underground comix movement. Crumb created the adventures of this nasty junky cat during the 60s. Fritz can be seen as a satirical mirror of counter-culture’s zeitgeist.

and speaking of Crumb, his “Heroes of Blues, Jazz and Country” trading cards are neat too...

allright that’s it for now. like I said, if you have anymore suggestions, feel free to add ^^

[jdiep95]

Mariah Carey: Top 10 Most Iconic Songs

To celebrate the holiday season, which has really become the season of Mariah Carey this year, and “#All I Want For Christmas Is You” finally becoming a #1 single, I am sharing with you my “Top” lists of MC songs every Monday and Tuesday up until the 25th. For example, we’re going to start things off with the Top 10 Most Iconic Mariah Carey songs; on Tuesday, we’ll look at remixes. All songs mentioned these lists can be found on streaming services (e.g. Spotify and Apple Music). That means deep, deep cuts like “Slipping Away” off the B-side of the “Always Be My Baby” single, and “Help Me Make It (Through the Night)”, Mariah’s cover of a country song, which aren’t available, aren’t included. Unfortunately, that also means the entire Glitter soundtrack will not be mentioned as it is not yet available for streaming. #JusticeForGlitter #Loverboy2020 Let's make Loverboy MC's 20th #1 in 2020!!

To explore the most iconic MC songs, we have to look at streaming numbers (based on Spotify data, accurate as of Dec. 2019), MV views (based on YouTube data, accurate as of Dec. 2019), appearances on concert set lists, but also it’s prevalence outside of the Mariah fan base. “Butterfly” is an iconic ballad within the fan base, but pales compared to another empowering song like “Hero”, which non-MC fans most likely know even if they hate Mariah.

Is the list TL;DR? No worries. I compiled each list into a respective playlist, starting from No. 10 and ending at No. 1, so you get to listen to the Most Iconic MC songs while on the go.

https://open.spotify.com/user/jdiep95/playlist/1T0OU0p1cjR82LV1XX7f7j?si=AT9_aL0kSgmxySvIasZjsw

10. “My All” Butterfly

No. of streams: 37 182 150

MV views: 142M

“My All” makes its way into almost all of MC’s concert set lists since its release in 1997, appearing most recently in Mariah’s Caution World Tour. In this way, it gathers a lot more exposure than some of her other #1’s, such as “Dreamlover” or “Honey”. Despite its relatively low number of streams compared to other songs on this list, the number of views for the main music video is actually placed sixth on this list, and for good reason. The MV for “My All” is arguably the most artistic of MC’s catalogue, if not at least the steamiest. The video is in black-and-white, and features Mariah Carey floating on water with cutscenes of some hot model. The song appeals to a more specific audience, mainly adults, but the incorporation of Latin guitars will evoke a certain headiness seen only in a handful of Mariah songs.

9. “Vision of Love” Mariah Carey

No. of streams: 25 938 743

MV views: 25M + 2.6M*

*Includes a live version from the Daydream World Tour released on Mariah Carey’s official Vevo channel

This may be confusing; overall, “Vision of Love” received the least views and least streams of any of the songs listed here. Why is it not last on the list? Unlike “My All”, this song is one for the entire family. Don’t believe me? Many popular artists of the 2000s cited this song as their inspiration, including the great Beyoncé. Besides the complex runs, which becomes more complex in the live version, “Vision of Love” is a peer into Mariah’s vocal range, from her lows (E♭3) to a signature whistle note (C7), and a blend of genres, including pop, R&B and gospel. Even if it spawned a generation of over-singing vocalists, this was MC’s debut, a tour de force that inspired a new generation of singers. And thanks to its prevalence in Mariah’s concert set lists, it could very well even be inspiring this new generation.

8. “Fantasy” Daydream

No. of streams: 85 048 626 + 24 904 151*

MV views: 58M + 11M*

*Includes the “Bad Boy Fantasy Remix” featuring O.D.B.

“Fantasy” is a bop, and arguably the song that pushed Mariah to super stardom. Despite being nominated in six categories and controversially winning nothing on the night of the 38th Grammy Awards, Daydream cemented MC’s status in the music industry. “Fantasy” was the album’s leading track, and it became the first ever single by a female artist to debut #1 on the Billboard Hot 100 chart. It stayed there eight consecutive weeks. If the pop version isn’t iconic enough, with the music video featuring Mariah riding on a roller coaster, the remix with O.D.B. is arguably just as famous, if not more so. The “Bad Boy Fantasy Remix” introduced the featured rapper formula into mainstream music, a formula that’s practically standard in the industry nowadays.

7. “Always Be My Baby” Daydream

No. of streams: 148 422 869

MV views: 162M

Yet, the numbers for "Fantasy" cannot compete with this song. A reason for this is perhaps a lack of airplay; “Fantasy” is danceable but there’s no hook.“Always Be My Baby” was the third single off the Daydream album. After breaking records with “Fantasy”, by debuting at #1, and “One Sweet Day”, for logging 16 weeks at #1, “Always Be My Baby” debuted at #2 and logged only 2 weeks at #1; however, the stats show how age has affected the song’s popularity with the MV views for “Always Be My Baby” doubling those of “Fantasy”. “Fantasy” takes more of a backseat in Mariah’s concert set lists. “One Sweet Day” almost faded into obscurity before it made a resurgence this decade when songs like “Despacito” and “Old Town Road” rivalled its chart records; it’s also made a reappearance on set lists. All of this is to illustrate that “Always Be My Baby” has always been a staple, a favourite amongst fans and the general listeners. The song has many great Mariah moments, but what really latches on and sets the ground for “Always Be My Baby” to play on is the opening “Doo doo doo”. This song does what “Fantasy” didn’t do, and that’s creating a feeling. The song and the music video is a perfect pairing. You listen to the song, and you are reminded of sitting by a firepit, reminiscing about a significant first love that’s no longer, the exact imagery that’s been replicated by the MV; this is probably why it has so many views.

6. “Touch My Body” E=MC²

No. of streams: 64 797 196

MV views: 185M

“Touch My Body” is Mariah’s second-most recent #1 single of her 19 chart-toppers, and the leading single to the 2008 album E=MC². Although its release was in the middle of February, the song really transports you to an eternal summer. The song received its fair share of critiques, including more than a couple that said “Touch My Body” lacks Mariah’s 5-octave range; nonetheless, if MC’s previous album, The Emancipation of Mimi, was MC’s comeback, this single solidified her status as 'the diva' with a new decade of listeners. It’ll be wrong to think, however, that Mariah wasn’t in on all the fun as well, and this is why the MV has its views. The music video is a fantasy sequence of Mariah flirting with Jack McBrayer in a mansion. After her comeback, this was Mariah’s way of going back to doing something that defied the critic’s expectations. With The Emancipation of Mimi, she proved that she still got it — the range, the ability to write hits, the star power; "Touch My Body” brings back the Mariah we have come to love in the past decade — the extravagance, the luxury, the seeming aloofness. For a moment, “Touch My Body” captures MC having fun, and the simple structure of this song reflects that.

5. “Obsessed” Memoirs of an Imperfect Angel

No. of streams: 82 625 131

MV views: 127M + 15M*

*Includes the remix featuring Gucci Mane

“Obsessed” gained new life this year, ten years after its initial release in 2009, with the #Obsessed challenge on TikTok. Teens were creating choreography for this song, and simultaneously propelling Mariah to becoming Queen of Memes, one of MC’s many titles. The opening to “Obsessed” breathes new life into a line borrowed from one of Mariah’s favourite movies, Mean Girls, “Why are you so obsessed with me?” This line, along with “I don’t know her”, has its place in meme culture. Besides its relevance to a new generation, its iconicity can also be contributed to the fact that it's a high profile diss track that attacks Eminem’s harassment, but it’s pop, not rap. Its conception introduced a new generation of pop artists to using their tracks as a way to call-out others. “Obsessed” resurfaces perennially when Eminem decides that his almost-two-decade old alleged fling with MC somehow deserves another mention. Maybe she’s the best thing to have happened to Eminem? Lyrically, “Obsessed” is one of Mariah’s sharpest, with her directly calling out Eminem’s desire to make something out of nothing; see: “you hatin' hard/Ain’t goin' feed you, I'm a let you starve/Graspin’ for air, and I'm ventilation/You out of breath, hope you ain't waitin’.”

4. “We Belong Together” The Emancipation of Mimi

No. of streams: 210 251 706

MV views: 399M

“We Belong Together” is Mariah’s comeback track. Regardless of whether she knew this song would make it big when she was writing it, this song would live on in the history books as the song that told skeptics that Mariah ain’t going anywhere. “We Belong Together” is very stripped down — it’s Mariah singing on top of a piano and a beat, then Mariah singing on top of herself in the chorus. For a song about unrequited love, which Mariah usually packages as being more upbeat than it should be (see: “Always Be My Baby” or “All I Want For Christmas Is You”), “We Belong Together” is incredibly visceral. It’s a sad song and it shows, and somehow Mariah communicates the frustration and swirling of emotions so well that you might even tear up by the end when she holds that fifteen-second note. The other unique thing about this song is that she sings the lyrics as if it’s a rap, very reminiscent of her earlier hip-hop inspired tracks like “Breakdown” ft. Bone Thugs-n-Harmony, an overlooked fan favourite. Try singing it without ever practising, and you’ll find that MC placed words in a very specific rhythm. This song also introduced the ‘Mariah-ballad structure’, a formula that she continues to follow for many of her ballads: It consists of an absent bridge with a belted last chorus that takes its place. And as for the MV, Mariah elopes with a lover in a car while wearing the same Vera Wang wedding dress she wore at her real-life marriage is as iconic as it gets.

