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Cosplay the Classics: Nazimova in Salomé (1922)—Part 2

My cosplay of Nazimova as Salomé

As the studio system emerged in the American film industry at the start of the 1920s, many of the biggest stars in Hollywood chose independence. Alla Nazimova, an import from the stage, was one of them. In 1922, she made a series of professional and creative decisions that would completely change the trajectory of her career.

In part one of CtC: Nazimova in Salomé, I described how Nazimova’s independent productions were shaped in response to trends and ideas surrounding young/independent womanhood in America after World War I and the influenza pandemic. Here in part two, I’ll fit these productions, A Doll’s House and Salomé, into the broader context of the big-money business of film becoming legitimate in America.

While the full essay and photo set are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read! Oh and Happy Bi Visibility Day to all those who celebrate!

My cosplay of Nazimova as Salomé

Artists United? Allied Artists and the Release of Salomé

When Nazimova made her screen debut in War Brides (1916), the American film industry was undergoing a series of formative changes. Southern California became the center of professional filmmaking in the US—fleeing New Jersey (where War Brides was filmed) largely because of Thomas Edison’s attempts to monopolize the business. Preferences of audiences and exhibitors shifted away from one and two-reel films and towards feature-length films. The Star System emerged in full force. Nazimova soon relocated to Hollywood, signed a contract with Metro, and reaped the benefits of this boom period for American film artists.

The focus on feature-film production and the marketing of films based on the reputations of specific filmmakers or stars required a greater initial outlay of resources—time, money, and labor. But, it also paid dividends—the industry quickly grew into a big-money business. The underlying implication of that is that a larger share of the profits were shifted from the people doing the creating (artists and technicians) and towards other figures (capitalists). In practice, this also meant film companies would become eligible for listing on the stock exchange and could secure funding from banks and financial institutions, both of which were rare or impossible before the mid-1920s. The major players on the business end of production, distribution, and exhibition, therefore, wanted to consolidate their power and reduce the power and influence of the filmmakers.

To illustrate how momentous this handful of years was in the history of the US film industry, allow me to highlight a few key events. Will Hayes’ office was set up in 1922 to make official Hollywood’s commitment to self-censorship. Eastman Kodak introduced 16 mm film in 1923, a move which, while making filmmaking more accessible and affordable, also widened and formalized the division between the professional industry and amateur filmmaking. Dudley Murphy’s “visual symphony” Danse Macabre[1] was released in 1922—considered America’s first avant-garde film. Nazimova’s Salomé was considered America’s first art film from its initial release in 1923. That these labels were deemed relevant in this period illustrates the line being drawn between those films and film as a conventional, commercial product. The concept of art cinemas in the US was first proposed in 1922 spurring on the Little Cinema movement later in the decade.

from Danse Macabre

from Salomé

As any industry matures, both the roles within it and its output become more starkly delineated. That is to say that, as the US industry began differentiating between art/avant-garde/experimental film and commercial film, the jobs within professional filmmaking also became more firmly defined. Filmmaking has always been a collaborative art, but in the period prior to the 1920s, it was common for people in film to do a little of everything. As a result, what sparse credits made it onto the final film didn’t necessarily reflect all of the work that was done. To illustrate this using Nazimova,[2] at Metro, she had her own production unit under the Metro umbrella. While her films were “Nazimova Productions,” she didn’t have full creative control of her films. However, Nazimova did choose her own projects, develop said projects, and contribute to their writing, directing, and editing. When those films were released, aside from the “Nazimova Productions” banner, her only credit would usually be for her acting. Despite that impressive level of creative power, the studio still had the ultimate say on whether a film got made, and how it would be released. As studios grew and tightened control of their productions, this looser filmmaking style became much less common.

The structure of the industry at this time was roughly tripartite—production, distribution, and exhibition. Generally speaking, the way studio-made films traveled from studio to theatre—before full vertical integration—was that the production company would make available a slate of films of different scales. (Bigger productions with bigger names attached would have a special designation and come with higher rental fees.) Famous Players-Lasky was the biggest production house at the time, though other studios, like Metro, were quickly catching up. Distribution companies would then place this slate of films on regional exchanges, centered in the biggest cities in a given region. Exhibitors (this could be owners of chains like Loew’s in the Midwest and Northeast, the Saengers around the gulf coast, or individual theatre owners) could then rent films through their local exchanges. (This was an ever-shifting industry, so this process was not true for every single film. This is only meant as a quick overview of the system.) As the 1920s wore on, exhibitors began entering the production arena and producers further merged with distribution companies and exhibition chains. Merger-mania was the rule of the day.

My cosplay of Nazimova as Salomé

As merger upon merger took place and a handful of businessmen tried to monopolize the industry, American filmmakers responded by championing the artistic legitimacy of filmmaking in the US. Leading this charge were the very filmmakers on whose backs the big business of film had been built. As noted in Tino T. Balio’s expansive history of United Artists, The Company Built by the Stars:

…Richard A. Rowland, president of Metro Pictures, proclaimed that ‘motion pictures must cease to be a game and become a business.’ What he wanted was to supplant the star system, which forced companies to compete for big names and pay out-of-this-world salaries for their services. Metro, he said, would thenceforth decline from ‘competitive bidding for billion-dollar stars’ and devote its energies to making big pictures based on ‘play value and excellence of production.’”

It’s notable for us that these ideas were espoused by Rowland, head of the studio where Nazimova was currently one of those “billion-dollar stars.” (“Billion-dollar” is obviously a massive overstatement.) It was a precarious time for any filmmaker who cared about the quality and artistry of their work. It was this environment that birthed United Artists, a new production company built around the prestige and reputation of its filmmakers, Douglas Fairbanks, Mary Pickford, Charlie Chaplin, and D.W. Griffith. As the statement announcing the formation of UA detailed:

“We also think that this step is positively and absolutely necessary to protect the great motion picture public from threatening combinations and trusts that would force upon them mediocre productions and machine-made entertainment.”

It’s an accurate assessment of industry trends at the time. If the desired product is a high-quality feature-length film, production is necessarily more expensive. As the UA statement intimates, monopolizing the entire industry and sacrificing quality for quantity to fill the exchanges and theatrical bills was the studio heads’ solution to rising costs. Not a great signal for filmmaking as art in America.

My cosplay of Nazimova as Salomé

So, Nazimova was in good company when she chose to go independent, believing in film as art and that American moviegoers deserved better than derivative, studio-conceived films. Some of the other artists who went independent included George Fitzmaurice (one of the most revered directors of the silent era, though most of his films are now sadly lost), Charles Ray, Max Linder, Norma Talmadge (in alliance with Sam Goldwyn), and Ferdinand Pinney Earle (whose massive mostly-lost artistic experiment Omar Khayyam, I profiled in LBnF). If these filmmakers shared the motivation of UA to create higher-calibre productions, where would the money come from? For Nazimova, the answer was her own bank account.

In 1922, Nazimova’s final film for Metro, Camille (1921), was still circulating widely due to the rising popularity of her co-star, Rudolph Valentino, after the release of Four Horsemen of the Apocalypse (1921) and The Sheik (1921). While Nazimova had the funds to complete A Doll’s House and Salomé, there was no sure bet for the films’ releases. Nazimova’s initial concept for her independent productions was the “repertoire” film. This scheme would have seen A Doll’s House released as a shorter film with Salomé as a feature and the two could be rented as a package by exhibitors.  It was a creative response to growing tensions between producers and exhibitors over a practice called block booking. Block booking was a strategy studios employed to leverage the Star System to its fullest. They would take the most in-demand films associated with the biggest drawing stars and only make them available in a package deal with productions that were perceived as less marketable. Nazimova was aware that her films at Metro had been rented this way (as the special feature). It’s not completely clear from my research if the decision to release Salomé and A Doll’s House as two features was creative, practical, or a combination of the two. The “repertoire” concept may not have gone according to plan, but it was an early indication that Nazimova was well-informed of the nuances of distribution and exhibition.

Nazimova’s need for proper distribution was met by United Artists’ distribution subsidiary, Allied Artists. United Artists’ first few years were a struggle. Fairbanks, Pickford, and Griffith[3] needed significant time and money to finish the high-quality productions that they promised and Allied was their solution. This distribution arm would release the work of other independent talent using the same exchanges as UA, but under a different banner. Though Allied used UA’s exchanges for distribution, the subsidiary had its own staff. Allied having different branding would also protect the prestige of the UA name. (An unkind, but not entirely inaccurate summary: the money your work brings in is good enough for us, but your work is not.) Allied would have a full release slate to generate the revenue that UA needed to remain in operation.

Nazimova was one of the filmmakers who signed a distribution deal with Allied and had reason to regret it—though she and Charles Bryant didn’t openly rag on UA/Allied.[4] Notably, Mack Sennett had arranged the release of Suzanna (1923) through Allied and was vocal about the company bungling its release. Differences over distribution and exhibition would also lead to Griffith’s exit from the company and a major rift between Chaplin and Pickford-Fairbanks. After 1923, Allied reduced its operation, at least in part because of the bad reputation they were garnering with other filmmakers. Despite numerous independents losing money on productions released through Allied, by 1923, Allied had netted UA 51 million dollars in revenue!

Trade ad for Salomé from Motion Picture News, 10 March 1923

The questionable deals that these independent filmmakers received with Allied are often mentioned in discourse about the period, but very, very rarely does anyone offer details of what Allied’s inadequate distribution looked like. Using the information available to me via Lantern, I collected and analyzed data regarding the release and exhibition of Nazimova’s final two Metro films and both of her Allied films.[5] Looking at the trade publications Exhibitor’s Trade Review, Moving Picture World, Motion Picture News, and Exhibitors Herald, I categorized every item I found about the release or exhibition of Billions (1920),[6] Camille, A Doll’s House, and Salomé. The “release” items are primarily advertisements, reviews, and news items about release dates or pre-release screenings. The number of these items for all four films were comparable. 

The items in the “exhibition” category, however, reveal a marked difference between the Metro and Allied releases. This category includes items like first-run theatre listings, exhibitor feedback, and advertising advice for theatre owners. Only counting exhibition items from the first two years (24 months) from the initial release of each film, Billions and Camille had twice as many items as A Doll’s House and Salomé!

While this isn’t necessarily hard data on how many theatres ran each film, it is a rough indicator of how well the films circulated. This data suggests that neither A Doll’s House or Salomé had distribution comparable to the Metro films. In order to compensate for the Rudy factor—Valentino’s major rise to stardom in 1921—which could have affected Camille’s numbers in a big way, I included Billions as well. Billions was sold as a special (a bigger production with premium rental fees) on Nazimova’s name alone. It was not especially well received. Exhibitors/theatre owners had mixed feelings on the film because Nazimova’s previous film, Madame Peacock (1920), had underperformed. Many exhibitors viewed Billions as an improvement, though it still did not meet their perception of Nazimova’s standard of quality. Despite that, Billions had 76 exhibition-related items across its first 24 months of availability to Camille’s 80.

To get a little deeper into this data, I wanted to see how the feedback from exhibitors and theatre owners compared. I broke down the exhibitor feedback for each film as positive, middling, or negative based on how the exhibitors assessed audience response and/or box office receipts. (I discounted feedback that only reflected theatre owners’ own personal assessment of the films without mention of their patrons or receipts.) Positive feedback could be good reception and/or good receipts, middling suggests only average business and no noteworthy reception, and negative indicates poor response and/or poor ticket sales. Since there are so many more items about Camille and Billions than A Doll’s House and Salomé, I compared ratios as an indicator of exhibitor satisfaction. The results were truly surprising.

Theatre owners who rented Salomé may have been in significantly smaller numbers than those who ran Camille, but their satisfaction with ticket sales and audience feedback was roughly equivalent. (Though slightly more positive for Salomé!) The numbers for Billions line up with the qualitative assessment I summarized above, displaying a roughly equal 3-way split. A Doll’s House was the most divisive with the highest proportion of negative feedback of the four films, yet with a higher proportion of positive feedback than Billions.

Taking all of this into account, it’s clear that Salomé did not flop because it was too artsy or esoteric for the American moviegoing public. Such assumptions are obviously not very thoughtful or informed by reliable data.[7] A more historically sound reading is that, as professional filmmaking matured into a “legitimate” industry in the US, the various arms of the business were rigidly formed to fit conventional output. The conservatism that this engendered made the American industry ill-equipped at marketing anything too unconventional or experimental. While Hollywood insiders were lamenting European filmmakers artistically outdoing Americans—especially following the US release of The Cabinet of Dr. Caligari (1920)—very few people with the power to shape the industry did anything to support experimentation. Given this environment, Salomé could only have been produced independently, but the quickly ossifying distribution and promotional systems didn’t have the range to give it a proper release. Two films contemporary to Salomé, Beggar on Horseback (1925) and The Old Swimmin’ Hole (1921) offer further evidence of the industry’s limitations.

The Old Swimmin’ Hole is a feature-length production by Charles Ray, experimental in that it uses no intertitles. The story is simple and familiar with Ray playing the Huck-Finn-type character he was well known for. Ray’s experiment was not an expensive one and the film was successful. However, decision makers at First National, the film’s distributors, felt that The Old Swimmin’ Hole was simply too complex for small-town Americans to comprehend and it wasn’t released outside of cities. To put it plainly, the distributor’s unfounded concept of ignorant yokels meant that a film about country living was largely inaccessible to anyone actually living in the country. Though the film was well received and turned a profit, this distribution decision likely limited its audience as well as possible revenue from small-town exhibition.

Stills from The Old Swimmin’ Hole from Motion Picture Magazine, April 1921

Beggar on Horseback was produced by one of the biggest studios in Hollywood, Famous Players-Lasky, and distributed by Paramount. Starring comedian Edward Everett Horton, Beggar was an expressionist comedy based on a popular play. The film had a popular star, popular source material, and was made and released by a major company, but Beggar was apparently too unconventional for that major company to adequately market it. (Unfortunately, only a few minutes of the film survive, so we can’t fully reassess it unless more is found/identified!)

Stills from Beggar on Horseback from Picture-Play Magazine, August 1925

With all these complicating factors at play, how might have Salomé found its audience in 1922-3? Nazimova and Charles Bryant had innovative ideas for the film’s release that might have done the trick, if they had been able to act on them. Nazimova and Sam Zimbalist had finished cutting Salomé in late-spring 1922. Having spent practically all of her money to finish the film, and following A Doll’s House’s disappointing results, Nazimova was eager for Salomé to hit theatres. Though the film was in the can and private preview screenings had been held by Bryant by summer ‘22, Salomé wouldn’t be released until February of 1923. In studio filmmaking, holding a film in extended abeyance wasn’t ideal but it was not disastrous. Studios had significantly more resources and revenue streams than independent producers. If, for example, the release of Billions had been delayed for seven months, Nazimova still had two films on the Metro exchanges (and therefore in theatres) and Camille would have entered production in the meantime. But for Nazimova as an independent producer, this situation was wholly untenable. (In fact, Pickford, Fairbanks, and Griffith were in a similar untenable situation when they founded Allied.)