3. “Emotions” Emotions

No. of streams: 41 251 987

MV views: 32M + 2.7M* + 9.9M**

*Includes the Club Remix

**Includes the MTV Unplugged live version, and the 1993 Here is Mariah Carey live version

There’s a reason “We Belong Together” didn’t crack the Top 3: It’s strictly a song about unrequited love. Mariah, alone, has quite a few of those in her catalogue. And there’s only oh-so-many occasions in which to bring back this song unless it’s already part of your daily repertoire. If Minnie Riperton’s “Lovin’ You” takes first place for the most iconic use of whistle notes in a pop song, “Emotions” no doubt takes second; however “Emotions” has to take first for inspiring every pop singer and their grandmas to use whistle notes, from Christina Aguilera and Leona Lewis to Ariana Grande and Tori Kelly. Yes, “Emotions” is a love song, similar to “We Belong Together”, but it’s also a learning tool for many aspiring pop and R&B singers — this song is a resource. It’s like learning music theory and referring back to Mozart and Beethoven. “Emotions” contains those whistle notes, all the up to an E7, but it also contains low notes (several C3s), high belts (F5s and G5s), head notes (the “You” in G5), repetitive phrasing from C5 - E5, a couple of sustained E5 belts, and melismas. In the live versions, you really get to observe MC’s stamina as we goes through the song with ease. And if you compile all of the live versions of “Emotions”, Mariah demonstrates five full octaves from B2 to B7. Simply put, “Emotions” is an encyclopedia of vocal virtuosity for rising and seasoned singers.

2. “Hero” Music Box

No. of streams: 99 556 980

MV views: 236M + 5.7M*

*Includes a live version from the Daydream World Tour

There’s a thing about “Emotions”, and it’s best if I told you through an anecdote: I played this song in a classroom once, and one of the 5-year olds asked why she [Mariah] was screaming in the song. Blasphemous, I know. Arguably though, the whistle notes are more well-known than the actual song itself. But “Hero” is one of those instances where you know the song, even though you don’t think you do. Just listen to those opening piano notes; flashes of the entire song will surely follow. Not surprisingly, this is the first ever MC song I’ve ever heard; I heard it when I was seven because we had to perform an ASL version of it, but I didn’t know it was Mariah at the time. I didn’t know until possibly a decade later when I thought back on the signs, and the lyrics “And a hero comes along” popped into mind. Obviously, this list is tinged by my own biases; however, “Hero”, this song about loving yourself, and finding that hero within yourself, is special, not only to the fan base, but to anyone who needs a pick-me-up, even if they’re not Mariah fans. It’s radio-friendly; it’s singing competition-friendly (it only goes up to an E5, a mid-belt for Mariah; for reference Idina Menzel goes up to E♭5 in “Let It Go” and “Into the Unknown”); it’s graduation-friendly; and it’s concert-friendly, considering Mariah almost always ends her concert with “Hero”. It’s a sappy song, one that Mariah initially didn’t like, but she explains that she sings it every time because you never know who might need it.

1. “All I Want For Christmas Is You” Merry Christmas

No. of streams: 595 428 506

MV views: 602M + 11M*

*Includes the alternative Black & White version, and Unreleased Video Footage version

Perhaps you can avoid unrequited love, high notes, and graduations, but in North America, can you really avoid winter? With winter comes holiday season comes Mariah Carey, Queen of Christmas comes “All I Want For Christmas Is You”. Released in 1994, this song has finally reached #1 on the Billboards Hot 100 after 25 years. MC released a handful of versions, including a re-recorded, Disney-sounding version in 2010, and another with Justin Bieber in 2011, but let’s make it clear that the version that makes a resurgence every year, and that we all hear on the radio, is none other than the original 1994 recording. The original recording which was never released as a single was not allowed to chart in ‘94, but ever since Billboard updated its rules to allow songs to re-chart in the Top 50 in 2012, “All I Want For Christmas Is You” has made a reappearance every year. It broke into the Top 10 for the first time in 2017, then the Top 5 in 2018. It’s hard to best something when it’s already so close to perfection, if not perfect. “All I Want For Christmas Is You” is such a definitive holiday-pop standard that it’s been broken down into a two-part formula. The formula finds it’s way into many of the new released Christmas songs hoping to make it big, which in some ways are their downfall because it sounds disingenuous, particularly in a season where sentimentality drives sincerity, or at least the façade of it. This two-part formula that it has inspired includes: (A) Wrapping up a unrequited love song to sound like an upbeat Christmas song; and (B) The “Wall of Sound” sound originally created by Phil Spector, which includes a underlying chorus line, a strong accompaniment, and the use of symphonic instruments. You’ll find at least one, if not both, pieces of the formula, whether it’s intentional or not, in recent holiday songs such as “Mistletoe”, “Underneath the Tree”, “One More Sleep”, “Santa Tell Me”, and even “Christmas Tree Farm”. Walter Afanasieff, the co-writer of this song, said, “Back then, you didn’t have a lot of artists with Christmas albums,” and with that he meant in the ‘80s and ‘90s, rising stars didn’t record an entire studio album's worth of Christmas songs. Whitney didn’t have one yet, Madonna didn’t have one (and still continues not to have one), Michael stopped doing them when he recorded under Epic Records in 1979; and y’alls are probably thinking of Wham!’s “Last Christmas”, but that was a single. Despite Mariah initially not wanting to do a Christmas album, and as pessimistic as this may sound, Merry Christmas has re-introduced the lucrative Christmas song business to pop singers.

We may remember this decade’s Mariah — a diva with shaky performances, but this two-dimensional image erases the gut-wrenching, tear-jerking efforts she put into the two previous decades. MC was a trailblazer, and continues to be one as you will see in the upcoming lists. To say that Mariah leans only on past achievements, and relies too heavily on titles like “Queen of Christmas” or “Queen of Memes” diminishes the fact that the upkeep of the legacy she’s built for herself requires time and hard work.

[womenofcolor15]

Beyonce’s LEMONADE Named AP’s Album Of The Decade + What Bey Taught Us About Self-Care & Giving Zero F**** In ELLE Mag

Beyonce's iconic LEMONADE album has been named as the AP's Album of the Decade!

Beyonce. Queen of the Decade.

Mrs. Carter stopped the world when she dropped her epic sixth studio album, LEMONADE via Parkwood Entertainment and Columbia Records on April 23, 2016. It was her second “visual album,” the follow-up to her surprise self-titled album that changed the game forever.

Queen Bey created a masterpiece of work that centered around one of the most explosive rumors in pop culture, Jay-Z cheating. We still don’t know if the rumors are true or not, but the Grammy Award winner had every woman reflecting and relating to the lyrics she sung beautifully over beats that span across all genres. Yep, even country (“Daddy Lessons.”) Not only that, the album oozed of black pride, being unapologetically black, being a fearless mother and more.

The AP sums up LEMONADE like this:

Beyoncé, “Lemonade”: At the beginning of this decade, Beyoncé was already the greatest singer of her generation. She won a record six Grammys in a single night, had women AND MEN “oh-oh-oh’ing” to the fun sound of “Single Ladies” and continued to be a beast of a performer. But somehow Superwoman — shoot, she’s Superman, too! — found a way to do more: Like a boss she launched her own company, Parkwood Entertainment, and really took the bull by the horns of her career. In 2011, she released the R&B adventure “4,” featuring classics like “Countdown,” “Love on Top,” “Party,” “End of Time,” “I Care” and “I Miss You.” Three years later — in surprise form — came “Beyoncé,” her bold, audacious and daring album that showcased a new side of Beyoncé: Goodbye was the girl who cared about topping the charts, and born was an artist, a true storyteller, a grown woman. Somehow, she topped herself again with “Lemonade,” which still tastes as good as it did when it was released in 2016. The usually private Beyoncé bares her soul on the album, singing about a troubled relationship, black pride and motherhood in a brave way. Lyrically, she’s on point and honest over beats and sounds that range from rap to rock to country and pop. “Who the (expletive) do you think I am,” she brashly asks on “Don’t Hurt Yourself,” which co-stars Jack White. The answer: the greatest of all time.

By the way, Rihanna's "ANTI" album came in at the No. 2 spot on the list.

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                      A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 4:57am PST

  While LEMONADE was a perfectly crafted album and shifted the music game, it did not win album of the year at the 2017 Grammy Awards. But guess what? The mother-of three doesn’t give a damn.

In an interview with Elle for her January 2020 cover story, the Queen shared - via an epic Ask Me Anything with the Beyhive - how she felt after learning her album didn’t win the Grammy. She shared how her miscarriage and pregnancies revealed a deeper meaning in life and awards snubs were no longer on her radar.

“I began to search for deeper meaning when life began to teach me lessons I didn’t know I needed,” she said. “Success looks different to me now. I learned that all pain and loss is in fact a gift. Having miscarriages taught me that I had to mother myself before I could be a mother to someone else. Then I had Blue, and the quest for my purpose became so much deeper. I died and was reborn in my relationship, and the quest for self became even stronger. It’s difficult for me to go backwards. Being ‘number one’ was no longer my priority. My true win is creating art and a legacy that will live far beyond me. That’s fulfilling.”

By the way, Bey’s “Spirit” from “The Lion King” album has been nominated for Best Original Song at the 2020 Golden Globes.

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                      A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 5:37am PST

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                  “The last time I went to a supermarket, it was more like a bodega before a Madonna concert. Jay and I snuck into one in Crenshaw and bought some Cuervo and Funyuns chips. And…y’all know you see me at Target and I see y’all trying to sneak pics.” @beyonce answers her #Beyhive’s burning questions for ELLE’s January 2020 issue. Link in bio. #BeyoncexELLE ⁣ ⁣ ELLE January 2020: ⁣ Editor-in-Chief: @ninagarcia ⁣ Cover star: @beyonce⁣ Photographer: @msmelina ⁣ Stylist: #KarenLangley ⁣ Makeup: @sirjohn ⁣ Hair: @nealfarinah @nakiarachon ⁣ Production: Ben Bonnet @westyproductions⁣

A post shared by ELLE Magazine (@elleusa) on Dec 9, 2019 at 5:23am PST

  The “Sorry” singer shared why working with female directors was so important to her:

“Melina Matsoukas has inspired me to own and redefine what it means to be a director. As a woman, if you are too opinionated, too strong-willed, too anything, you are disregarded. I’ve seen this happen to Melina, but she handles it with respect and grace. Melina is a rarity; she has the sensibility to understand fashion, photography, storytelling, history, and culture and is able to seamlessly incorporate those components into her work. I have trusted Melina for over a decade and created some of my best work with her—from visuals for my music to tour content and now a fashion shoot. I was so excited to work with her on this shoot for ELLE, because working with Melina is effortless. We have a natural way of collaborating because of our friendship and mutual respect for each other. There’s no politics, no ego; it’s just about being in the moment and creating dope art.

"Pioneers like Kasi Lemmons, Julie Dash, and Euzhan Palcy have amazing catalogs, and women like Lena Waithe, dream hampton, Adria Petty, Diane Martel, Darnell Martin, and Ava DuVernay have added to the dialogue. And I am lucky to have worked with most of these talented women.”

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                  "I think the most stressful thing for me is balancing work and life. Making sure I am present for my kids—dropping Blue off at school, taking Rumi and Sir to their activities, making time for date nights with my husband, and being home in time to have dinner with my family—all while running a company can be challenging." Being Beyoncé: The superstar opens up for ELLE’s January 2020 cover story.⁣ Link in bio. ELLE January 2020: ⁣ Editor-in-Chief: @ninagarcia ⁣ Cover star: @beyonce⁣ Photographer: @msmelina ⁣ Stylist: #KarenLangley ⁣ Makeup: @sirjohn ⁣ Hair: @nealfarinah @nakiarachon ⁣ Production: Ben Bonnet @westyproductions⁣

A post shared by ELLE Magazine (@elleusa) on Dec 11, 2019 at 8:15am PST

  Bey even dished on her secret Snapchat account:

“I hate to say it, I hope I don’t sound ridiculous, but I don’t know what my Snapchat is. Sorry to that Snapchat.”

L-O-L.  You can read her full interview here, including what she said about y'all snapping pics of her at Target.

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                      A post shared by Beyoncé (@beyonce) on Dec 9, 2019 at 4:01am PST

  Get your coins ready. Beyonce’s Ivy Park x Adidas collaboration is set to drop January 18th.

Photo: TIDAL

[Read More ...] source http://theybf.com/2019/12/14/beyonce%E2%80%99s-lemonade-named-ap%E2%80%99s-album-of-the-decade-what-bey-taught-us-about-self-care-givi

[praphit]

Another Year, Another Recap - “Have a Coke and a smile... :)”

So, we're getting to the end, people. We're about to finish off another year. Personally, this year has been immensely better than the last.

I didn't even want to stay up and do any celebrating at the end of 2018. I just wanted to go to bed and be done with that bleepin year. This year has been a hell of a lot better. I hope that all of you can say something similar, but if not, there's always going to bed early, and putting your hope in the next year.

This past Christmas (and all Christmas', really) I spent time doing a lot of hating on Christmas music; it's a valued tradition of mine. I am, however, always surprised to find a few songs each year that don't bother me all that much. This year, one of them was John Legend's "Baby, It's cold outside" ft Kelly Clarkson  

- a rewritten, sans rapey vibe rendition to boot its 1940's something predecessor.

In this version (at least how I interpret it), both people wanted some action that night. John says all of the right stuff ("I'll call you a car", "maybe you SHOULD go"), creating a safe environment, and most importantly, not coming off as sleazy and rapey. He's also protecting himself with this recording:) But, let's be clear... he wants some, and he wants it bad! While Kelly, also wants some, but doesn't want to come off as being a hoe. Nobody wants to be labeled a hoe.  So, she says all of the right things as well ("My dad and brother are waiting for me", "I've gotta visit my sick grandma", "Gotta get home to the KIDS") But, at the end of the night, they both make a decision to sing to one another "Baby, It's cold outside, so let's stay in and BLEEP." That's how you do it! No guilt! No #METOO! No wife and kids around. All is well:) Divorces are still rising, and more older people (as well as old as bleep people) are on dating apps than ever before. Consider this song a Christmas gift from John & Kelly to you.

Sexiest man alive in 2019 btw

Congrats. Classic coming-up-out-of-the-water sexy.

There has been some good music in 2019. Good stuff happening. Also some sad and weird stuff happening in music - all things balance out, I suppose.

GOOD:

Lizzo

I am here for all things Lizzo.

SAD & WEIRD:

Maroon 5's Super Bowl performance. It wasn't even really M5's fault; they simply did what they always do. It was more a poor choice by the NFL. A boring and awkward performance. There was a time when all anybody wanted was a shirtless Adam Levine- both women AND men. Even times when he wasn't performing, he would show up places, some random person would announce to everyone "Don't worry, Adam WILL be taking off his shirt tonight." Talk about ME TOO. It was so bad that the old, white, slaveowners of the NFL hired Jay-Z (one of the blackest icons we have) to come and save them. We'll see how that turns out.

GOOD & WEIRD:

Tyler, The Creator - "IGOR"

One of my fav projects of the year. Tyler, the Creator is an odd dude - I mean this as a compliment. I love how Hip-Hop has evolved. There's a lot more room nowadays to be yourself, no matter how outsiders might deem your behavior as weird (sometimes, others NOT saying this as a compliment). I love his creativity, and hope he continues to inspire other artists (especially in hip-hop) to be creative. Heeeee also says stuff like this "I like girls, but I have sex with their brothers." But, also uses the word "gay" as an insult. Who knows?? There's a lot to unpack there.

SAD:

In other news, Camila Cabello might be a racist. Y'all can look it up if you'd like, but some posts of hers resurfaced. I'm a fan of hers, and checked out the posts for myself, thinking "People are prob just overreacting" - they're not, it's bad. She has apologized, saying the whole "I'm older and wiser now" thing. The prob with that is she's only 22.

GOOD & BAD, I GUESS:

ADELE

It's always good to see Adele out and about. These holiday pics show that's she's still alive (I get concerned, cuz she tends to disappear for a while) and apparently a lot thinner. This of course stirs men to say men type things, women to go on the attack, and all genuine compliments towards her to get lost. The good news is, Adele seems to be getting pretty chummy with Santa, and everyone knows that St. Nick is a heartbreaker. Adele should be spurned and back in the studio writing amazing tunes soon enough.

WEIRD:

Kanye

These pics say it all. 

... that being said, I love his new music (which is how I stamp all of my conversations about Ye).

GOOD:

Billie Eilish! 

Now (like many), one of my fav artists. 

BAD:

She just turned 18, so of course, us men being ourselves again say things like "She's 18 now. You know what that means." Honestly, I'm still trying to figure out what that means. Nothing says crossing-over into womanhood quite like being objectified.

Speaking of 2019 pervs - R.KELLY!

We can throw MJ and... what the hell, I'll just throw Spacey in there as well (his documentary is coming soon enough, I'm sure).

We were all enthralled by these two docuseries. It's interesting how different races respond to MJ. Both see him as... you know, but most black people are still listening to his music. White people on the other hand are ready to riot every time someone plays one of his songs... except around Halloween - gotta have "Thriller".

We love depressing television.

There was "Chernobyl" as well as "When they see us"

Movies too -

"Joker"

I love this movie, but it's about a homicidal clown, struggling with mental illness.

"Us"

I love this movie, but it's about classism and marginalization.

"Endgame"

It's largely about grief.

It's the best movie of the year, as far as I'm concerned!

It should win all awards!

ALL OF THEM!

Best Horror

Best Comedy

Best Romance

Remember when he sent the message to his wife? Cute, right?

Personally, I think he and Nebula were banging in each other.

... I think that story is going to come out some day. C’mon... they were up in space, alone... they both thought they were going to die. She was like “OMG, I’ve always wanted to bang Robert Downey Jr. 

He was like “I don’t blame you.”

But, afterwards, he was like 

 - you know? He felt all bad, because he’d never get to do that again (that was the last of his energy). Annnnd also because he cheated. Which led to that cute recording for his wife. SEE, it’s all connected!

Best actor in Josh Brolin (Thanos) - the range of emotions (satisfaction, terror, humility, revenge, arrogance, beatin ass, defeat) Leo and Brad Pitt ain't have to do all of that!

Best Actress... hmm.. idk about this one. Many say J.Lo deserves an Oscar for her performance in "Hustlers" - a movie made for strippers, by strippers.

Exotic dancers are making a comeback! Maybe one day, stripping will be going in the same direction marijuana is - just something people do. No more shame! You can actually make a decent living at it - ain't that right, Stormy?

And who can forget this J.Lo quote "This city, this whole country, is a strip club. You've got people tossing the money. and people doing the dance."

There have also been plenty of things in 2019 that I have not understood:

1) Hatin on Greta

Greta - trying hard to do what she believes will make this world a better place for us all.

Certain people - "Shut that bitch up! She's crazy!"

2) Hatin on Megan Rapinoe

MP - leading a soccer team to a World Cup victory, being outspoken for women's rights and gay rights, having awesome purple hair, and trying to be the best leader and athlete she can be.

Certain people - "Shut that bitch up! She's Crazy! Equal pay my ass!"

3) Popeyes Chicken Sandwich

 - the gov't test for a new crack epidemic. Sadly, I never got to partake.

4) Allison Mack

- This whole story began being unveiled in 2018, but continued through this year. I still don’t understand how this story has not gotten more attention. Some of y’all don’t even know what I’m talking about.... google it, and be horrified.

5) BTS (and K-pop in general)

-I love them, but... our country's K-Pop fetish has gotten kinda out of hand. All kinds of artists are trying to share the spotlight with them. Next, we're going to see them team up with Kendrick Lamar.

6) TikTok - I just don't get it. What’s the difference? 

7) Cancel Culture

To me all cancel culture is silenced by Trump being our president. Where was all of this righteous indignation when we voted him into office? You might say "I didn't vote for him." Yeah, but, WE did - Idk what that says about us, but it's prob not good.

It doesn't even really work - Louis CK is currently selling out venues for an unapologetic tour. I'm not even saying that it SHOULD work (in SOME cases). I'm simply saying that it doesn't work (in most cases). But, perhaps the fear of it working is enough. Or perhaps we should think through how we spend our anger.

BUT, enough of that! It's time to pass out this year's PRAPHIE AWARD!

Here are the noms:

Jordan Peele

Pedro the turtle

(no need for context, just know he’s awesome)

Baby Yoda

 (btw - studies show that if you have access to "The Mandalorian" and you AREN'T watching it, you're an asshole. This is not ME talking, this is science)

Megan Rapinoe (who I’ve already mentioned)

Flying Elbow Guy (Again, this requires no context. It’s Flying Elbow Guy! There is a baseball player who’s name I can’t remember. He took on a whole team, and... you know what - that’s too much exposition. It’s Flying Elbow Guy!

  Keanu Reeves

Annnnnnnd! It’s...

...

KEANU!

This year:

Of course JW, Toy Story 4, Cyberpunk 2077, “Always be my Maybe”, plus we found out that he’s down for The Matrix 4, John Wick 4, and Bill & Ted. CRAZY!

Also my BAMF of the year (see previous post)!

We love Keanu Reeves so much, that he's allowed to murder as many people as he wants (as John Wick).