Initially, Bryant proposed roadshowing Salomé. Roadshowing is a release strategy for notable film productions where a film is toured around major cities, often with in-person engagements by stars, writers, and/or directors. Nazimova expanded the idea of touring with Salomé not simply as a roadshow, but paired with a short play in which she would star. Double the Alla, double the fun. As far as I can tell, there isn’t publicly available information about why Salomé wasn’t roadshowed. However, we do know that Griffith, as the only non-performer in UA, wanted to utilize different approaches for the release of his films—like roadshowing—and it became one of the major points of disagreement with his fellow UA decision makers. That could be taken as an indication that something similar might have occurred with Nazimova and Allied.

As time dragged on without a release date for Salomé and Nazimova returned to theatrical work—openly admitting to audiences that she was broke—Bryant took matters into his own hands. At the end of December 1922, Bryant negotiated with the owner of the Criterion Theatre in New York City for Salomé to run on New Year’s as a special presentation. In two days, Salomé grossed $2,630, setting records for the theatre. Adjusted for inflation, that’s $48,988.96. It was successful enough that the owner of the Criterion opted to hold the film over. This bold move must have lit a fire under Allied’s tuckuses, as Salomé finally had its first-run release a little over a month later.

In the 1920s, the first-run booking of a film was a crucial part of its further success. Concurrent nationwide release of films wasn’t the norm yet, and if a film was a big production, getting booked at high-capacity motion picture houses in major cities was a necessity. These big city releases would, in theory, generate interest in the film with exhibitors across the country and internationally. Basically, if you spent a lot on a movie but couldn’t land a first-run release, you weren’t likely to turn a profit or even break even. Salomé had a handful of first-run bookings and local reviewers from those cities believed the film would succeed. A reviewer from the Boston Transcript in February 1923 wrote:

“…this newest Salome is something far better than a photographed play. Considered both as picture acting, and as an interesting experiment in design, “Salome” is a notable production. It will have a far and wide reaching influence on future films in this country.”

But, as I mentioned, only a handful of first-run theatres played Salomé, and, taken collectively, the notices I analyzed from contemporary trades imply that it didn’t gain traction once it was made available beyond its initial run.

My cosplay of Nazimova as Salomé

During this regrettably short theatrical run, exhibitors and reviewers from trade publications advised that Salomé was a unique film that called for unique promotion. The overall assumption was that theatre owners knew their patrons and recognised whether out-of-the-ordinary movies were popular with them. Rather than purely judging a film’s quality, exhibitors and trade reviewers had concerns specific to exhibition when providing feedback. These concerns cannot be overlooked if you want to understand their assessments. For example, exhibitor feedback was very often informed by how high the rental fees were for a film, even if exhibitors don’t directly mention said fees. That is to say, a mediocre film might be rated highly if the rental fees were modest (and if block booking wasn’t an issue). Reviewers in the early 1920s, both for popular magazines and trade publications, were already accustomed to the formulaic nature of most studio output. Their reviews commonly expressed fatigue with studio films’ lack of originality. And, perhaps surprisingly, this sentiment was shared among theatre owners as well—particularly when a run-of-the-mill film was sold to them as anything other than a “programmer” (a precursor to B-movies).

What I have learned, not just by analyzing feedback for Salomé, but also for all of the films in my LBnF series, is that when a 1920s reviewer calls out bizarreness in a film, it’s not always a negative quality, even when the review isn’t positive. In the case of reviews written for exhibitors/theatre owners, focussing on what makes a movie different is purely pragmatic. It guides how exhibitors might market films to patrons and helps exhibitors judge if a film would be suitable for their audiences. And, from that same research, I’ve found significant indications there were numerous markets throughout the US that were hungry for novelty—contrary to what studio apparatchiks wanted to admit. So, pointing out Salomé’s bizarreness was a recommendation for those markets to consider renting it as much as it was a warning against renting for theatre owners who only had success with more conventional films.

Cover of the Campaign Book for Salomé reproduced in Exhibitors Herald, 9 February 1924

In the case of Salomé, reviews and feedback upon its release focused on two major points:

 The film isn’t “adult” in nature. Well-known productions of Strauss’ opera and the 1918 Theda Bara film of the same name led to a presumption of salaciousness. (I talked a bit about that in Part One!)

The film deserves/requires a build up as an artistic event film.

Nazimova’s company helped exhibitors with the latter point in a few ways. The company provided Aubrey Beardsley inspired art posters conceived by Natacha Rambova and executed by Eugene Gise. They printed a book to guide promotion of an artistic spectacle. (So far, I haven’t been able to find a physical or digital copy, so I can’t assess how good the advice was!) Salomé was also distributed with an official musical score, apparently written for a full orchestra.

Art Posters designed by Rambova and painted by Gise as reproduced in Exhibitor’s Trade Review, 10 February 1923

The exhibitors who ran Salomé—and put at least some of this advice into practice—were satisfied with the business it did. By these accounts, the American moviegoing public was attracted by the novelty of Salomé, but what chance were they given to see it?

While this evidence of Allied’s poor distribution work may be circumstantial, it certainly complicates the narratives that Salomé was an unqualified flop or that average Americans weren’t (or aren’t) receptive to artistic experimentation. Given that Nazimova was not the only independent filmmaker who suffered from Allied’s inept distribution, it does seem like the underwhelming business Salomé did was due more to a poor choice of business partners than to any quality of the film or of American moviegoers. That said, with the increasing monopolization of the industry, Nazimova did not have a wealth of options.

Though Salomé was made and released at an tumultuous period for the US film industry, it did eventually find its audience through circulation in art cinemas. As the gap between experimental/avant-garde film widened in the US and the professional industry became less and less tolerant of departures from convention, Americans concerned with film as an art form rallied around amateur filmmaking clubs and art cinemas began popping up in cities by the middle of the decade. Salomé played in these theatres even after the advent of sound—occasionally even today. This is likely the key reason that Salomé survives and we’ve been able to continue to enjoy and reevaluate it one hundred years later.

Salomé is a significant film made at a significant moment in American film history. Nazimova took a major risk in going independent and personally funding two artistic projects. These films were founded on the beliefs that American moviegoers wanted art made by human beings with unique imaginations, feelings, sensibilities and that there was an audience for more than derivative, ��machine-made” film. In my opinion, through close analysis of the circumstances of Salomé‘s release, we can see that Nazimova was likely correct, but didn’t get a genuine chance to prove it in her lifetime. Additionally, it’s important to note that Nazimova’s risks did not “ruin” her as is occasionally said. The state of her finances were more greatly affected in the 1920s by her fake husband’s habit of spending her money and by getting swindled by a pair of con artists over her estate, The Garden of Alla. Soldiering on, Nazimova continued to work in both theatre and film for the rest of her life and found more stability with the partner she would meet at the end of the 1920s, Glesca Marshall.

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Once I finished this “Cosplay the Classics” entry, I realized that it would way too much for me to include a section on another relevant topic to Salomé: Orientalism in Hollywood. But, I feel that the topic is too important to just edit that writing out. Look out for a shorter “postscript” entry soon!

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Footnotes:

[1] Danse Macabre is also thought to be a major influence on Walt Disney animating to music, as seen in “Silly Symphonies” and later Fantasia (1940) and Disney’s other musical anthology features. It was also in this period that Disney fled from his debtors in the Midwest to California with his first “Alice” movie. However, the wide-ranging effects of Disney’s business practices were not felt until much later, so that’s another story for another time!

[2] Nazimova was one of a handful of women in Hollywood at the time who held significant creative power. June Mathis and Natacha Rambova, both of whom Nazimova regularly worked with, Mary Pickford and her regular tag-team partner Frances Marion are among some of the others.

[3] Chaplin wouldn’t produce a film for UA until 1923’s A Woman of Paris, as he was fulfilling a pre-existing contract with another studio.

[4] According to Gavin Lambert’s biography of Nazimova (which I discussed as a largely unreliable source in Part One), Robert Florey supposedly advised Nazimova against signing with them, citing Max Linder and Charles Ray as artists who had been “ruined” by their deals. However, the timeline does not quite match up. Though Florey did visit the set of Salomé, Nazimova had already signed the Allied deal by then and Ray had not finished The Courtship of Miles Standish (1923) when Salomé was in production. In fact, there was almost a year and a half between the completion of Salomé and the release of Standish. Whether this was a lapse of memory by Florey or misreporting by Lambert, I can’t be sure.

[5] Originally, I wanted to include Madonna of the Streets (1924) in my comparisons but, at the moment, Lantern has gaps in their Moving Picture World archive for 1924-5. I didn’t want to draw conclusions from incomplete data.

[6] Billions was also a Rambova-Nazimova collaboration. Rambova designed a fantasy sequence for the film.

[7] A mindset that’s still common among commercial media outlets today unfortunately. I could rant and rant about “content” and “content creation” all day but that’s another story for another time.

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Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Lost, but Not Forgotten: A Doll’s House (1922)

“Nazimova in Repertoire” in Motion Picture News, 29 October 1921

“Alla Nazimova Plans for Her New Pictures” in Moving Picture World, 29 October 1921

“Nazimova Abandons Dual Program for Latest Film” in Exhibitors Herald, 24 December 1921

“Plays and Players”in Photoplay, February 1922

“PICTORIAL SECTION” in Exhibitors Herald, 4 February 1922

“New Nazimova Film May Be Roadshowed“ in Exhibitors Herald, 15 April 1922

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s ‘Salome’” in The Film Daily, 7 January 1923

“Claims “Salome” Hit New Mark at N. Y. Criterion” in Exhibitors Herald, 27 January 1923

“Salome” in Exhibitors Trade Review, 20 January 1923

“Nazimova in SALOME” in Exhibitors Herald, 27 January 1923

“Nazimova Appeals To Exhibitors In Behalf of ‘Salome’” in Exhibitor’s Trade Review, 27 January 1923

“Novelty Features Paper and Ads for ‘Salome’” in Exhibitor’s Trade Review, 10 February 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Lovers of Cinema: The First American Avant-Garde 1919-1945 ed. Jan-Christopher Horak (most notably, “The First American Avant-Garde 1919-1945” by Horak, “The Limits of Experimentation in Hollywood” by Kristin Thompson, and “Startling Angles: Amateur Film and the Early Avant-Garde” by Patricia R. Zimmermann)

United Artists: The Company Built by the Stars, Vol. 1 1919-1950 by Tino Balio

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SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth.  The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[jamiebamberdaily]

A Year in Review : Jamie's 2024

Welcome to our look back on Jamie’s 2024! It’s been another busy year for Jamie and so as we have been doing every year, it’s time to do our yearly review of Jamie’s 2024 career.

January started off strong with RAM Films’ Kenny Logan’s Rugby World Cup Documentary airing a shortened version over on BBC Breakfast. This month also saw him attend his first Comic Con of the year as he attended MegaCon at Excel in London.

The end of February gave us the official announcement of his involvement in The Wives which also started filming in the same month. Jamie was cast as Charlie Morgan, the widower of missing Sister-In-Law, Annabelle Morgan. He then took time out of filming at the beginning of March to attend York Comic Con, which we were lucky enough to attend.

As with every year, April saw him celebrate his 51st birthday! We also were given the announcement to the How Copy audio drama podcast. The Wives also wrapped filming in Malta.

The How Copy podcast was released the following month in May which Jamie guest starred in as Captain Brill. While June was the US release month of DI Ray and saw the announcement for July’s Metro Comic Con.

Jamie was a guest on the Game Of Life Podcast in July before he travelled over to Australia to attend Metro Comic Con.

August saw the trailer and release date announcement for Jamie’s movie, Strangers, that was filmed in Bulgaria in 2023. The same month also gave us the exciting news that he was returning to Beyond Paradise for series 3. Our page also celebrated it’s 6 year anniversary AND we got a first look at The Wives!

September was a busy month in terms of Jamie screen-time as it saw both the release of The Wives, airing over 2 weeks (and split into 3 episodes a week) and Strangers beginning it’s streaming on Paramount Plus, which also had him talking to Tony Toscano on his Talking Pictures podcast about the movie. At the end of September, Sky Sports + showed the full Rugby World Cup Challenge documentary, which we may, or may not be in.

October was the 1 year anniversary of the challenge itself and the UK FINALLY got DI Ray on ITV! October was an exciting times for Battlestar Galactica fans as many of the cast (including Michael Hogan who has been battling health issues since 2020) reunited in Illinois, Chicago for the 20th Anniversary convention.

Speaking of Battlestar Galactica, Jamie was a guest on Katee Sackhoff’s Podcast in November where they talked about things such as the BSG audition process, his decision to move his family from LA to Paris before returning to London and how he developed a love for Coffee on the set of BSG. Finally, also in November, Jamie attended a parlimentary reception at the House Of Commons hosted by PETA to pressure the government to phase out animal testing and experiments.

2025 already has us looking forward to Jamie's return as Archie Hughes in Beyond Paradise, which will likely air in the Spring and we cannot wait to see what else 2025 brings for Jamie!

As ever, we would like to thank you for all the support of our page over this past year and wish you all a very happy new year!