We'll get mad if an actor who's not handicapped is playing someone who is, we'll get mad about whitewashing (as we should), we'll get mad if things are too sexualized, we GOT MAD at "Joker" for predicted violence. But, Keanu can murder all he wants:)

(See the scene above? - that was a McDonald’s before he showed up)

He found love as well. Women are loving that he chose someone closer to his age. Honestly, Idk why it matters. I'd still love this man, even if he were dating 22 year old, racist ass Camila Cabello.

But, he's viewed by some as the perfect man. I disagree. I don’t think that he’s merely the perfect man, but the perfect human.

His career and popularity paths are unique. No one would call him a... GOOD actor, but look at him! And he seems like a genuinely, awesomely, good person. And whatever "good person" means to you, he's at the top! We should all (men and women) be a lil more like Keanu in 2020.

Let's all be as lovable as we can, so we may all get away with as much as we can:)

With each new year, I challenge myself with a slogan to live by. In 2020, it's going to be this - 

From Eddie Murphy’s “Raw”- Richard Pryor’s advice to Eddie, concerning Bill Cosby 

Telling certain people in my way "To have a Coke and a smile, and shut the bleep up." Sometimes, I might need to be the one to do this, rather than say it - we'll see.

Here was the runner-up slogan (his response)

Magical.

Happy New Year, Everyone! Enjoy yourselves. Be less of an asshole. And be safe... enough to at least make it TO 2020.

Much love!

[wigwurq]

WIG REVIEW: FOSSE/VERDON

Are you ready for another prestige limited series from FX? Do you like the legitimate THE-A-TRE? Can you do jazz hands upon request? Well then Fosse/Verdon might be for you. MAYBE.

But what about the wigs? Let’s discuss. As this an eight episode series, I will be updating this post weekly and adjusting whether or not the wigs do or do not wurq. Spoilers, obvs.

So this show is about legendary director/choreographer Bob Fosse and his wife/Broadway legend, Gwen Verdon. If you have never heard of either, I suggest that you stop reading because this show is definitely not for you. Sorry? Produced by Lin-Manuel Miranda and directed by Hamilton’s Thomas Kail, this show is made ONLY for theater megageeks and basically no one else. As a former drama club president who definitely got Joel Grey’s autograph after seeing the original Broadway revival cast of Chicago, I thought I fit that bill but after watching this thing, I don’t even know that I qualify. My husband, who spent most of the episode asking questions until finally just deeming the whole thing “boring” was absolutely not the key demographic and yes he went into this knowing who these two people are and has seen several musicals. Similar limited series focusing on very specific pop culture such as Feud: Bette and Joan did a much better job catering to the uninitiated. 

EPISODE ONE: LIFE IS A CABARET

We begin at the end, then go straight to the middle, which is: a choice. We first see Sam Rockwell in old man makeup (sorry - I could find no images of this to share) and then backtrack. Much of this episode is focused on Fosse’s transition from choreographer to film director. This is when Fosse had already lost much of his hair and had a bad combover and Rockwell is given this wig that is giving me Ed Harris circa 1998 feels and like all bad man wigs, looks terrible from the back.

We are then plunged straight into production for the film version of Sweet Charity without any explanation of anything other than the fact that (duh) he’s directing the iconic Big Spender number. But wait - there’s a twist! Turns out Michelle Williams as Gwen Verdon did a lot of the directing! DUN DUN DUN. I am all for giving ladies their propers and approaching narratives as if they are Glenn Close’s The Wife character but this does not change the fact that this red Marilyn Monroe wig is not very good. 

This is all very Theatre-y with a capital T and an ending in RE NOT ER. Everything has a Theatre quality to it - but not in that Tony winning Hamilton way, more in that Emmy winning Grease: Live! way (Kail directed both) which is to say that there is no immediacy or intimacy to anything - all the characters feel like they are far away, performing on a stage - and it leaves the viewer feeling empty and, well, bored. TV and stage are just not the same! Oh, and Fosse just found out that movies and stage are not the same because Sweet Charity was a big flop! Look at how sad they are in their gorgeous apartment and terrible, bent wigs with backs that jut out from their necks! THE HORROR!

So then Paul Reiser shows up. He is fine and I’m glad he’s getting work and he’s thankfully not wearing a wig! When a new character shows up in this show, you spend the first five minutes or so trying to figure out who they are supposed to be playing, like an IMDb charades game since no one explains who they are and simply give vague context clues. At first, I thought he was Neil Simon, then he mentioned making a movie with homosexuals and Nazis so I was like: DEFINITELY MEL BROOKS but it turns out it he is Cabaret producer Cy Feuer. You, know - CY FEUER? You don’t?? WELL WE’RE NOT GOING TO EXPLAIN IT TO YOU WE ARE FOSSE/VERDON.

Aaaaanyway, Fosse gets the job of directing Cabaret and goes to Munich and meets Liza Minnelli who in this tv reality looks like this which is not how Liza Minnelli ever looked. AND THIS WIG. AT LEAST GIVE LIZA A GOOD WIG NOT ONE YOU FOUND AT RICKY’S. NEXT.

Then Paul Reiser gives Sam Rockwell a lot of guff about taking too long to direct things and not deciding about costumes and hiring ugly German prostitutes to be extras yet somehow allows him to wear these really ugly shoes. Throughout, Rockwell’s wig is a mess of a tumbleweave, not unlike this show. And then Michelle Williams shows up to save his ass like all capable ladies ever and even goes to buy a gorilla suit in NYC only to arrive back in Munich where Rockwell is boning some German translator who looks way too much like Ann Reinking. There’s also a lot of nonlinear theatrical vignettes into Fosse’s past that play like, well, All That Jazz. Which this is not. 

In the end, we go back to old man Fosse, and it is told to us that he has only EIGHT MORE MINUTES TO LIVE. Kudos to the production team for somehow trying to turn  Bob Fosse’s 1987 death into a thriller. Spoiler: it’s not.

EPISODE TWO: WHO’S GOT THE PAIN?

We (obvs?) begin in Majorca, where 70s-era Fosse and Verdon have gone to patch up their marriage. Also can you think of a more bougie place to go in the 70s to patch up your fancy marriage? There are a lot of scenes on the beach where Sam Rockwell’s 90s Ed Harris wig gets blown around and Michelle Williams cries into a cardigan. And because misery loves company, apparently their best friends, the Neil Simons, are along for the ride. Joan Simon is Gwenny’s best gal pal and her wig is something one might find in a pile of Halloween wigs to play Uma Thurman in Pulp Fiction.

We then travel back to 1955, or “267 since Gwen Verdon’s first Tony Award.” Yes, this show is still doing this insufferable titling which really is a lot of fun facts that add up to nothing. Regardless, we’re at the point where Verdon and Fosse meet as he “auditions” her for Damn Yankees which he is to choreograph. I have to say that this scene, with both actors dancing and wearing much better wigs than their characters wear in the 70s (still terrible though!) was pretty fun! They can dance! 

They also obvs fall very much in love, though weirdly the scene of them actually having sex for the first time is buried in a montage. You have very odd priorities, Fosse/Verdon! Complicating matters is Gwen’s perpetually bent wig, Fosse’s kind of ok in comparison wig, and oh and the fact that he’s married!

This show not only wants but DEMANDS that you wikipedia everything that is happening, mainly from its distinct lack of good storytelling. Anyway, Fosse’s 2nd wife was Joan McCracken and OMG CAN WE PLEASE HAVE A PRESTIGE TV SHOW ABOUT HER? Wiki tells me that her first husband ended up being Truman Capote’s lover and that Capote based the character of Holly Golightly on her and seriously why are we wasting our time on this Fosse/Verdon mess when we could be learning more about her?!?! Anyway, what the show does tell us is that she has a mysterious illness that makes her sometimes not be able to walk (Wiki explained that she had some heart attacks around this time). Also, she is no fool and fully realizes that Fosse is gonna leave her fabulous ass for Gwenny - just the way he left his first wife for her! Also please look at Sam’s terrible lace front here. Also Joan’s wig is very much Joan Allen in Pleasantville which is to say: the best wig on this show. 

Anyway, the rest of the episode is devoted to working out some musical kinks in Damn Yankees and watching Michelle Williams dance around in a bad wig. Oh, and then finally leave Fosse in Majorca when she realizes he’s about to leave HER fabulous ass for some German translator (I’m sensing a theme here). And the show ends trying to make Joan McCracken’s death into a thriller! Spoiler: Wikipedia tells me she died in 1961! Wikipedia is a much better show than this, also. 

EPISODE THREE: ME AND MY BABY

We begin in some random editing suite where Fosse has gone to begin editing Cabaret and because this show cannot and will not stop trying to be All that Jazz (which I rewatched this weekend and LORDT IS THIS SHOW TRYING TO BE THAT MOVIE - AND ALSO BOTH ARE GARBAGE!) there is an elaborate dance number with random editing assistant (?) ladies. The one good part of this is: Sam Rockwell dancing. Otherwise: garbage fire.

Speaking of garbage fires, the (4 hour!) rough edit of Cabaret that the editors put together for Fosse while he was in Majorca (which he was really pissed about because HOW DARE THEY DO THEIR JOBS) is a friggin mess. Speaking of messes, THE BACK OF THIS WIG. Is Fosse a monk? What is happening here? However, I do appreciate the casting of the dude who played SpongeBob on Broadway as Joel Grey. 

Back at Casa Verdon, where Fosse DOES NOT LIVE ANYMORE, Gwenny is making dinner and trying to get her own career back together when Fosse shows up unannounced with Chinese food and pleas for Gwenny to help him edit the mess that is Cabaret. RUDE! Gwenny and her bent wig have their own dinner dates with her agent, Peter Scolari at the Russian Tea Room to get to THANK YOU VERY MUCH. 

Thus, Gwenny leaves their daughter with Fosse and his epic combover at the editing suite to go to her dinner date and HE CAN’T EVEN HANDLE being with his tween daughter for a few hours (since he definitely has to make time to bone his editing assistant) and ropes Norbert Leo Butz in a very shaggy wig to come hang out with his kid in a hotel room. Gwenny is NOT HAVING IT. 

Even though Butz basically just ate a bunch of sloppy food and made the daughter watch a b horror movie, Gwenny points out that leaving a tweenage daughter with a random dude in a hotel room is INAPPROPRIATE EVEN IF THAT DUDE WROTE MARTY WHICH IS A PERFECT MOVIE. 

This makes her reflect on her own (somehow very Magdalene-Sisters-like) tweenage years (as played by a younger actress whose image could NOT be found on the internet, gurl) when she was raped and impregnated and then slut-shamed by her parents into marrying a much older alcoholic. YIKES. 

So back in the 70s,  despite the fact that she’s in some rando straight play called Children! Children! (yes really) which is being directed by a condescending asshole and taking care of her kid, she somehow finds time to go help her estranged idiot husband edit the movie that she basically co-directed. SERIOUSLY WOMEN HAVE TO DO EVERYTHING. Also all these wigs look like crap. Just when you think Fosse is maybe being redeemable, he decides to bring up the Gwenny’s illegitimate son AT THE VERY WORST MOMENT DUDE YOU ARE THE WORST.

Back with Young Gwenny, we see her giving her infant son to her parents to raise so she can go be a dancer. We then cut to her triumphant turn in Can-Can (some years later but Fosse/Verdon definitely doesn’t specify how many). Gwenny’s show might be a triumph, but her wig is still a mess. Oh, and she’s still haunted by the cries of the baby she gave up BECAUSE WOMEN CAN NEVER FULLY HAVE NICE THINGS.

EPISODE FOUR: GLORY

We begin at Cabaret. Isn’t life one, you guys? Fosse is all poised for this to be the flop that (apparently?) Sweet Charity was but nope: it’s a big huge critical and commercial hit! Do whatever you want, now, Fosse! Oh wait, you already do everything you want anyway? Cool! Fosse and his circa 1997 Ed Harris wig are now unstoppably arrogant! Get ready! So Fosse’s next project is the medieval/psychedelic nonsense musical, Pippin which will definitely give you contact highs. 

JUST LOOK AT HOW HIGH THIS MUSICAL IS. I think when people from the Mid Waste think of Broadway musicals, this is what most of them still think that looks like. Also this is how I fear I’ll die. 

Speaking of! Gwenny’s best galpal, Joan Simon (wife to Neil) is dying of cancer! It’s very sad because she’s really nice and despite her bad Uma Thurman in Pulp Fiction wig I appreciate her dedication to half updos with bows that match her outfits. 

Gwenny does not even have time to be sad about this because she needs to take her bent wig over to Pippin rehearsals to pick up her daughter only to find that Fosse has given her FOUR TABS TO DRINK THAT IS LIKE 3 1/2 TOO MANY. She handles it by smiling through her hatred and truly this was a very Miranda Priestly moment and also I like Gwen’s top. ALSO LOOK AT THE BACK OF FOSSE’S WIG NO THANK YOU PLEASE.

Over at Pippin rehearsals, we also meet Ann Reinking (who will become Fosse’s lady love for the next decade or so) but for now she’s keeping things professional and also this is Andie MacDowell’s (wigless, thank god) daughter. Ok!

Fosse is definitely NOT keeping things professional and basically boning the rest of the Pippin ensemble cast, whether they like it or not! There is a very #MeToo moment where Fosse ends up getting a knee to the groin and GOOD.

Not so good? Gwenny’s play Children! Children! (that title - I still can’t). Despite asking Fosse to come over and FIX. IT. he is too busy becoming the poster dude for Time’s Up and Gwenny’s show ends up getting bad reviews and closing immediately. Also her wig is fully turning into a Jean Stapleton in All in the Family lewk. Whilst Gwenny’s professional life is going to crap, Fosse is winning ALL THE AWARDS as shown in a really confusing montage which suggested that the Tony Awards are before the Oscars. INCORRECT.

In the end, Fosse drunkenly tries to go bone Gwenny but she has wisely shacked up with that dude from Obvious Child which literally leads Fosse into a MENTAL INSTITUTION and the entire show to basically just turn into All that Jazz which I will remind everyone is a very derivative and terrible movie! OY.

EPISODE 5: WHERE AM I GOING?

The title of this episode should really be an question for the viewer: where are you going? Where are we all going? Are we still really watching this show? Sadly: yes. UGH I think we’re more than halfway through now? Let’s just finish this thing!

We begin at the mental hospital where Fosse ended the last episode. Gwenny and their kid are visiting him and Fosse is basically catatonic. This does not stop Gwenny from moving FULL STEAM AHEAD ON CHICAGO! Then cut to: Southampton? Huh? Sure! There, Fosse and his best bros, Neil Simon and Paddy Chayefsky are having a beach weekend which leads to the above upsetting 70s mens shorts (which thankfully Norbert Leo Butz did NOT sign on for). I love dudes who refuse to wear shorts in the summer, no matter how hot it is. My husband is one of these dudes. 

The one problem with this beach weekend? Everybody together in their best impression of Renee Zellweger in Cold Mountain: IT’S RAINING! So everyone is stuck inside. And also it’s kind of a Big Chill sort of scenario except the role of Kevin Costner as the dead friend is now: Joan Simon. And also Fosse just got out of a mental institution 3 months ago. And he’s there with his girlfriend and Gwenny is there with her boyfriend. AND ALL THE WIGS ARE TERRIBLE. 

So Fosse’s girlfriend: Ann Reinking! When last we saw her, she was ignoring Fosse at Pippin rehearsals but it’s explained that after his (1 week!) stay in the looney bin, he gave her a ring and now they’re in LURRRVE. Ok? Andie MacDowell’s daughter plays Annie and she doesn’t wear a wig and she’s fine. Fosse’s circa 1997 Ed Harris wig is still very upsetting. As is his tan!

Also upsetting? Gwenny rolls up with this RAT TAIL (it’s hard to see in this pic but it’s the best I could do!) We’re supposed to believe that in the last 3 months she suddenly grew this monstrosity out?!?! MORE ON THE BONE CHILLING TRUTH ABOUT THIS RAT TAIL LATER.

Gwenny also has a really nice boyfriend named Ron. He is played by that guy who played a nice guy in The Office, Obvious Child, and Girls. He doesn’t wear a wig and he is very nice! Fosse’s combover is not! 

Oh also along for the ride is Fosse/Verdon’s daughter Nicole who is definitely too young to be dealing with all these effed up grownups and also is bored and ends up giving herself a cigarette/pickle-induced stomach virus. GET IT TOGETHER, PARENTS.

Most of the episode is about whether Fosse should direct Dustin Hoffman in Lenny or proceed with Gwenny’s vanity project, Chicago, despite the fact that his doctors told him to take a year off work from either! Spoiler to anyone who has never seen All that Jazz or who does not know enough about Fosse to even bother watching this: HE DOES BOTH! WHO IS THIS SHOW EVEN FOR?!?! Also Norbert Leo Butz’s man wig is not as bad as the rest. Great work on not wearing shorts again also! Also Fosse/Verdon bone again in secret even though they are married but have lovers. The 70s! 

 And now to the critical and bone-chilling facts about Gwenny’s rat tail! After a night of drinking and making terrible professional and personal choices, Gwenny sits down to a breakfast of coffee and one single piece of fruit and then....UNCLIPS HER RAT TAIL AND POUFS IT UP! So first off, that clears up the whole “how did her hair grow so long so fast” question. HOWEVER. This now leads to another case of WIG GASLIGHTING. This is when a wig (which is being passed off as real hair) is of equal or lesser quality to a wig that is a known wig within the context of the narrative. In other words - the quality of this rat tail (which we now know to be a wig) is of the same exact quality as the wig Michelle Williams wears to play Gwenny. WIG GASLIGHTING! For other bone-chilling examples of past wig gaslightings please see my reviews of The Danish Girl and Oceans Eight. WIG GASLIGHTING IS TERRIFYING.

EPISODE 6: ALL I CARE ABOUT IS LOVE

And here we are. Throughout this (limited) season, we’ve gotten hints and asides, teases and tosses of All That Jazz but this episode fully just is a remake of the movie All That Jazz. Which I recently rewatched and is terrible. Terrible still? Anyone who would be watching this show would clearly be familiar with this awful film - so why make an episode that is that entire movie with absolutely no new information?!?! Again: WHO IN THE HELL IS THIS SHOW FOR?!?!

Anyway, if you haven’t seen All That Jazz, this episode is about Fosse editing Lenny while also directing/choreographing Chicago AND having some heart issues that end in hospitalization. Gwenny’s wig is bent as ever and Fosse’s circa 1997 Ed Harris lewk is still the same. Truly, there is no new information in this episode at all except that some of it is presented with Fosse AS Lenny Bruce which was an AWFUL IDEA. 

OH! Except this lady playing Chita Rivera who is really good and has the brunette version of Gwenny’s bent wig. 

ALSO! Nicole Fosse is now played by this slightly older actor who looks nothing like her younger version (or the actual Nicole Fosse) and is in a definitely terrible wig (and also forced to wear heavy makeup to visit her dad in the hospital because kids aren’t allowed to visit hospitals? IS THIS REALLY A RULE?)

Anyway, there’s a lot of All That Jazz hospital drama here and a lot of terrible flashblacks to Fosse’s burlesque tween years which attempt to explain his messed up relationship with women in an extremely Don Draper in Mad Men flashback way. There is also messed up hospital sex with Ann Reinking! THIS EPISODE IS AWFUL IN EVERY WAY!

EPISODE 7: NOWADAYS

Fosse recovered! For now! Back at Chicago rehearsals, everyone is wearing extra socks and doing just great. The most important addition to this show this week is that they got some dude to play Jerry Orbach! His man wig was terrible!

He also very did not look like Jerry Orbach! Anyway, this episode was mainly about Gwenny being TOO OLD for all this choreography, y’all. She was huffing and puffing all over fake Jerry Orbach so Fosse had to cut a lot of her dancing but once the show opened guess what? Gwenny got better reviews than the show itself! Take that, dance steps! However, there was a whole part where Gwenny read Fosse for filth and said that he owed his entire career to her and how dare he make the finale a duet between her and Chita! (He made the finale a duet). There were also many flashbacks about Fosse and Gwenny’s fertility issues and I almost believed that Nicole was adopted until Gwenny got legit pregnant while Fosse was too busy dancing to construct cribs. You almost taught me something, Fosse/Verdon!

OMG I CAN’T STOP LOOKING AT THESE PICTURES OF FAKE JERRY ORBACH. Anyway, Fosse/Verdon then legit DID teach me something: apparently a few weeks into the run of Chicago, Gwenny inhaled some confetti during the finale and it effed with her vocal chords but she refused to leave the show, thinking it might close if she did. BUT THEN Fosse got LIZA EFFING MINNELLI to take her place while she got surgery and recovered! This was news to me! HOWEVER, Fosse/Verdon refused to show me any footage of even fake Liza in the show which was a real missed opportunity. 