Jemma and Sophie. xx

[acheronist]

can you make sparknotes for the Red Wings players they are all the same person to me (sorry)

dw my darling i got you 🫡 here's the regular 23 man roster we've been skating this szn

forwards (+ this is going to be the number they wear on their jerseys, not their age)

jt compher (37) - won a cup whilst he was on the colorado avalanche (red wings long time beloathed nemesis rivals team), attended umich hockey with larkin and copp. deadpan dry asf tenderhearted weirdo. very good at hockey i like him

andrew copp (18) - 🎶get up and g-get down, 911 is a joke in your town🎶, local michigander boy playing for his hometown team, attended umich with compher and larkin, kind of fuck ugly but he's gritty and has a lot of love in his heart so we like him

alex debrincat (93) - another local michigander boy playing for his hometown team, really good at hockey, we rescued him from the ottawa senators (red wings short term/very recent beloathed nemesis rival team) and he likes it here more, haha lol lmao even. good at hockey!! kind of a sniper. also kind of fighty which is hilarious because he's about 9 inches shorter than the average nhl player. new dad and really loves it, brings his family to games all of the time. and he was our all star games representative this year !

robby fabbri (14) - how are you going to be a short italian-canadian kind of bisexual professional hockey player who mixes metals and has a standing eyebrow appointment. please pick a struggle. won the stanley cup w/ st louis and then got abandoned for being 'injury prone' and was sent to detroit in a 1 for 1 trade (the most humiliating of all nhl player trades imo). he and larkin and rasmussen are the only men left standing from the red wing's historic worst-ever season in 2019 where every game they looked like they were going to kill themselves.

christian fischer (36) - new bestie alert! huge locker room guy. okay at hockey (more of a playmaker than a goalscorer) but he's so fucking sillygoofy and funny i love to see this guy on my team. spent most of his career in arizona iirc, and basically he and gostisbehere came from the coyotes directly to the red wings as a buy one get one free deal.

patrick kane (88) - narcissict. arrogant. flop. old man who can't score anymore. history of assault and violent misdemeanors he never was punished for because he was the nhl's boytoy a decade ago. i hope he contracts sepsis from an unforeseen complication with his hip surgery and takes a long walk off of the rencen's roof and lands in the detroit river where he is frozen and then chopped up by an industrial ship's propeller. fuck this guy.

klim kostin (24) - beloved enforcer. used to skate for the edmonton oilers. his entire game is based around slotting in on the third/fourth line when necessary and whenever someone gets hurt he comes out swinging to establish the fact that the red wings are not to be fucked with. he doesn't start fights but he does finish them. notoriously big hearted and silly with his teammates. coincidentally wearing the same number as the red wings most famous enforcer from the 1980s, bob probert. my guard dog boy i love u

dylan larkin (71) - michigan native, umich grad, was the previous captain's rookie, the beating heart and soul of the team, carrying the weight of a century year old hockey team's legacy and all the ghosts that come along with that, never been to playoffs and hasn't won the cup yet. literally the miserable boyking of metro detroit. he's had to suffer a lot for absolutely no reason, but still manages to come and be our best and most important player every single night.

david perron (57) - he's old by nhl standards i.e. he's in his late thirties and has been playing for like a decade, so he knows his way around an nhl rink. french canadian enough that he's got an accent. big heart and soul guy, which i really wasn't expecting tbh! he's always standing up for teammates and has gotten in a few noteworthy fights (dylan got hurt so badly this szn that dp went rage-blind and ended up getting suspended for six games after fighting the opponents who hurt dylan)

michael rasmussen (27) - big fuck off scary intimidating canadian hockey lad. kind of awkward and bizarre. also kind of a doll if i can b honest. he's very shy and quiet in interviews but always has an insane serial killer look in his eyes whenever he's on the ice. was drafted high and then i suspect he had a lot of mental struggles about not being the player he was advertised/told to be? but the last few years he's stepped away from that role he thought he should be and started being himself and playing in a way that was obviously more comfortable, and he's taken huge huge productive strides and improved a lot. moose ily

lucas raymond (23) - our youngest babiest player!! he was our highest draft pick in a looooooooong time, and immediately went from prospect training camp -> regular nhl player, which is fucking crazy. he's exceptionally good at hockey, and has a reputation for coming in clutch with goals we need to win games. besties with moritz seider + jake walman + joe veleno.

daniel sprong (17) - i had no idea what to think of this guy at first but now i can't believe he's only been here for one season. it feels like he's been a wing for ages. he's one of our sniper goalscorers, except he shoots the puck with a lil too much sauce + with a feral desperation of a man afraid he was never going to score a goal again, every single time, which i love. also he stalks twitter and runs a team GC to forward memes that the fandom makes to the guys

joe veleno (90) - if bambi was a closeted italian canadian hockey player. wears an evil eye bracelet and also a crucifix? very meek and easy to bully, tbh, not our most productive goalscorer but also somehow he's very crucial to the emotional well being of the younger half of the roster? hes sillygoofy and a sweetheart and does his best every night which is all we can ask tbh. besties with lucas raymond + moritz seider + jake walman.

defensemen

ben chiarot (8) - resident manwhore dilf fashionista who knows he's sexy and loves to be a bitch on the ice. loves to be annoying and distracting @ the opponents during plays so the red wings can have space to move.

shayne gostisbehere (41) - escaped florida man turned into an nhler, sleeper agent defensive weapon that people tend to forget about. always busting his ass up and down the blue line. always looks sopping wet and really sad though? loves to shoot the puck and sometimes it even makes it to the net!

justin holl (3) - i'm hesistant to describe him as "good at hockey" but the boys seem to love him + he's silly enough to engage in the locker room antics + i've noticed him dealing out more hits lately which is always good.

olli maatta (2) - very very very steady in the most boring way possible. does his job and not an ounce more than necessary LOL but it's fine because he's good at what he does? a classic defensive defenseman.

jeff petry (46) - not… good? at hockey? but he is also a michigan native playing for the hometown team, and he's a veteran nhler, and he's a gritty sort of guy, so i like having him. he grew up in detroit proper, as well, because his dad played on the detroit tigers baseball team, so there's a lot of michigan sports lore going on in that household. also his kids are silly + love to come to games

moritz seider (53) - my sweet perfect darling defenseman prodigy. won the calder trophy because he was the most special and talented rookie in his first year in the nhl. breaking team records for defensemen at an alarming rate. was dylan's rookie, and is also frequently mentored by red wings defense legends. he's not a rookie anymore but you can still see how much responsibility he's shouldering and how much he takes after dylan's role modeled behavior/team legacy standards. good at handling tough responsibility vs staying silly anyways. hes my shining star and i luv him. generally he's paired up with jake walman on defense and they're a little bit married because of it. besties with lucas raymond + jake walman + joe veleno.

jake walman (96) - another guy who st louis abandoned and then ended up on the red wings and said "i want to spend my entire life and career in this city" . extremely silly. known for hitting the griddy whenever he scores important goals. big on video games + making tiktoks. tremendous locker room vibes guy, and very emotional and serious about proving his place on detroit's blue line. generally he's paired up with moritz seider on defense and they're a little bit married because of it. besties with moritz seider + lucas raymond + joe veleno.

goalies

ville husso (35) - looks like a haunted little porcelain doll. always sopping wet for some reason. very softspoken and european. mid-good level goalie, kind of needs to prove himself a bit now that alex lyon's gone completely off the shits and taken over starter goalie privileges, but i feel like there's no sense of animosity or competition between them? ville just strikes me as genuinely someone who's delighted and proud of his tandem partners for their successes, even if it comes at his expense / losing some of his chances to get ahead

james reimer (47) - idc about this man lol. he's either a very good goalie or an atrociously horrible goalie and you dont know what it'll be until the games already happening. passively homophobic christian behavior as well which i do not like to see. but he's also a veteran nhl player so in the beginning of the szn he was getting more opportunity than alex or ville.

alex lyon (34) - spent his entire career in the minor league/being traded between franchises where there wasn't really a space or need for him. got on the radar after keeping the florida panthers in their playoff race before losing, and then FL traded him to us. we've had goaltending agonies for years and then he's rolled up to detroit with something to fucking PROVE because he thought his hockey career was about to be over so he's skating every night like its do or die. after reimer and husso both were injured tho he finally got his chance to shine and oh baby he's been shining. unbelievably good at goaltending. big heart, very genuine, very funny, basically a male model as well, been to therapy and actually got something out of it, i would go to war for this man if he needed me to

[lazyrookiequeen]

I love Chenford fandom so much!

We're holding fingers crossed and making assumptions, what would be the best story for Tim and Lucy, and wishing our hopes come true, while the whole season six is already written and almost filmed. That makes me feel strange 😀

Anyway:

1) I love them together.

2) I don't like (not to say hate) the whole UC plot.

3) I'm patiently waiting for this UC story to end. Actually, I'm a little bit tired of chewing this problem from episode to episode (too much for me, just like Elijah Stone story).

4) I'd like to see something new about them - Tim's career in Metro, Lucy's shining in patrol (that was the reason I liked The rookie - not detective stories, but daily police routine), Tim meeting Lucy's family (oh, just try to confuse him with your attitude to police, Mrs Chen!), them helping to babysit Angela's and Nyla's babies, Tim helping James in his community center (oh, don't forget to bring your sarcasm with you, Timothy)...

P. S. If you like the UC plot - nothing personal 😀

[thepopcultureramble]

K.Dot Reigns Supreme

Alright, so let’s talk about the boogeyman.

Kendrick Lamar's responses were paramount to the 2024 rap feud that practically had the entire internet hitting replay on his Like That verse. This wasn’t just a typical rap beef; it became a statement on artistry, authenticity, and the distinct paths these two rap giants have taken in their careers. Here’s a breakdown of how this beef escalated into a full-blown saga and why Kendrick ended up with the final victory lap, Grammy nominations included.

Round 1: The “Like That” Shockwave

This all started when Kendrick appeared on Like That, a track on Future and Metro Boomin’s album We Don’t Trust You. Kendrick’s verse was classic, chest-out Kendrick, calling out the “pop” sensibilities of Drake and even taking a jab at J. Cole. He didn’t mince words, throwing lines that questioned Drake’s authenticity and his pursuit of superstardom over artistry. This set the internet on fire, with fans picking apart every line, speculating about Kendrick’s intentions, and unanimously agreeing he delivered one of the year’s hardest-hitting verses​

Drake’s First Response: “Push Ups”

Drake, never one to let a diss slide, fired back with Push Ups, which leaked online. The track was loud, catchy, and aimed directly at Kendrick’s commitment to “keeping it real.” But where Kendrick’s verse felt raw, Drake’s response, filled with energy but short on substance, felt like it was leaning too heavily on production. He even brought out AI-generated vocals of Tupac in a follow-up track, Taylor Made Freestyle, which drew backlash and left some questioning Drake’s creativity. AI Tupac was a bold, if somewhat desperate, move​

Kendrick Strikes Back: “6:16 in LA” and “Euphoria”

Kendrick returned fire with 6:16 in LA and Euphoria, each song dropping a fresh layer of introspection mixed with his signature critiques of modern hip-hop. On 6:16 in LA, Kendrick dug into the LA scene and his struggles, contrasting his life journey with Drake’s commercial path. In Euphoria, he softened the tone, showcasing his artistic side and reaffirming that for him, this was more than just a back-and-forth; it was a reminder that hip-hop at its core was art, not just business.

Drake’s response? Not as strong. While Taylor Made Freestyle created waves, it didn’t make the kind of impact Kendrick’s tracks did. By this point, fans were calling it: Kendrick wasn’t just competing—he was setting a new standard.

“Meet The Grahams” and “Not Like Us” – Kendrick’s Grand Finale

Kendrick released Meet The Grahams, directly addressing Drake’s family ties and hinting at the disconnect between public persona and personal reality. It was a move that hit hard, showing Kendrick wasn’t afraid to get personal but did so with finesse. Then, in Not Like Us, he laid down his final argument, emphasizing the differences in their artistry, where Kendrick’s work was meant to be dissected and remembered, and Drake’s, he argued, was made to be consumed and forgotten.

By the time Kendrick’s songs started getting Grammy buzz (and eventual nominations), while Drake’s responses got snubbed, it was clear: Kendrick had won. This wasn’t just about who had the best verse; it was about who captured the soul of hip-hop​

The Character Difference: Why Kendrick Came Out on Top

Let’s face it, Drake’s no stranger to beef—he’s clashed with Meek Mill, Pusha T, and others. But this feud with Kendrick brought something new: a contrast between two artists with radically different goals. Kendrick has always been about the craft, pushing boundaries lyrically and stylistically. Drake, while talented, has often pursued mainstream appeal and pop success.

Kendrick’s approach is what makes him “the people’s champ.” He doesn’t do interviews about his every move, doesn’t drop a new product every week—he lets his music speak. Drake, on the other hand, came across as more concerned with maintaining his status and putting out hits. Kendrick’s ability to stay above the noise and focus on his message ended up resonating more deeply.

Grammy Nominations: The Icing on the Cake

Today’s Grammy nominations solidified Kendrick’s win. Like That and Not Like Us both received nods, showcasing that even the industry recognized Kendrick’s mastery. Meanwhile, Drake’s tracks were nowhere to be seen, a signal that his AI-assisted attempts and rapid-fire releases didn’t connect as intended. Kendrick’s Grammy nods aren’t just about one-upping Drake—they’re a testament to his artistic approach that values longevity, impact, and a sense of purpose that outshines the temporary appeal of chart-topping hits​

Final Thoughts?

This beef, in all its layers, wasn’t just about who could out-rap whom. It was about what each artist stands for. Kendrick reminded us of the essence of hip-hop, the kind of artistry that transcends trends and accolades. While Drake’s contributions to music are undeniable, Kendrick’s journey through this beef proved why he’s the GOAT or at the very least, top three, not just as a rapper but as a true artist who doesn’t need validation to solidify his place.

This has been a ramble by,

The Pop Culture Ramble

[generativeaimasters]

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✨ Follow us for more job updates!

[vinaysalarite]

Jobs in Jaipur: Your Guide to Landing the Perfect Role

Jaipur is a city that offers a unique workplace offering diverse career opportunities. Job seekers from fresh graduates to experienced professionals will find many employment opportunities and Top industries hiring in Jaipur. This blog serves as your stepping stone toward finding your ideal career position together with practical tips to take advantage of Jaipur's employment market. Why Choose Jaipur for Your Career?Jaipur is a city which beautifully unites historical customs with contemporary development. Programming capabilities have developed Jaipur into one of India's key business districts. when multiple sectors including IT and manufacturing strengthened alongside healthcare and education services and tourism attractions grew popular. Organizations from startup-sized to multinational companies currently hire talent across multiple positions. Twelve years ago Jaipur established itself as the perfect destination to establish your career because of its developing urban structure and reasonably priced daily expenses alongside its dynamic way of life. Key Industries Offering Jobs in Jaipur

To help you explore the best career options, here are some of the key industries offering jobs in Jaipur:

1. Information Technology (IT) and Software Development

The information technology sector in Jaipur demonstrates substantial expansion during recent years. The IT firms including Salarite continue to recruit software developers, digital marketers and data analysts as part of their permanent workforce. You will find many opportunities for those with either technical expertise or technological interests in Jaipur.