Anyway, Liza revived the show and Gwenny was kind of pissed about it but on every level: THE SHOW MUST GO ON. Here is Gwenny during the finale which she was forced to share with Chita. And this show didn’t even show us the full finale! I DEMAND TO SEE MICHELLE WILLIAMS DOING THE HOT HONEY RAG WHY DID YOU EVEN MAKE THIS SHOW IF I CAN’T SEE IT. There is literally no reason for this show to exist if it can’t show me Michelle Williams doing a cartwheel in a top hat.  What a world. What a wig. 

IN CONCLUSION: LOOK AGAIN AT THE TERRIBLE MAN WIG ON FAKE JERRY ORBACH. 

EPISODE 8: PROVIDENCE

We begin (or should I say end?) with some grumpy old men talking about what they can and cannot eat (spoiler: they can’t eat anything good!) Both Fosse and BFF Paddy Chayefsky have heart conditions and creative conditions. And I have a condition with this wig on Norbert Leo Butz. NO THANK YOU PLEASE. Anyway, Paddy tells Fosse how to rewrite All That Jazz aka how to rewrite his life and Fosse DOESN’T WANNA HEAR IT. And then Paddy dies and Fosse quite literally dances on his grave but in a really sad and mournful way. Yes, really. 

Meanwhile, Fosse interviews Gwenny in preparation for All That Jazz which honestly is just way to meta at this point, and she kinda tells it like it is. And I kinda know I’m not gonna miss this bent wig! 

Meanwhile, Ann Reinking is forced to audition to play herself in All That Jazz while under the painfully awkward and terrible direction of Fosse in this circa 1996 Ed Harris wig and LORDT I WILL NOT MISS LOOKING AT THE BAD OF THIS THING!

Then over at All that Jazz rehearsals, Gwenny and Nicole are met with bizzarro visions of themselves much like these bizarro visions of themselves in this show and omg everything just got way too meta and NIcole’s wig gives me hives. 

AND THEN. AND FRIGGIN THEN. LIN-MANUEL MIRANDA HAD THE AUDACITY TO PLAY ROY SHEIDER PLAYING BOB FOSSE IN ALL THAT JAZZ. JUST WHEN YOU THOUGHT THIS SHOW COULDN’T GET ANY MORE VAINGLORIOUS. MY HEAD AND MY TV JUST EXPLODED. 

Honestly, this is the only way for this terrible show to end - in a blaze of glory and nonsense. Well actually, it ended with Gwenny and Fosse reteaming in old age makeup to direct the revival of Sweet Charity but the internet refused to give me any pictures of that and fine. And then Fosse died on a sidewalk in the arms of Gwenny. And then for some reason the whole show ended with a shot of Nicole Fosse’s Vermont house. 

WHAT A LONG STRANGE TRIP IT’S BEEN YOU GUYS. But now we can finally be rid of these terrible terrible wigs and this terrible terrible show. 

VERDICT: DOESN’T WURQ

[sakaar-wheretherestendsup]

Completely unrelated:

The whole Scarlett Johansson thing happening right now.... (I’m not talking about Ghost In the Shell- that should’ve gone to an Asian woman, not a white one), but for her being cast as a Trans man: I understand the need for representation and the fact that trans people need to be shown properly in the way that they are in society in true form, but what about all those times where a straight actor played a gay man/woman, what about all those times where a straight man played the role of a trans woman, what about all those times a gay individual played a straight person???? I mean, it’s called acting for a reason, is it not? I’m not trying to be callous or ignorant here, don’t get me wrong, nor am I trying to hurt anyone’s feelings. I understand the argument that if trans actors got the chance to play non-trans roles, this wouldn’t be that big of a problem, but the thing is, in most of the comments and reactions I’ve been reading on this situation, very few people are using that as their argument. Most of it is just the fact that straight or non-trans people shouldn’t be playing trans people. I just don’t understand why? It’s a role? Acting is about becoming someone you are not. It’s about leaving your comfort zone, it’s about adopting a different persona, a different personality, a different individuality.

Let’s talk about the race card. I’m sure some (a lot) of people would say, “according to that logic, a white actor playing a person of another race or color shouldn’t be a big deal, but it is and Hollywood is starting to acknowledge that”. Here’s the thing though, there’s a lot of history surrounding the introduction of race into the industry. At the beginning it would be a major thing if there even was a character of color included in a script! And then, IF there was, they would have a white actor play him/her. What that implied and outright said, was that “we don’t find person’s of color attractive enough to put in films, or make films about them. Gradually, when the issue of race started sweeping the whole country, they started including more people of color in films. Then, the issue became more about proper representation, and having more important roles with more people of color (and different from just black and white at that) rather than just having them in the first place. The issue was, and still is, about having people in films that mirror the way society is. If you have a white man playing a black, Asian, or Indian one, then the message that’s being sent out is “we think white people are more attractive than the actual type of person we are trying to portray.” It’s also saying, that “we don’t actually believe society should be the way it is and have all these different people live and work cohesively”.

I understand that you can say that gender identity and sexual orientation should be treated the same way, but what these two topics and issues really need are awareness and acceptance. I’m not saying they shouldn’t have proper representation, but you also have to be practical about some things. The main issue surrounding gender identity is most people’s’ lack of acceptance or “believability” of/in it. What these big Hollywood films do by making biopics and storylines surrounding gender identity issues and casting star studded names in and as those people is bring awareness to real people that went through real, painful facets of life to become who they really were/are. I get that in an ideal world, everyone would like to say that by casting trans people in such roles would be the thing that would really be making a statement and really be enforcing awareness, but frankly that’s not going to happen. I’m not trying to be insensitive, but while it is undoubtedly true that a lot of lgbtq+ people would flock to theatres and fill some seats and watch those movies, the overwhelming majority of people won’t, and those percentage of people that won’t are the ones that need educating, not the people who already know and accept and appreciate trans people! The people who don’t aren’t going to go watch a movie with some person they couldn’t care less about playing another person they don’t particularly care much about knowing. Those movies in those cases would tank. “What about Love, Simon, and Wonder Woman, and Black Panther, and other such movies that represented minorities in a correct manner and did so well!! Look at that! That’s what proper representation does. The right way will prevail!” Yeah. No. Black Panther? Look at how fucking long that took. A whole black cast with black superheroes and black super villains and black music and various “black” cultures. Very. Fucking long. and it did well for various reasons: 1. They started introducing some of the characters earlier to get audiences used to them, 2. They used some big house names in the cast to kickstart a few things (Lupita (big before BP-Oscar winner), Michael B. Jordan, Forest Whittaker, Angela Basset), 3. it was a MARVEL STUDIOS, Disney film. It had ALOT of backing and fandom support, and 4. Finally, yes of course one of the biggest reasons for its success and impact and influence was the fact that it was an all black cast and a black superhero done all in the right way, but all those people that filled those seats?? They had been waiting for this for ages! Ages. It was way past time for something like this! And again we’re back to the race card. WONDER WOMAN. Let’s talk WW, it did great! It even didn’t have a huge name actress! But it did have a huge name character. Wonder Woman herself drew a huge part of her audience. And the fact that it was a female directed film. Again, another group of people, who had never been given an opportunity like this. LOVE, SIMON. Love, Simon did really well for a movie solely surrounding a gay kid. In fact, it’s the biggest “blockbuster” for such a “genre”. 8, even 4 years ago? It would’ve tanked. With a pretty much “no-name” cast besides Jennifer Garner (who is not the center of the storyline), it would’ve gotten nothing, but it did. Why? Because for the past couple of decades, Hollywood has been “experimenting” various times with gay concepts and storylines and characters. It’s not a “new” thing. It’s not something people haven’t heard of. It’s not something only a handful of people accept or recognize and appreciate. It’s still a battle and gay acceptance has a long way to go with the public, but it’s not “strange” (mostly) for someone to see a gay character on screen because it’s no longer considered “strange” (mostly) to interact with, and associate with, and live lives with, and develop relationships with gay individuals in the real world.

Unfortunately, the same cannot be said for the trans community. Of course none of that is their/our fault. It’s the world, and the media, and Hollywood, and people who refuse to accept. But the thing is that while, I’m sure the trans community has been suffering and waiting for ages as well, the truth of the matter is, that a majority of the public is not recognizing that. They’ve barely begun to accept the l, g, and b parts of “lgbtq+”, so on the cycle of awareness, recognition, acceptance, and complete normalcy of these things, the trans community, unfortunately, is still put on awareness. Even now, this last month, with all the pride parades across the country, the amount of non-lgbtq+ persons toting signs of awareness and accceptance for those first 3 and last letter were bigger than those for trans. We’re still stuck on awareness. When Trump pulled his shit about the military and trans people, people stood up and fought back but it was all surface level. It was all “we stand with trans people”, “trans people are people too”, “we recognize and accept trans” and things like that. It hasn’t gone beyond that yet. We’re still at the point where we need all the help we can get in awareness. And the fact of the matter is that that means getting Hollywood to make films about trans people. Successful trans people, not successful trans people, good trans people, bad trans people, trans people of all colors, races, shapes, and sizes. Just like they did and are doing with gay, and lesbian, and bisexual people. And we need this films to gain awareness. BIG AWARENESS. Not just theatres with seats filled only by lgbtq+ and some supporters, but more people than that. People that will go to watch their favorite actor or actress. Or a certain director or production house. That means getting and letting big stars be cast as iconic trans people, so that the public will start recognizing and accepting them/us.

Also, back to the acting thing. Where do we draw the line? Of what people are allowed to play and what they aren’t? Race makes sense, on a fundamental level it just makes sense, there’s not much acting experience you can learn or earn by playing another race in an official capacity. You can learn by playing character types. And I’m sorry, but sexual orientation definitely falls under character type. So does gender identity, in a sense. Just like religion. If you extend the line to gender identity, then will you extend it to sexual orientation? And then after that, to religion? What’s the point of acting then? I get that some of you will say there’s a lot you can don by just staying in your lane, but for people and actors who have done so much of that, what about them? Some of the most iconic and award winning roles and movies have centered around sexual orientation and some gender identity issues. It gives the actors a challenging and emotionally charged role. How is that disparaging or improper representation? Will you eventually start getting offended over the fact that a Jewish individual might play a Hindu, or vice versa? Or whatever variation with religion that could come up? Shouldn’t there be , with that logic, “proper” representation there then too?