2. Tourism and Hospitality

As one of India's leading tourism destinations Jaipur experiences constant growth in its hospitality and tourism sector. Hotel destinations along with travel agencies and event management services and customer support functions provide multiple employment opportunities. 3. Healthcare and Medical Services

New hospitals and clinics are driving rapid healthcare system growth in Jaipur. Multiple job openings exist for doctors along with nurses and administrative staff members. Tips to Land the Perfect Job in Jaipur

Here are some practical tips to help you secure the latest jobs in Jaipur: 1. Research the Job Market

Focus on industries and companies that match your skills and professional preferences. Platforms like Salarite provide access to diverse job opportunities in Jaipur, helping you explore various career options.

2. Build a Strong Resume

Your resume is your first impression. Ensure it is well-organized, highlights your achievements, and is tailored to the specific job you’re applying for.

3. Leverage Networking

To find employment, focus heavily on building connections. Reach out to professionals through LinkedIn and attend industry events. Let your network know you are exploring Jaipur job opportunities.

4. Prepare for Interviews Study common job interview questions and practice your answers. Highlight how your skills align with the job requirements to stand out to recruiters.

5. Use Online Job Portals Digital job portals like Salarite simplify your job search by providing filters for industry, location, and experience level. Explore their listings for the latest jobs in Jaipur.

6. Upskill Yourself

Learning new skills or earning certifications can enhance your profile and help you secure the right role, especially in competitive fields.

Why Choose Salarite? Job seekers in Jaipur should consider using Salarite, the city’s top employment website, which presents multiple positions across various business sectors. Salarite simplifies the job search process by maintaining up-to-date listings, helping you discover the best jobs in Jaipur.

Advantages of Working in Jaipur

Affordable Living: Jaipur offers a lower cost of living compared to metro cities, allowing you to save more and enjoy a high quality of life.

Work-Life Balance: The city’s relaxed pace and cultural vibrancy make it easy to balance work responsibilities with personal time.

Career Growth: With a growing economy and thriving industries, Jaipur provides ample opportunities for professional growth.

Conclusion

Finding employment in Jaipur is simpler than many anticipate. With the right strategies, tools, and platforms like Salarite, job seekers can explore diverse career options and achieve professional growth. From fresh graduates to experienced professionals, everyone can find Jaipur job opportunities in this dynamic city. Begin your job search today and take advantage of all the exciting possibilities Jaipur.

[sunshine-vx]

Across Space, Time and Dreams (ASTaD) (Ch. 23)

(Blankshippers DNI)

(Please refer to beginning of chapter 1 post for complete list of CWs/TWs)

(Extra notes: Yippiee, chapter 23, second chapter for the day! Once again, this chapter is about Ingo being reintroduced to his origin world, which I think is important. Again, I hope I could make it enjoyable for you all! Either way, it won't be like this for long. Thank you all so much!)

(This chapter's illustration done by @moonlightalpha666 !)

(Reblogs are appreciated!)

-

A few days had passed since Ingo had been reintroduced to his house, and his memories were slowly but surely returning to him. Some made him emotional, others made him laugh, and others simply gave him a sense of content.

Today, Ingo decided he wanted to go and reintroduce himself to arguably one of the most important places in his life of all- the Subway System!

Throughout Ingo's own life, and Emmet's, they both shared 3 major passions: Pokémon- especially battling- trains- especially metro- and helping themselves and others- especially with their goals!

Ingo knew this is why working in the Subway System was such a perfect career for the two of them- it was a mix of a place for both everyday transportation, and a location for amazing battles! This allowed them to help both people and Pokémon alike- including themselves- in multiple ways; helping folks have a safe ride to a new destination, battling to new limits, and sometimes a mix of both!

Ingo was full of energy and anticipation, ready to see the Subway System.

Emmet had issued for the Nimbasa Subway Station to not run overnight that day, so that he and Ingo could tour it by themselves, and for alternative forms of transportation to be provided to those who needed it. Thankfully, there were enough Depot Agents to carry out the job.

By now, the public had been altered of Ingo's return. There were clear signs they were antsy to see him, and Ingo had sent out a small message thanking everyone for their kindness. Ingo was more than glad to be a figure in people's lives, but he preferred that his memory situation be kept to a specific group of people. He did not want to lie to anyone, so he did not specify anything, but he also knew that if his situation got out, there would be a lot more pressure on him than there already was. 

All they needed to know was that he was back, and that he was recovering. Everything would be okay, and he would go on to continue to inspire those who looked up to him. 

Emmet, Ingo and Depot Agents Cloud and Jackie had alerted the other Depot Agents of the memory situation. They were stricken with shock, but understood. There needed to be some people who knew more so that the system could work efficiently while Ingo was still recovering. Thankfully, they also understood Ingo's concerns, and promised not to tell anyone. In the end, they were just glad to see Ingo again- even if there was a bit of heartache, they knew it would heal, and the reunion with the rest of Ingo's workplace family was wonderful.

This put Ingo at ease. With the planning complete and a bit of rest, he was ready to see the Subway!

This time, it was only the brothers who went. Drayden and Elesa would've loved to have gone, and Ingo and Emmet would've loved them to be there, but they had to prepare their own plans for later on.

Besides, as much as Elesa and Drayden were absolutely welcome to join Ingo and Emmet, the Battle System was definitely more of their own thing.

The twins strided towards one of the main entrances of the Subway System. Emmet had told Ingo he thought it would be a good idea to tour the non-battle area of the Subway System first, but of course, if Ingo wanted to do otherwise, Emmet was more than happy to oblige.

Ingo had thought about it, and he decided that Emmet's plan was probably more ideal. He didn't want to end up getting lost or overwhelmed- besides, as long as Ingo got to see everything soon enough, he didn't really mind at all what order they visited things in.

"Here we are!" Emmet announced, stopping in front of the entrance. Ingo stopped walking as well, scanning what was in front of him.

On their way to the entrance, Ingo had seen a few signs and other things that struck him as related to the Subway System. The building was definitely very big, and had a multitude of windows and a pair of large, glass doors. There were signs and decorations on the exterior of the building- Ingo even saw a couple of artistic renditions of him and Emmet!

Just like in his missing persons file and other things, Ingo noticed he looked somewhat different from how he looked now.

"That's us on those signs." Ingo commented.

"That it is!" Emmet replied.

Ingo looked at the glass doors again, and through them he could see the temporarily empty, yet complex and still lively interior of the building. He smiled.

"Let's go in!”

Ingo was amazed at the sight that enveloped his surroundings when he and Emmet entered the building. As expected, it was an extremely wide area, with many places to go. As the twins walked around the place, Ingo examined all the different types of things- ticket stands, signs, and most importantly- a train and its track!

Ingo remembered that this one specifically was for transporting passengers to other destinations. People and Pokémon alike came here for that service. 

As Ingo took in his surroundings, he experienced many emotions and thoughts.

"Wow!" Ingo exclaimed, blinking away a few tears, "It's so amazing! We'll be able to get on one, right?"

Emmet chuckled, "Indeed! But it will be just a bit later, if that is alright!"

Ingo really wanted to get onto the train, but he knew that it would be easier to just wait. He sighed, but let out a breathy laugh.

"Of course! What's next?"

After turning and going through a specific order of rooms and hallways, Emmet and Ingo entered a special area.

"Woah!" Ingo spoke. 

"This is the control room!" Emmet explained, "Or the central terminal- whichever you prefer."

Ingo marveled at the room they had just entered- it had no ceiling lights, but was lit up by the many screens decorating the walls- along with a counter in the middle that had a screen embedded in as the top. The screens along the walls seemed to reflect mostly other areas of the subway, while the countertop screen served as a digital map for the train system.

There were other counters along the screens that had many different types of controls- buttons, levers, sliders. As complex as all of this was, Ingo felt like he didn't really have to think all that hard to understand it- it came naturally, it seemed. 

"Do you recognize how all this works?" Emmet asked Ingo.

Ingo nodded, "I don't feel too confused. I think a bit of it may be a little far from me, but it will return soon enough."

Emmet smiled and nodded, "That is verrry good to hear, brother!"

Next, Emmet showed Ingo to the multitude of offices- it seemed theirs was largest and given the most importance, which made sense.

It looked quite similar to the home office Ingo and Emmet had inside their house, but more organized and professional. There were additional things such as lockers, which would be important for a job such as this.

Ingo sensed a warm feeling grow in him as he scanned more details of the room. He remembered that he and Emmet had many roles within this System, and that they loved doing it!

Afterwards, Emmet showed Ingo to the many storage closets scattered around the area. Inside was, as expected, supplies for the subway, along with the occasional retired scrap and lost personal belongings, and other things of the like.

Then, there was the break room- as its name suggested, it's where the staff would hang out during their break periods, usually lunch break. 

It had a calm vibe to it, which Ingo liked. There were some tables and a water dispenser, along with some other things. Ingo recalled this is often where he and Emmet would speak to the Depot Agents- they were all wonderful individuals. Ingo had wondered if the same staff were still here, and it seemed they were. 

After this, Emmet showed Ingo to arguably the best part of the subway- where all the trains were!

They entered the area, and as everything came into view, Ingo's eyes sparkled and a small smile spread on his face. It was a circular room with a multitude of tunnels carved into the walls, signs hanging from the side of each tunnel, detailing what purpose they served. 

"This is the main hub for the subway station!" Emmet commented.

Ingo jumped, "Bravo!! Don't the tunnels lead to where the trains are?"

"Yup! I will show you to the transportation trains first, and then the battle trains! How does that sound?"

Ingo nodded quickly, and Emmet began to lead Ingo down the tunnels.

Each tunnel led to a larger area, with stands where staff would stay and hand out tickets and such- and then, most importantly- the tracks, the platform, and the train! Ingo's excitement and happiness peaked, his passion for what he loved clearly never having eroded with his time in Hisui. 

Emmet and Ingo stood into the first train, and Ingo's eyes shined, his mouth gaping open ever-so-slightly at the sight, which made Emmet chuckle. 

Emmet led Ingo to the very front of the train first, and Ingo marveled at the contraptions present in front of the train- he felt like he knew these things very well. Probably because he did!

Ingo reached for the locomotive controls, but he was interrupted.

"Wait! Do not touch that, please." Ingo heard Emmet say.

Ingo turned towards Emmet, confused.

"Why not?"

Emmet winced as heard the disappointment in Ingo's voice, but he kept his smile. 

"You will be able to drive one of the trains, I promise!" Emmet explained, "I would love to go on as many rides with you on them as you would like, but if a train is used, it is protocol to check them thoroughly at the end of the day! I do not want to give ourselves or the other staff too much trouble, as much as I would be willing to go through that trouble for you!"

"Oh! Right." Ingo nodded, pulling his hands away from the controls.

“But!" Emmet added, "You can try out the other things!"

A smile spread across Ingo's face, and Emmet watched with glee as he saw Ingo try out everything he could- he honked the horn, he spoke through the PA system.

Ingo's eyes widened and his smile grew further with wonder as he heard the iconic ‘whooo-whoooooo’ of the train whistle. 

"Bravo!!" Ingo announced into the PA, giggling as he heard his voice echo throughout the train.

Ingo placed the PA back into its resting position, turning to Emmet, his eyes now softer. It really felt like this was something he loved doing, in his home world.

"I love it!" Ingo voiced. 

Emmet chuckled, "I am glad! Let us go take a look around the rest of the train!"

Ingo and Emmet strided through the train, Ingo looking around, his eyes having stars in them as he took everything in.

This wouldn't change upon going on the other trains. 

Emmet could tell Ingo was getting even more excited as they went to look at the battle trains, and that didn't seem out of character at all.

Most of the things were similar, but Ingo noticed the areas for the transportation compared to the battle trains, and the trains themselves, differed slightly from each other.

Then, Emmet stopped Ingo. Now, the only train they hadn't been into was the Multi Train.

"Okay! That is most of it! So what do you think of everything so far?" Emmet commented.

Ingo jumped, "What do I think? All I can say is super bravo!! Everything looks incredible!! But don't we have one last train to see..?"

"Yup- the Multi Train!" Emmet stated, "I saved that one for last, and you will see why! Follow me!"

Ingo only nodded, following Emmet with anticipation, excitement and curiosity.

As Emmet and Ingo walked onto one of the train platforms, Emmet announced, "Now! We can finally go on a ride on one of the trains! How about the Multi Battle Train?"

One of the biggest of Ingo unique smile's in a long time spread across his face. He somehow knew it was where he and Emmet spent a lot of time together, so it was the perfect decision! Ingo nodded eagerly. 

Emmet led Ingo to where the Multi Train rested. It looked pretty much the same as an average train, although there were small differences in design, including writing along the side that indicated its purpose. Emmet opened the train's door, and the brothers stepped inside.

Emmet waved Ingo to the front of the train, where the controls of the locomotive were.

"Here! Now you can mess with these! How about you try getting the train to start?" Emmet offered.

Ingo nodded, and scanned the control panel for a moment. He was a bit unsure, but almost as if it was instinctive, Ingo worked with the controls in a specific order, before the train rumbled to life, and began slowly moving down the tracks.

Ingo's eyes gleamed, and Emmet clapped his hands. "Amazing job, Ingo!"

Ingo laughed, the joy in him seemingly endless. He messed with a handful of the other controls, as long as he knew that it was ultimately harmless.

Emmet laughed, as well, happy to see his brother having a good time. After Ingo was done with the controls, the younger twin led the older twin through the rest of the train, Ingo glancing around. As with the other battle trains, Ingo noticed there were a couple of differences, but otherwise, it didn't look that different from the transportation trains. As Emmet motioned for Ingo to stop with him in one cart, it dawned on Ingo.

"Can't it transform?" Ingo conveyed.

"That is right!" Emmet responded, "Here, snap your fingers with me on three!"

Ingo felt a bit puzzled, but the suggestion felt correct. He positioned his hand.

"One...two...three!"

Snap!

The twins snapped their fingers right at the same time, and a quick moment after, Ingo watched in wonder as the interior of the train cart transformed from a regular-looking cart to a wide-open room, complete with patterns on the floor, showing the cart now served as a battlefield!

Ingo beamed, clapping his hands and giggling, feeling extremely nostalgic at the sight of the battle cart.

Then, Emmet began to speak, walking to the other side of the cart.

"Now, if you do not want to, that is absolutely fine, but I personally think it would be a bit incomplete to visit the Battle Subway without doing one thing..."

Ingo's eyes sparkled, and he smirked, "I think my brain is on the same track as yours, brother.."

The twins grabbed the brim of their hats and pointed at each other,

"Emmet!"

"Ingo!"

The brothers announced at the same time:

"I challenge you to a Pokémon battle!"

-

The train was at its fastest- all passengers could hear the wheels turning, feeling the all-too-familiar chugga chugga chugga chugga rhythm of the train shooting through the tunnel, bouncing on the tracks, the wind blowing. 

"Chandelure, use Shadow Ball one last time!" Ingo commanded.

"Eelektross, Thunder Bolt!" Emmet countered.

Chandelure formed a dark ball of energy and launched it at Eelektross as the other Ace Pokémon threw down a crack of lightning. Ingo swore he saw Chandelure and Eelektross move out of the way and evade the attacks- or did they? Would another turn be in order? All too soon, the powers collided, and a cloud of smoke enveloped the cart.

As the smoke cleared, Ingo lowered his arms from his face. He immediately snapped his eyes to the battlefield, scanning the scene.

Both Chandelure and Eelektross staggered to their respective sides of the field- before at the same time, Chandelure's bright, blazing flames regressed to ever-so-smaller and darker flames, it floating closer to the floor now. Eelektross lowered its head, the sparks it had been letting off residing, and using both its back fins and arms to hold itself up.

Neither Pokémon could battle further.

Ingo and Emmet locked eyes at the same time. They inhaled deeply, catching their breath. There was a moment of silence, the brothers only being able to guess what the other was thinking.

Then, one of those unique smiles spread across the older twin. Emmet's smaller smile grew as he watched his brother begin to laugh. It started out as a chuckle, then a louder snickering, before he was full-out bursting into laughter.

Emmet blinked, a bit confused, although Ingo's laugh was contagious, as he started laughing some, too. Ingo was laughing so much, tears began to run down his face. 

Then, Emmet jumped as he watched Ingo's joyful laughter transform into sniffling, his wide grin and loud laughter turning into a unstable smile and hushed snickering.

Chandelure, worried, hovered over to Ingo, Emmet doing the same as he darted over the battlefield, Eelektross following with its quick crawling. 

Emmet's smile had turned into a small, worried twinkle, as he stood in front of Ingo, placing his hands on his brother's shoulder.

"Ingo, what is wrong?" 

Ingo let out another chuckle as a slower, less intense stream of tears fell down his face, and he simply stated

"We often did tie, didn't we? Almost every time.."

Emmet was taken aback, his mouth hanging open slightly, but then he beamed, and tears pricked at his eyes, as well. Now, Emmet let out his own soft laugh.

"We even tied at the Champions League."

There was a moment of quiet, but it wasn't uncomfortable. Then, Ingo spoke, "I know maybe it sounds silly, but...I think that was...important. A perfect parallel. Even if I can't remember the details I feel...more complete. I feel as if..my soul has been brought to a stronger state of content."

Ingo's smile turned bittersweet, and another line of tears fell down his face,

"There's so much more to know, to explore, but...this feels like it was one of the more..notable missing pieces. A key. Symbolic of...so much."

Then, Ingo reached his arms outwards, inviting his younger brother into a hug, Emmet gladly accepting the offer, the twins embracing. Ingo waved Chandelure and Eelektross to join them, and the two aces were more than happy to do so. Chandelure hovered closer to Ingo, but didn't hesitate to enfold both trainers in its appendages, while Eelektross, closer to Emmet, wrapped both twins in its body.

"Thank you so much, Emmet. Chandelure. Eelektross."

Now, tears rolled down Emmet's face, too, but he was happy as could be.

"No, thank you, Ingo. And..that is not silly. Not at all."

Chandelure made a series of whistle-esc and clunking sounds, Eelektross letting out a few gurgling and spark-esc noises, both assuring Ingo they were just as grateful, and that there was no reason to feel silly.

This had represented one of Ingo's greatest passions and parts of his life, after all.

After their heart-to-heart, Ingo and Emmet made sure to heal up their Pokémon, thanking and congratulating them for their performance, before returning them to their Pokéballs.

Ingo and Emmet returned to the locomotive, and Ingo watched curiously as Emmet inputted a few commands into the control panel.

"I wanted to show you something, but we will have to wait just a little bit."

"Well, I can't wait to see whatever it is!" 

After a bit of time, Ingo saw as the train rose to tracks above the ground.

"These are the outlying tracks. We do not come here often, but we still technically have authority over it." Emmet explained.

Ingo felt a wave of emotion wash over him as he took in the beautiful view. He had seen and reunited with many important things in his life today, and even though he couldn't remember everything now, he was excited and happy to know he was and would be regaining his memories and reclaiming his life.

Emmet was happy, too, although they didn't have to speak to know that.

"The train will be rounding back to its beginning position soon." Emmet stated, "We still have a few things to do. For now, though, we can just rest for a bit."

Ingo nodded. He and Emmet made their way to the first cart after the locomotive, sitting down next to each other on one of the lines of seats. They spoke for a while- Ingo talked about how he thought they must've worked really hard, and that he was very glad to be able to be rediscovering everything. Emmet replied with his usual blunt yet comforting and helpful remarks, letting Ingo know about what he should know, and the answers he asked for. 

Soon, the brothers felt the train come to a stop. They stood up, Emmet showing Ingo the safety procedures the younger brother had mentioned earlier before leaving the train to its own. Ingo felt familiar with it, and helped perform the procedure almost as if he had never forgotten.

Afterwards, Emmet continued to tour Ingo- just a few more things, and if Ingo wanted to do something of his own suggestion, they would!

As they walked, Ingo felt a feeling of warmth, of resolve, of stability and comfort within himself. Tears pricked at his eyes, and he wiped them away, although a few more broke through. Emmet saw, and before he could ask, Ingo smiled.

"I'm just so happy to be here again." Ingo explained, "This place, everything in it...it's my passion. A huge part of my life....I'm glad to be able to be with it, and see it again. And I'm so grateful you were here with me. Thank you, Emmet."

Emmet's eyes softened, and his small, worried smile turned into a happy grin. 

"Of course, Ingo! Thank you for coming here."

-

Chapter 22

Chapter 24 (Work In Progress!)

[fibula-rasa]

Cosplay the Classics: Nazimova in Salomé (1922)—Part 1

My cosplay of Nazimova as Salomé

The Importance of Being Peter: Nazimova’s Take on Wilde

With over two decades of professional acting experience behind her (six on the “shadow stage” of silent cinema), Alla Nazimova went independent. She was one of the highest paid stars in Hollywood at the start of 1922 when her contract with Metro ended. Almost exclusively using her own savings, Nazimova founded a new production company and immediately got to work on two films that reflected both a deep understanding of her own fan base and a faith in the American filmgoer’s appreciation for art.

Discourse around these films and their productions that have emerged in the century since their release are often peppered with over-simplifications or a lack of perspective. Focus is understandably placed on Salomé, as her first project, A Doll’s House (1922), has not survived. In part one of this series, I plan to contextualize Nazimova’s decision to commit Wilde’s drama to celluloid and examine the details of the adaptation. Then, in part two, I will cover how Salomé (and A Doll’s House) fits into the industry trends and the emergent studio system in the early 1920s.

While the full essay and more photos are available below the jump, you may find it easier to read (formatting-wise) on the wordpress site. Either way, I hope you enjoy the read!

Wilde’s Salomé: The Basics

Salomé was a one-act drama written by Oscar Wilde. In a creative challenge to himself, Salomé was one of Wilde’s first plays and he chose to write in French, which he did not have as complete a mastery of as of English. Wilde was directly inspired by the Flaubert story “Herodias,” which was, in turn, inspired by the short story which appears twice in the New Testament. The play was later translated into English and published with illustrations by artist Aubrey Beardsley. Wilde’s play was the basis of the opera of the same name by Richard Strauss. While both the opera and the play had been staged numerous times across Europe and in New York before Nazimova’s adaptation, Strauss’ opera was the main reference point for the story in the popular imagination of the time. The success of Strauss’ opera led to the popularization of the Dance of the Seven Veils and the accepted interpretation of the character as a classic femme fatale.

My cosplay of Nazimova as Salomé

Nazimova’s Salomé: The Basics

When Nazimova announced her production of Salomé, she did so assured that she and Natacha Rambova, her art director, had a unique and creatively compelling interpretation of the story to warrant adaptation. Nazimova was not only the star and producer of Salomé, she adapted it from its source herself under her pen name Peter M. Winters. (Cheekily, contemporary interviews and profiles joke that “Peter” is one of her common nicknames.) Charles Bryant, credited as director, was as much the director of the film as he was Nazimova’s husband, which is to say, he is not known to have contributed much at all. It’s now accepted fact that Bryant acted as a professional beard (Bryant and Nazimova were also never legally married). The choice to credit Bryant was to offset the heat Nazimova was getting in the press at the time for “taking on too much.” Having Bryant’s name in the credits was a protective measure. Charles Van Enger was a talented, up-and-coming cinematographer who had been recommended to Nazimova following the inadequate cinematography of her Metro films.

Rambova was in charge of the art direction, set designs, costumes, and makeup. Nazimova and Rambova had become close artistic collaborators after Nazimova hired Rambova to design the fantasy sequence for her film Billions (1920, presumed lost). [You can learn more about Rambova’s career here.] Both women valued their work above all else. Both were convinced that film could be art. Both had the gumption to believe that they could make a lasting mark on cinema’s recognition as a legitimate medium of artistic expression.* (Spoiler: even though Salomé was not an unqualified box-office success, they were right.)

Photo of the Salomé crew from Exhibitors Herald, 29 April 1922. Original caption: Nazimova ordered this picture taken that she might be reminded of the real pleasure encountered in every stage of the production of “Salome.” Top, left to right: Monroe Bennett, laboratory; Charles Bryant, director; Mildred Early, secretary; John DePalma, assistant director. Second row: Sam Zimbalist, cutter; Natacha Rambova, art director; Charles J. Van Enger, cameraman; the star; R. W. McFarland, manager. Front row: Neal Jack, electrician; Paul Ivano, cameraman; Lewis Wilson, cameraman.

Nazimova’s independence was at least partly spurred on by feeling creatively bereft from her work at Metro. In a 1926 interview with Adela Rogers St. Johns, Nazimova said:

“You asked me why I made ‘Salome.’ Well—’Salome’ was a purgative. […] It seems impossible now that I should ever have been asked to play such parts as ‘The Heart of a Child’ and ‘Billions.’ But I was. And instead of saying, ‘No. I will not play such trash. I will not play roles so wholely [sic] unsuited to me in every way,’ I went on and played them because of my contract, and they ruined me. “WORSE than that, they [made] me sick with myself. So I did ‘Salome’ as a purgative. I wanted something so different, so fanciful, so artistic, that it would take the taste out of my mouth. ‘Salome’ was my protest against cheap realism. Maybe it was a mistake. But—I had to do it. It was not a mistake for me, myself.”

Given that Nazimova now had full creative freedom, outside of the confines of the Hollywood film factory, why were A Doll’s House and Salomé the first works she gravitated towards?

Initially, Nazimova had conceived of a “repertoire” concept for her productions: one shorter production (A Doll’s House) and one feature-length production (Salomé), which could be distributed and exhibited together. Once production was underway for ADH, Nazimova instead chose to make it a feature. The reasons for this decision that I found in contemporary sources are purely creative, but I don’t think it’s too much of a presumption that this may have been a financial choice, as profits from ADH (which unfortunately wouldn’t materialize—more on that in part two!) could have been cycled into Salomé’s production.

Ibsen was not popular source material for the silent screen, but Nazimova’s name and career was forever tied to the playwright as she is considered the actress who brought Ibsen to the US. (Minnie Maddern Fiske starred in a production of Hedda Gabbler in the US before Nazimova, however it failed to raise the profile of the writer.) Nazimova’s stage productions of Ibsen’s work proved that there was an audience for it in the US—both in New York and on tour. Superficially, ADH might seem like a risky proposition, but Nazimova had good reason to believe it had both artistic and box office potential. (Again, I’ll delve into why it might not have found its audience in part two.)

Nazimova as Nora in A Doll’s House

Though ADH is now lost, we know from surviving materials that Nazimova understood that by 1922 The New Woman archetype was already becoming passé to the post-war/post-pandemic generation of young women. Nazimova endeavored to translate the play in a way that would resonate with 1920s American womanhood. (How well she succeeded is lost to time unless we are lucky enough to recover a copy of the film.) Likewise, Nazimova approached her adaptation of Salomé with a keen eye for the concerns of modern independent women.

——— ——— ———

*Incidentally, both women also had a personal connection to Wilde. Nazimova was a close friend and colleague of Elizabeth Marbury, who worked as Wilde’s agent. Rambova spent summers at her aunt’s (Elsie de Wolfe) villa in France where she lived with her longtime partner, Marbury.

My cosplay of Nazimova as Salomé

The Adolescence of Salome

In the decade following the end of the First World War, there was a great cultural shift for women in America, who experienced and pursued greater independence in society—particularly young and/or unmarried women. This quality was emblematized in the Flappers and the Jazz Babies, but even women who didn’t participate in these subcultures lived lifestyles removed from “home and family” ideals of the past. The lifestyle change was mirrored aesthetically. As Frederick Lewis Allen describes in Only Yesterday: An Informal History of the 1920s:

“These changes in fashion—the short skirt, the boyish form, the straight, long-waisted dresses, the frank use of paint—were signs of a real change in the American feminine ideal (as well, perhaps, as in men’s idea of what was the feminine ideal). […] the quest of slenderness, the flattening of the breasts, the vogue of short skirts (even when short skirts still suggested the appearance of a little girl), the juvenile effect of the long waist,—all were signs that, consciously or unconsciously, the women of this decade worshiped not merely youth, but unripened youth […] Youth was their pattern, but not youthful innocence: the adolescent whom they imitated was a hard-boiled adolescent, who thought not in terms of romantic love, but in terms of sex, and who made herself desirable not by that sly art that conceals art, but frankly and openly.”*

Allen’s summary of youthful womanhood in the 1920s resounds so clearly in the character design and performance of Nazimova’s Salomé, it’s apparent that she and Rambova were thoroughly informed by contemporary trends around young/independent women. Belén Ruiz Garrido puts it succinctly in her great essay on the film “Besare tu boca, Iokanaan. Arte y experiencia cinematografica en Salomé de Alla Nazimova:”

“Las concomitancias con la flapper o la it girl de los felices años veinte son evidentes. Se muestra mimosa, pero su seducción es como un juego de niña. / The similarities with the flapper or the it girl of the roaring twenties are obvious. She performs affection, but her seduction is like child’s play.” (translation mine)

Nazimova was also fully conscious that her fanbase was predominantly female and that she held significant appeal for younger women. From the moment she signed her first American theatrical contract with Lee Shubert, Nazimova’s status as a queer idol was already being established.