Also, again, I apologize, but what if the actual trans actors that are auditioning for the role just aren’t what the studio wants? That’s just show business. You have to get over that. Basically what you’re saying is that if it fits your bill and works properly somehow in your mind, it’s fine, but if it doesn’t it’s not? That’s not for you to decide.

The ScarJo thing: frankly, her non-marvel movies recently haven’t done that well and a lot of that is simply on the stories of the films she’s been in and some of it is also because of the controversy surrounding her (but not too much - the money depends on the entertainment factor, sorry). Personally, I love her as Natasha/Black Widow, I think her acting chemistry with her co-stars is fantastic. She plays really well off of other actors, and she’s a good actress. should she have thought GitS through? Yes. But she didn’t. Actors make idiotic choices all the time. The trans role she’s taking on, if she does a good job, I’ll like her performance, if she doesn’t, I won’t. It’s as simple as that. A lot of that also lies on the directors and story-writers shoulders as well so there’s that. There’s a lot of crap with her and Woody Allen that I don’t condone, but I’m also trying to come to terms with the fact that there are quite a few actors who I love who had said nice things about him in the past (Hugh Jackman, Cate Blanchett, Javier Bardem, etc.). So there. That’s my bit. Thanks for listening. I apologize if I offended people, I’m trying to simultaneously understand and explain what I’m thinking/feeling. I’ve never written such a long post about anything in my life. I promise I don’t hate trans people. Or any people really. Actually, I hate neo -nazis, and those that are explicitly trump followers (not simply republicans but trump followers, there’s a difference- you know who you are). Anyways. I don’t. I’m a liberal, minority colored woman myself, (not that that means anything), but yeah I get it. But it’s confusing.

[toyahinterviews]

TOYAH ON RADIO BORDERS WITH HUGH BROWN 8.10.2009

HUGH: What did a young Toyah Willcox want to do when she left school? TOYAH: The young Toyah Willcox wanted to dominate the world and be like Julie Andrews and then punk came along and I very happily became a punk rocker. I always wanted to act and sing but I never wanted  to do them together. I wasn’t interested in stage musicals, even though I have ended up doing those.    I wanted to keep them separate, I wanted two very solid but diverse careers and I've managed to have about five diverse careers. But I did want world domination. But the glory about growing older as you get more experienced, you become more enriched as an artist and you get  little more realistic about your ambitions. HUGH: Tell us how you came into the punk mode then? How did you fall into punk music? Was it was a band at school or …?

TOYAH: No, I left school when I was 17 and I moved to London to be the youngest member of the Royal Theatre Company when I was about 18. And that happened because I got spotted on the streets of Birmingham and I ended up in a BBC2 play with another actor called Phil Daniels, who about four years later I made “Quadrophenia” with. Punk kind of embraced me, I was an oddball from Birmingham. I didn’t really fit into any of the compartments women were supposed to fit  into. I wasn't very ladylike, I was very tomboyish. I was small, dumpy, I just didn't fit the Farrah Fawcett-Majors kind of mould. And punk came along and made way for women like me and it also embraced women like me who are articulate but not necessarily academic. So I was very, very grateful for punk rock. And then I ended up in Derek Jarman's movie “Jubilee”, which was a punk rock movie. Ian Charleson, the actor from "Chariots Of Fire" introduced me to Derek Jarman and Derek was very, very open about his casting technique. He threw me script over a cup of tea and said “choose whichever part you want” and that's how I got the role.     And Derek kind of fell in love with me for a bit and cast me as Miranda in “The Tempest” (below) which was an award winning film of Shakespeare's “The Tempest” and that was really it for me. That kind of set me off around the world.

HUGH: We'll talk about the musical you're touring with in a moment, “Vampire’s Rock” but in that you've got a lot of heavy stage make-up. The punk era was like that as well. In fact, I have to tell you as a teenager I found you scary . . . TOYAH: I'm glad you found me scary! I've always wanted to be sightly provocative. Not a hate figure, but definitely provocative and definitely questioning that whole thing of see the person, not the age, not the gender. It's always been incredibly important to me and I've always been provocative of that issue. HUGH: And the whole punk thing obviously had a limited life span and it would come to a natural end - TOYAH: Noooo … HUGH: Is it coming back again?

TOYAH: I played, about five years ago, Wasted Festival (below), which is a punk festival that plays around the world. 20,000 punk rockers of all age groups. What I'd say is that I've moved on with my natural age. I've never stayed a punk rocker. I've always moved on with each decade, but there's plenty of punks out there and there's plenty of people out there that want their punk music.   HUGH: Do you think women in music are treated any better or worse than men in music? Because if you think again of the punk era -  that was very male dominated ...

TOYAH: Ooh no no …  I've got to tell it from my point of view. It's a very good question, a really superb question. Thank you. When I came into the music business, as  a punk rocker, it was male dominated. The music industry now thanks to punk rock, new wave and New Romanticism is probably today run by 80% women. The executives are women and that is thanks to punk rock.   But when I started, yeah, it was male dominated but it allowed women like me who were very voicy and very opinionated to come into the business and to change it. And I think music now is still 80% about women, but you have still got sexism and you still got ageism. And I think again it's down to people like me who have been around for 32 years or longer to say, well, actually we're still creative. We still got something to say. We're still pushing out the boundaries and we're not going to go away. And that's how we fight our revolution. HUGH: You mentioned “Quadrophenia”. It's an iconic film, still very highly regarded even all these years later. Was that a turning point for you and your career? Do you look back on that and think I'm glad I did that?

TOYAH: (I'm) Very glad I did “Quadrophenia”, but when it came out it was critically panned. And I don't know why it was panned because as far as I can see it was always great movie. I don't think it was released too early or too late. It was released at the right time but people really attacked Franc Roddam (the director), they attacked The Who, they attacked the script writer, they attacked the cast and it was really odd. I don't know why.   And then the audience voted with its feet. Which is the best way to have a hit. And every generation has rediscovered that film and made it their own. So I'm more than glad I did that movie and yes, it has done very well for me. Probably not as well as having hit singles in the 80’s and being part of the 80’s musical genre, but I'm certainly very, very proud of having done it. HUGH: Can we look for a second at your music because thinking of your 13 Top 40 singles and umpteen albums, songs like “It’s A Mystery”. They were unique. It was so different I think even at that time, which was, as we've mentioned, dominated a lot by punk rock, although I think towards the end of the 70’s almost anything went and we look at the Top 40, it was so eclectic -

TOYAH: It was a revolution, we needed revolution. The young people of the late 1970’s had to find a voice. We were politically in quite a bad place. There was a lot of unemployment. There was a lot of the "Winter of Discontent" going on. There were riots and England breeds phenomenal people - let me resay that - the UK breeds phenomenal people.   With great history, great culture, great attitudes, fantastic ideas and there was no outlet in the late 70’s and punk came along and let the stop valve go. We let off steam but also we recreated the culture of the youth because nothing had been happening since the 1960’s. And I think you know this is what young people do, and they do it so well, they create their own islands by which to stand on and go na na na to the rest of the world. And thank goodness it happened. HUGH: The big breakthrough single is “It's A Mystery.” Tell us about it?

TOYAH: Well, “It's A Mystery.” written by Keith Hale and it was mainly an instrumental for a band called Blood Donor and it was written in about 1979. An my record company heard it and asked if I’d buy demo it so myself and (producer) Nick Tauber rearranged it and I wrote the second verse and we made it into a song. So we demoed it. I wasn't particularly fond of it because I felt it was too feminine for what I wanted to stand for.   I was very bombastic and wanted my music to be very kind very out there and very powerful. Ironically Girl Power about 20 years before Girl Power came along. But “It's A Mystery” … was massive. Absolutely massive. It sold 75,000 units a week, I think even a day on some days, it was selling that many. I remember the vinyl printing factories had to stay open 24 hours a day to reach demand, which was incredible when you think some people get to n:o1 today, in the present climate, selling 2000 units a week. So “It's A Mystery” sold and sold and sold. 

HUGH: I was in a very well known record shop in the High Street the other day, and Cliff and The Shadows are back together and made an album and there was the CD single and a 7 inch vinyl single - TOYAH: Yeah. Vinyl is coming back. I think that's good news. People want for their money, they want something they can have a relationship with, something in their hand. It's a collectors piece. And I think what people forget about vinyl is people collected it. It wasn't just about the quality of the song, the quality of the album cover and the artist, it was actually about having a collection. And I think vinyl will come back. HUGH: The 80’s, is funny how things, you know, what "goes around comes around" because you yourself have been involved in some some 80’s revival tours and things with other artists, and they seem to be huge. The Rick Astley's, Spandau Ballet, Duran Duran, they’re all back and back in fashion again. Do you think that's because music just goes in circles and comes back again?

TOYAH: I think there's an element of we’re still alive, and I say that with respect, because I do think that because of the way media is at the moment, when someone passes away, there is incredible media about it and I've noticed since Michael Jackson's passed away that people of far nicer to me than they ever have been. (whispers) Thank you Michael! There is that element there, that Spndau are still alive and to put that into perspective about the size of audiences were getting ...   The week Oasis disbanded in Paris, on that night they were playing to 30,000 people. I opened the Rewind festival ... 30,000 people. We're getting the same amount of people as the current acts, and that never gets featured. No one ever puts their hand up and say "OK, you’re old rockers, but actually you're drawing bigger crowds than the younger people and we are". Its phenomenally popular. 

HUGH: And I think it's interesting because my daughter is just coming up on 8 and I've introduced her to late 70’s and 80’s music and although she likes the current stuff too, it's amazing - she just loves that kind of stuff and I think it is probably a lot of sons and daughters of those who came first time round -

TOYAH: Oh yeah! For me I love Cream in The Yard Birds. Early Stones, I mean magnificent songs that resonate in the part of me that had no worries and had no insecurities. Therefore when I hear those songs, I remember a time which was a really happy time. I would have been about 8 or 9 so I imagine with a lot of the 80’s stuff they allow people to kind of forget the present. And experience the fantasy of being truly truly happy, because I do think we live in phenomenally difficult times for everyone. Difficult times for the family, difficult times for teenagers thinking about the future, and I think because of that music has so much more power.