“The women… were enthusiastic about [Nazimova]… [At the hotel, the] ladies’ entrance was always crowded with women waiting for her to return from the theatre. It is much better that she should be exclusive and meet no one if possible. They regard her as a mystery. And there are other damned good reasons besides this one.”  – citation: A. H. Canby to Lee Shubert, December 29, 1908**

While women, particularly middle-class women, were emerging as a prominent consumer group in the US, Nazimova’s popularity peaked on stage and on screen. Arriving in Hollywood, Nazimova also continued her trend of surrounding herself socially and professionally with other queer women. Profiles and interviews of Nazimova in the Hollywood press often contained coded language about her queerness as a wink and nudge, usually but not always accompanied by mention of her “husband” Charles Bryant.

This well-developed understanding of her primary fanbase led her to break from popular presentations of the character as an embodiment of monstrous feminine sensuality. Instead, Nazimova chose to present the character as an adolescent. While Nazimova was the first to put this read on the character on film, Marcella Craft chose an adolescent interpretation in a production Strauss’ opera in Munich and Hedwig Reicher was a teenager when she assayed the role and played it accordingly (also in Germany). (Maybe not insignificantly, Reicher was also working in Hollywood at the time of Salomé’s production.)***

This is the American pop culture landscape we’re talking about here, so of course women’s independence was rapidly codified for capitalization. Young women were moralized at for not conforming to traditional gender roles while simultaneously being framed as sexually desirable in order to sell consumer goods (including motion pictures!). The American way. It’s hard to not see social commentary in Nazimova’s reworking of this icon of wanton femininity for a new generation.

This isn’t to suggest that Nazimova’s Salomé glorifies the character, but rather that making Salomé a teen adds layers of complexity to the production. Considering it in conversation with her predecessors, Salomé isn’t even named in the New Testament stories. Flaubert built out the character with 19th century concerns in mind (though his story is more about Herod & Herodias) and Wilde shifted even more focus to Salomé. Nazimova continued that trend with her version of Salomé—an impetuous child too young and ill-equipped to constructively deal with the horrible environment she was brought up in. (Might that resonate with a generation of young people disillusioned by a World War and a pandemic?)

As Nazimova/Peter wrote in the opening intertitles to the film:

“It is at this point that the drama opens, revealing Salome who yet remains an uncontaminated blossom in a wilderness of evil.

“Though still innocent, Salome is a true daughter of her day, heiress to its passions and its cruelties. She kills the thing she loves; she loves the thing she kills, yet in her soul there shines the glimmer of the Light and she sets forth gladly into the Unknown to solve the puzzle of her own words——”

My cosplay of Nazimova as Salomé

As Salomé was an experiment in pantomime for screen acting, it’s worthwhile to look at how Nazimova embodies this image of youth in her performance. In the first scenes, Salomé’s facial expressions are pouty and her movements like a bored child’s. Her wig emphasizes every movement she makes with a flurry of pearls and creates a neotenous silhouette for the character. When denied access to Jokanaan, her facial expressions are imperious, but the imperiousness of a spoiled child. She swings on the bars imprisoning Jokanaan as if they are a jungle gym. As she “charms” Narraboth, her expressions and body language shift toward a scheming energy with barely concealed artifice, displaying a distinct lack of sophistication—like she’s trying to angle a second serving of ice cream not exacting a favor of a servant that could cost his life.

Perhaps most crucially, Salomé’s adolescence emphasizes the inappropriateness of men’s gaze upon her. Wilde’s drama is built around rhythmic repetition in the dialogue—a key repetition being the act of looking. Though the play is only one act, some form of “regarder” in relation to Salomé is repeated nineteen times—most often in some form of “don’t look at her” or “you shouldn’t look at her that way.” As Salomé is a silent film, to repeat this in intertitles nineteen times in intertitles would be absurd. Throughout the film, frequent close ups are strategically employed to visually recreate the rhythmic emphasis on gazing. (The purpose of this device seems to have been lost on one reviewer for Exhibitors Herald who said in his review: ”too many close ups.”) Additionally, the motif is foregrounded by front-loading the mentions of looking. As soon as the opening narration ends, we’re introduced to Herod behaving lecherously toward Salomé and Herodias telling him not to look at her. The perversity of Herod is amplified here because Salomé is not only his niece and his step-daughter, but also a child. This scene is followed by Narraboth and the page having a similar interaction, albeit with a different tone.

As Nazimova put it herself in a profile in Close-Up magazine:

“The men about her are obnoxious; they cannot even look upon her decently. She loathes them all. Even the Syrian [Narraboth] whose approach is of all the most respectful and decorous, is of his times and his love is tempered with the alloy of lust.”

In the film, Salomé’s rage against Herod is justified, and her rage against Jokanaan is a raw confusion of emotions—she doesn’t have the capacity to act constructively. When the first unfortunate man commits suicide over her, she barely takes notice, establishing Salome’s blasé attitude toward death. When the second man takes his life this time directly in front of her, Salomé only notices after almost tripping on his body. Her response is giving the body an annoyed kick for tripping her! The key phrase of the drama is “The mystery of love is greater than the mystery of death.” Salomé is surrounded by death, enveloped by it, but love (of any kind) is unknown to her until Jokanaan. So, when her love of Jokanaan is rebuked, she reverts to the only response that has been nurtured into her: death.

Nazimova’s Salomé is a perfect surviving example of a quality of her acting described in an uncredited review of Nazimova’s theatrical work:

“If the actress you’re seeing knows what she’s saying but you don’t, it’s Mrs. [Minnie Maddern] Fiske. But if the actress doesn’t know what she is saying and you do, it’s Alla Nazimova.”****

We as viewers understand what Salomé is going through, but she is being psychologically buffeted by fate and circumstance without ever comprehending the nature of it. The tumultuous feelings brought on by Salomé’s first brush with the spiritual (rather than the sexual), launches her into an accelerated ripening of her cruelty. This is masterfully communicated by Nazimova through facial expression and body language and accentuated by Rambova’s costuming.

As Herman Weinberg put it in his essay “The Function of the Actor:”

“The true film crystalizes action for us. ‘To see eternity in a grain of sand,’ the poet said. ‘To see a life cycle in an hour and a half’ is the modern screen parallel.”

Because of the emotional scale of Nazimova’s performance in Salomé, it has been variously described as “bizarre” or “grotesque”—though not always said derogatorily. That’s on point, as Nazimova’s performance is only one expression of her protest against realism in the film.

——— ——— ———

*If you’re interested in the 1920s at all, I highly recommend Allen’s book. The section this quote is from has a detailed survey of changes in American women’s lifestyles throughout the 1920s.

**as quoted in “Alla Nazimova: ‘The Witch of Makeup’” by Robert A. Schanke

***Gavin Lambert’s biography of Nazimova intimates that she referenced the 1917 Tairov production of Wilde’s Salomé, which she reportedly had a detailed description of. Reading about the production for myself in Mark Slonim’s Russian Theatre: from the Empire to the Soviets, I’m not sure what precisely she would have drawn from this production. It doesn’t seem to have much in common with the ‘22 film at all. That said, in a 1923 interview with Malcolm H. Oettinger in Picture-Play Magazine, Nazimova admits that in preparing for the film, she compiled a large scrapbook of previous productions and artistic interpretations of the story and character. Unfortunately, though Lambert clearly did voluminous research for his biography, his presentation and interpretation leaves a lot to be desired. Most of the things I tried to verify or try to find more information on from the book proved to be misrepresentations or were factually incorrect. So, I’m avoiding quoting Lambert without verification, unless what I’m citing is directly taken from a primary source; like a quote from Nazimova’s correspondence.

****quotation is from an uncredited clipping held by the Nazimova archive in Columbus, Georgia as quoted in Gavin Lambert’s biography

Illustration of Nazimova as Salomé by F. Corral from The Story World, March 1923

Nazimova and Rambova’s Modernist Phantasy

The assurance that Rambova and Nazimova felt that they had something new to bring to Salomé was obviously not solely founded in a character interpretation updated for the screen and for the decade. The two crafted a singular work born of pastiche in a manner that genuinely had not been done before in the American film industry. It’s often repeated that Salomé is America’s first art film. This may have its origin in promotional materials* made for the initial release of the film. Before the film’s official release, Bryant, Nazimova, and Paul Ivano (assistant camera & Nazimova’s on-again-off-again lover) arranged preview screenings and a few reviews from those screenings mention in some form that Salomé was a direct retort to the notion that art cannot be made with a camera.

What constituted the Nazimova/Rambova strategy to elevate film to the status of art? Both women had around six years of experience working in film (twelve collectively), but both came from a live performance background—theatrical acting and ballet respectively. Salomé is a film based on a stage play (though not strictly based on any one production of that play). Salomé inherits its symbology (first and foremost the moon) from its source material, but the filmmakers found creative ways of communicating and remixing symbols for the camera. The art design is inspired by Aubrey Beardsley’s illustrations for a printed edition of the play, though Rambova pulled more broadly from art-nouveau to devise designs that are in no way unoriginal.

As for the much discussed Dance of the Seven Veils, in my opinion, Nazimova’s execution is inspired by the dance described in Flaubert’s “Herodias” rather than a previous live performance.

“Again the dancer paused; then, like a flash, she threw herself upon the palms of her hands, while her feet rose straight up into the air. In this bizarre pose she moved about upon the floor like a gigantic beetle; then stood motionless.

“The nape of her neck formed a right angle with her vertebrae. The full silken skirts of pale hues that enveloped her limbs when she stood erect, now fell to her shoulders and surrounded her face like a rainbow. Her lips were tinted a deep crimson, her arched eyebrows were black as jet, her glowing eyes had an almost terrible radiance; and the tiny drops of perspiration on her forehead looked like dew upon white marble.”

Clearly, I’m not implying that what’s described above is exactly what we see on screen. My thought instead is that Nazimova may have drawn inspiration for the dance to be provocative in an uncanny way instead of provocative in a conventionally sensuous way. What we do see on screen is a distinct lack of practiced sensuality and an element of menace. The former comes both from Salomé’s youthfulness and from the logic that, as Salomé has already gotten Herod to give her his word in front of dignitaries, there’s no need for seduction. The latter is brought on by the expression of Salomé’s fractured emotional state and feelings about Herod. In execution, the use of close-ups again serves a major purpose. Intercutting close-up reactions from those gathered at the court provides a crescendo to the motif of looking, which is then pivotally reversed in the kiss scene. Cutting to close-ups of Salomé’s face accents the ecstatic and maniacal quality of the dance. Together this variation of shots creates an effect that could only work on film.

Salomé has a significant appreciation for its non-cinematic antecedents, but filtered through the prism of Nazimova’s and Rambova’s own creative strengths and sensibilities—a melding of theater and graphic art into something not only fresh but also totally cinematic.

It speaks to their filmmaking skill that all of these ideas and influences do in fact come together as a cohesive yet wholly unconventional film. Some critics of Salomé (both contemporary and modern) will cite vague notions of theatricality, or state that the film is only a series of tableaux, or that the limited sets don’t depart enough from a stage presentation. Art is in the eye of the beholder, but I think whether those specific elements preclude Salomé from being cinematic is a matter of perspective.

The oversized, stylized nature of Salomé’ssets might at first register as theatrical, but those same sets also serve to amp up the anti-real nature of the film. It’s uncharitable to Rambova to suggest that this artificiality was not a conscious artistic decision. If you have seen the sequences she designed with Mitchell Leisen for De Mille’s Forbidden Fruit (1921) then you have seen her demonstrated understanding of how designs register on camera. The gorgeously executed lighting effects in Salomé that are employed to to sublimate tone shifts could feasibly be recreated in a theatrical setting, here, filtered through the camera of Van Enger, register as thoroughly cinematic.

To once again quote “The Function of the Actor” by Weinberg:

“In nine movies out of ten (most particularly those emanating from the film factories of Hollywood), the actors stand around and talk to each other, relieved only by periodic bursts of someone going in or out of a doorway. (Sixty percent of the action in the average Hollywood movie consists of people going in and out of doors.) […] 

“The actor going through a doorway may be a necessary device on the stage, to get him on and off. But Pudovkin has made a neat distinction between the realities of stage and screen: ‘The film assembles the elements of reality to build from them a new reality proper to itself; and the laws of time and space that, in sets and footage of the stage are fixed and fast, are in the film entirely altered.’ On the stage, that is, an event seems to occur in the same length of time it would occupy in life. On the screen, however, the camera records only the significant parts of the event, and so the filmic time is shorter than the real time of the event.”

Weinberg cites Pudovkin in an amusing but illustrative way here. People may throw “overly theatrical” or “stagey” casually, but more often than not the distinction between theatrical/cinematic comes down to how space and time is traversed. Even if the base material, a narrative drama for example, is shared between stage and screen, there should be a thoughtful construction of geography and chronology. Could Salomé have played more creatively with space? Perhaps. But, for a film made in early 1922, its creative geography isn’t all that uninventive. The majority of the action in Salomé takes place exclusively on one set, so it does rely a lot on the types of comings and goings that Weinberg identifies with theatre. That said, there are some comings and goings that forcefully pull the audience away from the feeling of stagey-ness. The most consequential occurs in the scene with the first suicide, which I previously mentioned in the context of developing Salomé‘s character and environment. The man runs to the ledge of the courtyard, beholds the moon, and leaps. Cut to a wide, back-lit shot of the figure plunging to nowhere, establishing that the city above the clouds depicted in the art titles and opening credits is the actual physical location that film is taking place in. It’s a genuinely startling moment in the film and Salomé’s most evocative use of creative geography.

The majority of legitimate critical appraisal at the time of Salomé’s release recognize it as an achievement in film art, even highlighting artsiness as a potential selling point. As art cinemas started popping up in the US, Salomé stayed in circulation. Appreciation grew. Legends emerged around its production. And, now one hundred years later, it’s safe to say that Salomé has earned and kept its place as a fixture of the history of film art. As we are lucky enough to have the complete film to watch, assess, reassess, and debate its qualities as a work of cinematic art, I’m positive that conversation on Salomé will continue. 

So, if Salomé was appreciated in its time, why did it ruin and bankrupt Nazimova? What was going on in the American film industry at the time? Find out in part two!