HUGH: I want to ask you about one of your recent roles, about “The Secret Diary Of A Call Girl”, working with Billie Piper (below). That must have been pretty special, I would think?

TOYAH: I love that. I mean, I've done very few days filming on it, but I love the fact that they cast me, a singer, as Billie Piper's mother. I think it's so clever because Billie, she's had a singing career. She might revisit it. But I just thought that was great. Really great. She's a tall girl. She spent most of the time kissing me on top of the head, but I'm very very fond of her. She's a very brilliant and talented actress.

HUGH: Let's talk about your tour now and tell us a bit about about the musical. What it actually involves and what the storyline is? TOYAH: “Vampires Rock” (below) is a cult musical. It's been going for about five years and I joined it last year. Has little elements of the Rocky Horror Picture Show about it, but it's not as scripted. And basically it takes the genre of classic rock. If you look at songs by Bon Jovi, AC/DC Alice Cooper, Billy Idol, they're all featured in the show and the lyrics of these songs are used very loosely to tell the story of a nightclub owner in 2020 in New York who wants to get rid of his 2000 year old vampire wife and everyone on stage are vampires.   Beautiful band on stage called The Lost Boys, they are stunningly beautiful and the girls scream after them every night. Fabulous musicians, beautiful dancers, and then you got quirky characters like me playing the Devil Queen. So it's basically a rock show that has an incredibly strong sense of theatre about it. A little bit Bowie-esque, Mott The Hoople and Alice Cooper in its visualisation. And a lot of comedy as well, but it rocks. It's really, really good. HUGH: Sort of bouncing in the aisles?

TOYAH: Yeah! Screaming in the aisles, rioting in the aisles. It’s great! HUGH:  And you’re touring with that in fact through to next year? TOYAH: Yeah, I'm touring with that until mid-February of next year and then I join it again in September and we tour right through again

HUGH: I'm not trying to write your obituary in anyway, but what's left for Toyah Willcox to do? I mean, you've done so much and we've only been able to touch on a fraction of it in this interview. What else would you like to do? TOYAH: Well, I’ve got my band The Humans, which is incredibly important to me, which is myself, the drummer from REM Bill Riefling. My husband Robert Fripp is guesting with us at the moment and we start touring in February. I created The Humans for the President of Estonia, who invited my husband to play in Estonia, but he couldn't make it so I said "well, I'll come over. I'll put band together and we will write songs in Estonia for Estonia".   This took off and the only way I can explain it's like European film noir. It's two electric basses and my voice and a lot of very weird loops and we deconstruct the pop song. So we've got a single out out at the moment called “These Boots Are Made For Walking” and all I can say is it's very New York - Seattle because it slightly deconstructed

HUGH: It’s the old Nancy Sinatra song - TOYAH: Yes, the old Nancy Sinatra song, which is a brilliant classic song. But we've brought the darkness of that song into this millennium. So I'll be working on that band for most of next year. HUGH: I think that's quite brave because it's one of those songs that you wouldn't really expect anyone to cover. Its one of those you think you'd leave well alone? TOYAH: But it's got so many connotations to it. It's a woman singing about the infidelities of a man. The song was written well before the AIDS scare. It was written well before the culture of sadomasochism, yet when you perform it in this day and age it really has quite a dark undertone to it, which is what The Humans is about. The Humans is about the face we wear behind our heads, it's about the dark nature of the human race, so it's perfect for us. HUGH: Tell us what this movie is then?

TOYAH: Yeah, I’ve just starred in a very low budget British movie called “Three To Tango”. And at the moment they're having their press showings and audience showings, which means they get test audience in and the audience kind of write reports. So it might become “Power Of Three” (below). There's two titles at the moment, and it's going to all the festivals next year and I star in it. And it's a British comedy made for £80,000 which is an absolute feat.   But the reason I'm telling you about it, the press are saying it's one of the best movies of next year. Apparently it looks as though it has £100 million budget, which is very very clever because it was filmed on high definition around Belsize Park in London. And they've used all the music off an album I wrote with my partner, Simon Darlow, called “In The Court Of The Crimson Queen”, which was out last year, went to number 6 in the iTunes Rock chart. And this is due for release next year and apparently it's wonderful HUGH: We look forward to seeing it. Will it be on general release do you think?

TOYAH: I think it’ll get a limited general release. It’s definitely written for the “Sex An The City” generation and the kind of 50 year olds upwards. It's a very pro film about women in their 50’s reinventing their lives and becoming business women . It's very, very kind of “go girl! You go out and get the life you want. It's never too late”! So I think we'll have a limited release in the cinemas. Then it'll have a TV distribution and then to DVD. But hey, who cares? You know. These films kind of like “Quadrophenia” build and build and build. HUGH: You know, I interviewed Lulu a few years ago, and you remind me a lot of her in that you are looking fantastic! If I may say so -

TOYAH: Oh, thank you! HUGH: You’re looking absolutely brilliant! TOYAH: Thank you! HUGH: How do you keep yourself looking so well? TOYAH:Well, I don't party very much and people get very cross with me because I don't drink and I'm with a team of people at the moment who do nothing but drink (they both laugh) I only allow water and green tea to pass my lips and people can’t handle that at all! And very boringly 1500 calories a day. That's it. It's so important if you want to kind of keep in show business, you just have to live that really boring routine. It’s is not rock’n’roll at all. HUGH: You mentioned about calories ... As you can see, I don't worry about them at all but … (they both burst out laughing)   TOYAH: I would like to wake up in the morning and eat a bar of chocolate and then I'd like to go out and have a fried Mars Bar and then I'd like to go out and have fish and chips and then I'd like a bottle of Bourbon and then stay up all night. I mean, if I did that for one night I would not make the show the next day.

So that gives my age away. I really live a military regime when it comes to my health, it's ridiculousbecause when I walk on stage is the Devil Queen. Spitting at the audience. If they knew I have to be in bed by 11 o'clock with a carrot stick and hummus dip and lots of water … I mean they be so disappointed. HUGH: Well, it certainly works. Toyah, been lovely to speak to you. Wish you well with the single, the album and indeed the tour as well TOYAH: Thank you very much

[sultanofwysdem]

My Oscar Opinions! Yay

The Oscars were two nights ago, and I want to write about them before they become obsolete (maybe too late lol). Overall, I’m happy with the results, even though my #1 fav didn’t win anything, despite Greta Gerwig being praised throughout the evening. Here’s my ranking of the the nine Best Picture noms in order of how I like them (excluding Dunkirk, which I didn’t see; sue me).

#8: Darkest Hour

Despite an obviously career defining performance by Gary Oldman, the film itself serves as a mere vehicle for his acting choices. The other characters, besides Stannis Baratheon, seem one dimensional; the best part of it is the ad campaign promoting the movie, saying it’s a much needed portrait of good leadership in today’s day and age. Not the best when the advertising is better than the film. Congrats Sirius Black.

#7: Three Billboards Outside Ebbing, Missouri

The most problematic of the bunch. When I first saw Three Billboards, I didn’t hate it, and I don’t now. But the polarizing flaws of this film are worth discussion. The affably comedic portrayal for much of the movie of Sam Rockwell’s award winning police officer, and his racism, sexism, and homophobia was off-putting. While these actions weren’t redeemed, the character somewhat was, and the resulting tone left much to be desired and some awkward mixed messaging. As a friend of mine said, it should have been a play. I am a fan of McDonagh’s plays, and I have to agree. That being said, this film provided a tour de force performance from Frances McDormand, and her speech was one for the ages.

#6: Phantom Thread

This is the one I saw the most recently, on the eve of the Oscars. I’m not that familiar with the work of Paul Thomas Anderson, or Daniel Day-Lewis for that matter (sue me), but I was pleasantly captivated by this film. It has a rhythm, language, and tone all its own. It’s not trying to be best picture, it’s just trying to tell a story. And those dresses—STUNNING. MVP is a tie between the gorgeous music and the breakout performance of the quirky Vicky Krieps.

#5: The Shape of Water

The Best Picture winner swings in the middle for me. I was expecting to love it, and while it didn’t capture me completely, it is certainly an excellent film. From start to finish, it’s a truly immersive experience. There were some drawn out plotlines, like the Russian spy subplot, and some that were too thinly drawn, like Octavia Spencer’s character. But overall I appreciated the focus on the various underdogs of the 60’s, the aesthetic, and the morality of the whole piece. And as a Pisces, I related to the fish.

#4: The Post

Okay, so I think I’m the only person I know who really liked The Post, besides my parents. Yes, it’s chances at Best Pic were probably a few years back, even though it was ironically made in a year when the press is continually under attack. But the joy I felt watching Meryl Streep and Tom Hanks acting together was worth the price of admission, and the supporting cast was very solid. Meryl alone honestly made the movie for me, when she gave the go ahead to publish the papers. I just had a lot of fun watching, so that’s good “news” in my book!

#3: Call Me By Your Name

I do like CMBYN. Quite a lot, actually. But one thing I need to clarify is that the casting of two straight men in queer roles is difficult for me to swallow. Timothee of course is a breakout star, and he owns this role, but why could it not have been a gay actor? Despite that (and the glaring age gap of Armie Hammer), this film is visually beautiful, reflective, and relatable. Also, Michael Stuhlbarg was truly robbed.

#2: Get Out

This was the film I was rooting for to actually win Best Picture. It’s wholly original, genre-bending, and endlessly culturally significant. It was also a certifiable blockbuster! The kind of movie that should be rewarded. Daniel Kaluuya was perfect, and the image of him “sinking” that became iconic will be remembered for a long while. I still get chills thinking about this movie. It’s what our society needed, and still does.

#1: Lady Bird

My all time favorite movie of last year. I can’t express what this movie means to me. The fresh take on a coming of age story (my favorite genre), the hilarious and relatable characters, and the fierce chemistry between Saoirse Ronan and Laurie Metcalf all came together so beautifully. One of those films that really understands its audience, relatable on a level I can’t even explain. It really is a shame it didn’t win any awards. A++

Honorable Mentions:

I, Tonya was a kind of clunky movie with excellent acting, which was rightfully awarded (although I do wish Laurie Metcalf got more recognition for her supporting role in Lady Bird, Allison Janney earned her gold). The Florida Project was a visual and emotional masterpiece, which Willem Dafoe anchored beautifully, and The Big Sick was a very refreshing and inspiring rom-com. A great year for movies! And I have my MoviePass to thank for letting me see as many as I did! Peace!