“If we have made something fine, something lasting, it is enough. The commercial end of it does not interest me at all. I hate it. This I do know: we must live, and I must live well. I have suffered—enough. Never again shall I suffer. But most of all am I concerned in creating something that will lift us all above this petty level of earthly things. My work is my god. I want to build what I know is fine, what I feel calling for expression. I must be true to my ideals—” — Nazimova on Salomé quoted in “The Complete Artiste” by Malcolm Oettinger

——— ——— ———

*As of the time of writing, I haven’t been able to track down a complete copy for the campaign book for the film, so I’m relying on fragments, quotes, and second-hand references to its content.

——— ——— ———

Read Part Two Here

——— ——— ———

☕Appreciate my work? Buy me a coffee! ☕

——— ——— ———

Bibliography/Further Reading

(This isn’t an exhaustive list, but covers what’s most relevant to the essay above!)

Salomé by Oscar Wilde [French/English]

“Herodias” by Gustave Flaubert [English]

Cosplay the Classics: Natacha Rambova

Lost, but Not Forgotten: A Doll’s House (1922)

“Temperament? Certainly, says Nazimova” by Adela Rogers St. Johns in Photoplay, October 1926

“Newspaper Opinions” in The Film Daily, 3 January 1923

“Splendid Production Values But No Kick in Nazimova’s “Salome” in The Film Daily, 7 January 1923

“SALOME” in The Story World, March 1923

“SALOME’ —Class AA” from Screen Opinions, 15 February 1923

“The Complete Artiste” by Malcolm H. Oettinger in Picture-Play Magazine, April 1923

“Famous Salomes” by Willard H. Wright in Motion Picture Classic, October 1922

“Nazimova’s ‘Salome’” by Walter Anthony in Closeup, 5 January 1923

“Alla Nazimova: ‘The Witch of Makeup’” by Robert A. Schanke in Passing Performances: Queer Readings of Leading Players in American Theater History

“Besare tu boca, Iokanaan. Arte y experiencia cinematografica en Salome de Alla Nazimova” by Belén Ruiz Garrido (Wish I had read this at the beginning of my research and writing instead of near the end as it touches upon a few of the same points as my essay! Highly recommended!)

“The Function of the Actor” by Herman Weinberg

“‘Out Salomeing Salome’: Dance, The New Woman, and Fan Magazine Orientalism” by Gaylyn Studlar in Visions of the East: Orientalism in Film

Nazimova: A Biography by Gavin Lambert (Note: I do not recommend this without caveat even though it’s the only monograph biography of Nazimova. Lambert did a commendable amount of research but his presentation of that research is ruined by misrepresentations, factual errors, and a general tendency to make unfounded assumptions about Nazimova’s motivations and personal feelings.)

Only Yesterday: An Informal History of the 1920s by Frederick Lewis Allen

Russian Theatre: from the Empire to the Soviets by Mark Slonim

[spacetimewithstuartgary]

New SpaceTime out Friday

SpaceTime 20241220 Series 27 Episode 153

The possible strange origins of some Martian minerals

A new study has found that some minerals seen on Mars today may have formed in liquid carbon dioxide rather than liquid water.

Arnhem Space Centre scrapped

It was meant to herald in a bright new era for the Northern Territory but on going problems with some of the traditional owners has forced Equatorial Launch Australia to shut down the Arnhem Space Centre near Nhulunbuy and relocate to Queensland.

Discovery of the heaviest antimatter particle ever detected

Scientists have found evidence for what appears to be the most massive antimatter particle ever detected.

The Science Report

A high exposure to pesticides may come with an increased risk of some cancers.

Australian and New Zealand species are among the most vulnerable to extinction due to climate change.

Around 1 in 5 people under the age of 50 now have genital herpes.

Skeptics guide to Tucker Carlson’s encounter with a Demon.

SpaceTime covers the latest news in astronomy & space sciences.

The show is available every Monday, Wednesday and Friday through Apple Podcasts (itunes), Stitcher, Google Podcast, Pocketcasts, SoundCloud, Bitez.com, YouTube, your favourite podcast download provider, and from www.spacetimewithstuartgary.com

SpaceTime is also broadcast through the National Science Foundation on Science Zone Radio and on both i-heart Radio and Tune-In Radio.

SpaceTime daily news blog: http://spacetimewithstuartgary.tumblr.com/

SpaceTime facebook: www.facebook.com/spacetimewithstuartgary

SpaceTime Instagram @spacetimewithstuartgary

SpaceTime twitter feed @stuartgary

SpaceTime YouTube: @SpaceTimewithStuartGary

SpaceTime -- A brief history

SpaceTime is Australia’s most popular and respected astronomy and space science news program – averaging over two million downloads every year. We’re also number five in the United States.  The show reports on the latest stories and discoveries making news in astronomy, space flight, and science.  SpaceTime features weekly interviews with leading Australian scientists about their research.  The show began life in 1995 as ‘StarStuff’ on the Australian Broadcasting Corporation’s (ABC) NewsRadio network.  Award winning investigative reporter Stuart Gary created the program during more than fifteen years as NewsRadio’s evening anchor and Science Editor.  Gary’s always loved science. He studied astronomy at university and was invited to undertake a PHD in astrophysics, but instead focused on his career in journalism and radio broadcasting. Gary’s radio career stretches back some 34 years including 26 at the ABC. He worked as an announcer and music DJ in commercial radio, before becoming a journalist and eventually joining ABC News and Current Affairs. He was part of the team that set up ABC NewsRadio and became one of its first on air presenters. When asked to put his science background to use, Gary developed StarStuff which he wrote, produced and hosted, consistently achieving 9 per cent of the national Australian radio audience based on the ABC’s Nielsen ratings survey figures for the five major Australian metro markets: Sydney, Melbourne, Brisbane, Adelaide, and Perth.  The StarStuff podcast was published on line by ABC Science -- achieving over 1.3 million downloads annually.  However, after some 20 years, the show finally wrapped up in December 2015 following ABC funding cuts, and a redirection of available finances to increase sports and horse racing coverage.  Rather than continue with the ABC, Gary resigned so that he could keep the show going independently.  StarStuff was rebranded as “SpaceTime”, with the first episode being broadcast in February 2016.  Over the years, SpaceTime has grown, more than doubling its former ABC audience numbers and expanding to include new segments such as the Science Report -- which provides a wrap of general science news, weekly skeptical science features, special reports looking at the latest computer and technology news, and Skywatch – which provides a monthly guide to the night skies. The show is published three times weekly (every Monday, Wednesday and Friday) and available from the United States National Science Foundation on Science Zone Radio, and through both i-heart Radio and Tune-In Radio.

[tiikerikani]

"I feel that it is time for me to pursue another opportunity that is more aligned with my career goals and values"

I’m 100% quitting my job if they require us to use Gen AI

They did, so I quit. I gave my one months' notice today and will start New Job near the end of next month. Of course I have to credit random Recruiter Guy for showing up in my life at exactly the right time; I wouldn't have left without an exit plan.

I try to be a principled person and there aren't always opportunities to safely stay true to those principles.

-----

When Recruiter Guy messaged me on LI last month, I was intrigued that it actually seemed like he'd read my profile (unlike the spammy messages I usually get). I've never worked with a recruiter before, so it was interesting having a sort of agent pitching you to the company and liaising with them instead of having to be persuasive and do all the arrangements on your own.

Since the technical writer role is a new position in this company, I figured that it would mean they would be open to ideas on how to do things and wouldn't be forcing me to use AI things.

When Recruiter Guy asked for my salary expectations, I gave him a number in the middle of the range that was in the job description. The entire salary range is a significant increase over what I'm earning now[1], so I had literally nothing to lose and everything to gain trying for this. He said he'd ask for a bit more than my figure. (And that's what I'll be getting.)

The role would be a massive step up in responsibility for me and I know it's going to be a challenge; as the in-house writer I'd be responsible for maintaining the entire documentation library[2]. In-house writer is actually the role that many technical writers aspire to. You get to work closely with and really know the products you write about, and you can give feedback during the product development process.

I would have asked about it anyway, but the interviewer wanted my thoughts about using AI, and I said something along the lines of "I know people who do, but I do not because I trust my writing skills and good writing that gets taken seriously needs to have a touch that only a human writer can provide." She agreed that AI text sounds really obviously fake, so I took this as a good sign.

There was a small sample task that I had to do on my own time (given a list of specs, write a brief product description). Not a huge fan of copywriting but a product description is still very factual and not usually trying to sell stuff to people who don't want it. I returned the assignment along with a thank you note for the interview.

The interviewer wanted to speak with one of my references, so I directed her to talk to my master's thesis supervisor. He made such a good impression that she wanted to read my thesis (which IS, in the end, the only formal writing sample I can provide because I can't divulge who I've done work for) and had Recruiter Guy set up a chat for me with their HR person. Whom I spoke to on Good Friday because it wasn't a public holiday in their country and I didn't have big plans for the Easter weekend anyway and I just really wanted to move the process forward as quickly as possible. They were also extremely impressed and went back to Recruiter Guy right away, who then called me that afternoon. I'm sure he would not have done this if he wasn't optimistic about my application since he was very well aware that it was a public holiday for me.

So yeah, I got the offer email just as I was about to leave for the concert last Thursday, and I wrote back immediately to accept it. Recruiter Guy called me as I was getting out of the metro and I really hate talking on the phone in public, but THIS WAS IMPORTANT ENOUGH for an exception. We discussed the start date and agreed that I could have a gap week in between to just...catch my breath and rest a bit.

New Job is a hybrid workplace and they expect people to come to the office at least a couple of times a week, so I hope some social life and networking can actually happen??? Their products include hardware devices so it also makes sense that I need to physically be there to examine the things to document them properly.

__________

[1] With the amount of experience I have now, with a job that requires a university degree and specialized language skills, and living in the Helsinki area, I should NOT be earning BELOW the national median wage (across all industries)!!!

[2] A recurring theme in my art and what I try to do with it is wanting to be seen, so it would mean a lot to me to be able to point to my work and say "I did this," rather than writing anonymously as a contractor.

[thestarlightforge]

Fiona’s Art Journal:

Table of Contents

Hello, everyone! Welcome to my blog!

As outlined here, my New Year’s Resolution for 2024 was to do something for my art every day. Whether writing, drawing, watching/studying, exploring or reading—I’d do something to sharpen my artistic focus daily.

As the year has gone by, I’ve documented some of the process on Tumblr. The tag “#Fiona’s Art Journal” has both reflections and artistic works, and “#Poetry” has an index of poems. This post is an index, and I’ll update it with hyperlinks to journals, art posts, and other favs.

NB: Aside from theatre and art posts, much of this blog is fandom posting about whatever (usually queer) media has most recently captured my interest. You can track various Strange New Worlds, Ballad of Songbirds and Snakes, Supergirl and House of the Dragon rotations (to name a few), along with other shows/movies on my list. I will probably spend the rest of 2024 crying about Agatha All Along (as WandaVision is an all-time favorite media & I’ve waited 2 years, since the night before I graduated undergrad, for Jac Schaeffer to fix this mess). I appreciate your understanding during this time, lol.

Journals — 2024

PETITION and Info to shut down the Pinyon Plain Uranium Mine and protect the people and lands of the Navajo Nation, Havasupai, Hopi, and Ute Mountain Ute — 8/28/24

DC Metro Accessibility Petition

“Squishy But Firm: Sexcapades of a Crip Girl” at the Kennedy Center Local Theatre Festival 🏳️‍🌈♿️🏳️‍⚧️ — 8/24/24

2024 🏳️‍🌈 Media Retrospective ❤️ — 9/20/24

National Be Nice To Bugs Day! We love a native species! 🥰 — 7/14/24

Setting Intentions: “Through the Sunken Lands” — 1/31/24

Introduction — 12/31/23

Go Listen to Sandra Yellowhorse — 11/20/22

AO3/Fanfic Entries

My awesome friend @heliza24 cosplaying Agatha 😁

“If I can’t hold you / Remember what I’ve told you” Agatha bite-sized

A Rhaenicent & Rhaesaria entry written shortly after HOTD 2x07

An early chapter of my ongoing Snowbaird fic with @imjustmarcy

Artistic Works — 2024

“Hey, It’s Me” — 10/29/24

“Why ‘I’m Billy Maximoff’ Mattered to Me — A Queer Disabled Person’s Journal” — 10/17/24

For Popo (like “Pawpaw”) Wilson: A Real (Union Strong) Redneck ❤️ — 9/25/24

“Clerics Have Necromancy” — 8/28/24

“Winter Blooms” — 8/18/24

“For Gus and Claudia” — 6/22/24

“QUEERING NEVERLAND IS LIVE—MY PAPER MADE THE COVER!” — 6/6/24

“Gentle Animals” Short Story — 5/1/24

“From Your Internet Big Brother” Essay — 4/8/24

Isolation/Recovery Discussion — 4/4/24

“Playing Fetch” Short Story — 3/31/24

“Building Momentum” Prose Poetry — 3/24/24

“Following the River” Short Story — 3/22/24

“Is There A World” Poem — 3/15/24

“A Practical Career” Short Story — 3/10/24

“The arospecs are onto something” Prose Poetry — 3/9/24

“Through the Sunken Lands” Pins Setup Addition — 3/9/24

“I wrote you a play” Prose Poetry — 3/9/24

On the Models of Disability Discussion — 3/5/24

“Threads” Prose Poetry — 3/3/24

“Interdependence is a love poem” Prose Poetry — 2/24/24

“A Shift” Short Story — 2/20/24

“To Falling in Love” Prose Poetry — 2/6/24

“Push-up Contest” Short Story — 2/6/24

“Autistic Katniss saves the world” THG Meta/Discussion — 2/2/24

“Purpose” Essay — 2/1/24

“Oracle Forever” Short Story — 1/29/24

“Stardust” Poem — 1/23/24

“Point of View” Short Story — 1/21/24

Patriarchy Hurts Everyone Discussion (edit: erroneously flagged/removed by Tumblr staff, appeal not allowed) — 1/21/24

“A Winter Morning” Short Story — 1/16/24

“Ymir with the Freckles” Short Story — 1/11/24

On Propaganda & the Cancellation of Queer Media (OFMD) Discussion — 1/10/24

“Glimmer” Short Story — 1/5/24

“What the Antihero, Your Villain, Has Left” Essay — 12/31/23

Some Favorite Art, Analyses/Metas & Journals (2023 + Previous)

“Lost Girl” at the National Theatre in Higher Ed Conference Journal — Aug. 6, 2023

First Day of “Through the Sunken Lands” at the Kennedy Center Journal — Dec. 11, 2023

Intimacy Choreography in “Hacks” Analysis — Jul. 15, 2023

“Swallowtail” Poem — Sept. 18, 2023

“Hope is the only thing stronger than fear” TBOSAS Meta — Nov. 19, 2023

“Wake Up” Gay Poem — Aug. 23, 2023

“Myths” Poem— Nov. 12, 2023

“Thanks, Tennessee” Gay Poem — Nov. 23, 2022

On Strength: Katniss and Lucy Gray TBOSAS Meta/Journal — Dec. 10, 2023

“Trust is more important even than love” TBOSAS Meta — Nov. 24, 2023

“The Valley Song” THG Meta — Nov. 18, 2023

Their first meeting in Twelve TBOSAS Meta — Dec. 24, 2023

Hurt/Comfort Thoughts TBOSAS Meta/Journal — Dec. 17, 2023

Do Better with Queer Rep — Aug. 19, 2023

“Ellee” Short Story — Aug. 15, 2023

I crack myself up

i'm so normal about them :)) — Sept. 26, 2024

“Oh, ableism. Great. THAT’S not gonna go over well with the woke mob.” — Aug. 19, 2024

rhaenicent nation how we feelin 😌 — July 21, 2024

it gets better, apparently :)) — July 22, 2024

representation matters (GoT/HotD) — July 21, 2024

rhaenyra my love, never ever change 😂 — July 21, 2024

SO MADGE X KATNISS LOL — June 9, 2024

Writing while queer — Jan. 2, 2024

Snowbaird “Aca-scuse me?” — Nov. 20, 2023

It’s almost like Suzanne meant to do that — Nov. 7, 2023

Not Coryo being more normal than Gale or Peeta — Dec. 13, 2023

Peeta “my beautiful princess with a disorder” 😆 — Dec. 7, 2023

SnowJanusBaird ≠ Everlark/Everthorne, lmao — Dec. 31, 2023

ValCarol giggles — Nov. 11, 2023

[codysknife]

SCOOP! FALL FROM GRACE?! THE MOMENT THE “LEGENDARY HERO” WAS ARRESTED!!

Whatever happened to the hero who saved Metro City? (two female students of the City University) Girl 1: “My ideal boyfriend. Strong, handsome, he’s simply perfect.” Girl 2: “I love that dangerous aura he oozes, you know...”

Nowadays, you don’t hear those girls’ voices anymore; back then, they were praising Cody, the heroic man who saved Metro City from the criminal organization “Mad Gear” - in whose clutches the city infamously came to be called with the unpleasant expression “The Capital of Crime.” The reason is, his behavior during the past few months could only be described as “violent”: he attacked people for no reason, even leaving a few of them half-dead; so much so that it could be said he’s no better than Mad Gear itself was.  

Even his most famous “friend,” Metro City’s mayor Mike Haggar, is frowning at Cody’s transformation. Under Haggar’s strong municipal government, the “smell of crime” that enveloped the city was disappearing; it’s ironic how one of his “friends” was starting to give the mayor a new headache, shaking his political career. Until the decisive moment arrived...

The police had caught wind of an incoming drug dealing due to be at a corner of the 26th Avenue, a remnant headquarter of Mad Gear; so they carried out a compulsory investigation. When they arrived, Cody was at the scene.

Cody: “They had just picked a fight with me. It’s self-defense,” was Cody’s lame excuse.

A bit too childish.

The well-informed knew it wasn’t the first time Cody had resorted to acts of violence. He was often spotted fighting with bad-looking thugs. A widely circulating rumor insists that even Cody’s relationship with the mayor’s beloved daughter Jessica was becoming chilled. At any rate, she’s been far from home since this spring studying in Europe, so the couple is at least estranged. A long-distance relationship is unlikely.

Mike Haggar: “That’s a problem between them. I didn’t meddle in any way.”

Despite his feigned composure, the mayor can’t hide his embarrassment. After this event, the police arrested Cody. They haven’t announced what they intend to do with him yet, but even leaving aside suspects of genuine involvement in the drug trade, the incident that resulted in real injuries wasn’t all smoke and mirror [the page interrupts here]

—from Secret File 21, translated by Midgardsorm on Shoryuken.com

—Secret File 21 fullpage art by Daigo Ikeno

—Street Fighter vs. Final Fight UDON comic art by Edwin Huang

[deadcactuswalking]

REVIEWING THE CHARTS: 08/06/2024 (Eminem's "Houdini", Fred again../Anderson .Paak/CHIKA, Chappell Roan)

It’s been over two decades for Eminem and his new lead single is still debuting at #1 on the UK Singles Chart, becoming his 11th overall. It’s stupid as all Hell, but it might be worth to have some lightening up in the rap world after, well, you know. As for whatever else is charting… well, welcome back to REVIEWING THE CHARTS!

content warning: language, death, gay sex, uncomfortable age gaps, The Real Slim Shady, transphobia, cancel culture, 70s Italian cinema, RuPaul

Rundown

As always, we start with our notable dropouts - songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, we bid adieu to some rap as “Malicious Intentions” by Poser drops out - a shame it couldn’t last or reach the top 40 since I do really like that as a follow-up - as well as Future and Metro Boomin’s work naturally dampening off with “Type Shit” featuring Travis Scott and Playboi Carti, and “Like That” featuring Kendrick Lamar. Our three other notable dropouts, unless I’m missing anything, are older pop hits: “Teenage Dreams” by Katy Perry, “Tears Dry on Their Own” by the late Amy Winehouse and finally, “Everywhere” by Fleetwood Mac. Again.

As for our notable gains and returns, we see the resurgence of “Without Me” by Eminem, as his newest single actually landed his biggest first-week sales since that track hit #1 back in 2002, according to the Official Charts Company’s article about “Houdini”… and looking at the top 10 it spent one week on top of, yeah, I’m happy Em took that one. That is a rough week, imagine if I was doing this show in 2002. The new song of course makes reference to and interpolates “Without Me”, yet another one of his goofy lead singles that tend to be really fun highlights of any of his albums, but the original is back at #38. Notably, it spent some time at the very bottom of the chart in 2004 and 2022. Oh, and Becky Hill’s #3 album gave “Outside of Love” the chance to re-enter at #73 though none of the deep cuts ended up debuting, which is a bit of a shame.

Then of course, there are some more predictable boosts for songs already on the chart like “on one tonight” and “one of wun” by Gunna at #57 and #30 respectively, “Thank You (Not So Bad)” by people who should know better at #55, “Addicted” by Zerb, The Chainsmokers and Ink at #54, “360” by Charli XCX at #41 - wonder if the Yung Lean and Robyn remix has anything to do with it - “The Door” by Teddy Swims at #28 and finally, “Pink Skies” by Zach Bryan at #25. Most of these are ones I cannot really complain about, good stuff.

As for our top five, we start with pretty much seeing Billie Eilish’s single choice switch in realtime as “BIRDS OF A FEATHER” remains at #5 whilst “LUNCH” falls right below, then we have “A Bar Song (Tipsy)” by Shaboozey at #4 - shame the album didn’t seem to have much of an impact - followed by “BAND4BAND” by Central Cee and Lil Baby at a new peak of #3, “Espresso” by Sabrina Carpenter dropping off to #2 and of course, with over 100,000 sales, which is a pretty big deal for the UK, Slim Shady at #1 with “Houdini” which we’ll get back to after these messages.

New Entries

#69 - “Carry You Home” - Alex Warren

Produced by Adam Yaron

Okay, I’ll bite: who’s Alex Warren? Well, he’s a young singer-songwriter from California who struggled in childhood due to his parents’ troubles and having to leave home as a teenager, dealing with homelessness for a while, but has channelled that into both a music career and as an Internet personality and YouTube vlogger, which has given him some viral circulation but nothing enough to chart until this year, where after two other tracks bubbling under, he has his breakout new song, “Carry Me Home”, which sticks with me for an interesting reason.

Whilst given that it’s mentioned on his Genius, his Wikipedia and Spotify biographies, and articles by Distractify and Forbes, that his come-up, probably regarded by the more cynical as a “sob story”, is in some way integral to the public image he wishes to portray, it’s clear that it’s embedded in these lyrics as well. One could take them as generic loving platitudes, but the emphasis on a long, going-the-distance relationship that is as passionate in the future as it is in the present, feels very immersed in a guy trying to improve on the example of relationship his parents left him, or really lack thereof given his mother’s addiction and father’s untimely death due to cancer. He mentions not having a place to sleep in the second verse and the song is mostly about marriage, mentioning his mind being on his mother when he says “I do”, bringing that joy of a “traditional” relationship and wedding to a family he never really got the “perfect” version of. Lyrically, I really like these notions, yet I don’t find much to be inspired by in musical execution. The reverb-drenched vocals in the pre-chorus are distracting and he doesn’t have the most unique voice in the world, and the sequencing overall is a bit wonky: there’s very little effective build-up into the stomp-clap frolick of the sing-a-long chorus. Additionally, it just feels a bit rote in its choice of vocal melodies and musical elements, like a factorial way of constructing this kind of song, which sucks considering how personal the lyrics are to him. I’m sure this means more to long-time fans of him, but on a sonic level, I’m not really feeling it at all. Sorry.

#68 - “Red Wine Supernova” - Chappell Roan

Produced by Dan Nigro, Noah Conrad and Lixa

Whilst “Good Luck, Babe!” was the breakout hit for Chappell Roan, it was a new release that took advantage of existing hype solidied from existing releases, particularly on her album The Rise and Fall of a Midwest Princess which is an album revolving around an overexaggerated pop persona whilst also heavily including narratives surrounding her own identity as a queer woman. More LGBT-related concept albums about famous people are coming on this chart week and it’s just funny that I can say that over-specific thing happens not once but twice in these debuts... and I’m not sure she’d like the comparison. Regardless, her two songs that have been bubbling under for a long time are now in the top 75, acting as some of the strongest singles from that album - commercially, at least, I have yet to listen to it in full - that helped prep the fanbase and now general audience for the sleeper smash that was to come.

I was excited when I heard the jangly guitars mixed with Roan’s almost cabaret voice on the intro to “Red Wine Supernova”, before the synth bloops came in almost immediately and whilst the buzzing clash of the two elements later in the track is compelling, it does really disappoint me when a song crashes into synthpop pastiche like that. This is a song about particularly passionate and envigorating lesbian sex, so the dissonance of the somewhat static, distorted electro-rock groove with the point of blissful, organic euphoria in the chorus shouldn’t be that difficult of a metaphor to figure out. The cute back-and-forths in the verses are pretty funny, the pre-chorus is maddeningly catchy… but I still don’t vibe with the main momentum of the song, it feels predictable past its main trick and once you’ve heard that first chorus, her pre-empting the drums coming in during that moment with a goofy ad-lib just feels extraneous the second time, and I really don’t like how the drums mesh with it anyway, it feels too… obvious, I guess. And much like “Good Luck, Babe!”, there’s a disruptive bridge but this one isn’t narratively disrupting, going for a bit of a disco-rap pivot that is equally reminiscent of the “Shake it Off” cringe as it is the natural fall into faster and sassier vocal deliveries you can hear in a surprising amount of queercore and riot grrl punk. One of my favourite examples is the back-and-forth between the vocalists on Team Dresch’s “Yes I Am Too, But Who Am I Really?”, where the two topics of expressing yourself amidst discrimination and being submissive in the bedroom intertwine chaotically and playfully but really make you think about sex’s place in queer identity, whilst also just having a fascinating relationship between the song’s groove and where the words are placed. Chappell Roan’s bridge goes for a similar idea and is just as effective, it’s just that the surrounding sonics aren’t as dynamic or really just to my taste. I can tell the passion is there, as well as crucially, the honesty, but it might not be reflected within the flashy pop production, which is a shame because unlike “Good Luck, Babe!”, the pieces are here for me to love this.

#61 - “She’s Gone, Dance On” - Disclosure

Produced by Guy Lawrence and Howard Lawrence

There are quite a few dance tracks to get through this week, and from many familiar faces, some less familiar than others, some less frequent chart fixtures, some more respected figures, but still a good deal of EDM debuted this week, probably due to it being slower in general and we start with wonky house duo Disclosure, who I generally like. This track has a somewhat peculiar choice of sample: “Dance On” by Italian composer Ennio Morricone, from the 1978 film Così come sei, or Stay as You Are in English. A European erotic romance drama with “ravishing” performances and songs like “Dance On” as the soundtrack, which is a killer slice of slightly dissonant-feeling disco, having a falsetto chant sharing space with synth freakouts but in a call-and-response format that is both fascinating and renders the track tense and almost instrumental, this seems like the kind of film I would consider a guilty pleasure. The lead actress, Natassja Kinski, who was… 17 at the time? Doing nude scenes with a guy in his mid-50s? And she now regrets this film entirely, disapproving of her scenes and saying she wouldn’t let her daughter do it? Okay, well, firstly, I shouldn’t have expected anything less from 70s continental Europe art films, but also, abort, abort, mission abort, let’s not think about the sample’s origins any longer.

Regardless of what sketchy film it tracks its way from, it’s a song that seems built for a French house flip, especially due to its extended instrumental breaks, and Disclosure do just that, with some glading tropical guitars, a steady if predictable house groove and an emphasis on bringing some bliss and transcendency out of a vintage, maybe dated-sounding sample, which is something Disclosure have always done when working with similar samples - “Love Can be So Hard” is a brilliant example of this. The added shuffling percussiion makes the moments of synth magic even more relieving, and the level of detail in sound design is expectedly immaculate and crafted to ridiculous degrees: the little moment in the pre-drop where the synth briefly wanks out in a zig-zag style before the beat comes back in fully is such a nice, goofy touch - there’s a lot of goofiness this week - and that bridge / outro with the glitched, screechier synth that gets shut off into a murmur is great. It’s almost weird to talk about a song like this on here - it feels like one of the many future funk songs I’d find randomly on Spotify and jam to them in my own time, never really thinking about how to review them. But I’m not upset it’s here - whilst I understand that my enjoyment of this pries on very specific genre preferences, it’s outstanding in its field, this is excellent stuff.

#59 - “Set My Heart on Fire” (“I’m Alive” x “And the Beat Goes On”) - Majestic, The Jammin Kid and Céline Dion

Produced by Majestic and Lee Tyler

Wow, been a while since we had a mouthful like this on the chart because dear God, what on earth is this? Let’s start with the artists, as that should be easier. Majestic is an English DJ known mostly for his hit remix of Boney M.’s “Rasputin” that I reviewed back in 2021 and thought was just okay, whilst The Jammin Kid is new to the chart, and seemingly new to streaming services entirely as he has no other work on even SoundCloud than just this track and its remix. What he does have, however, is a TikTok following so I think his social media presence may have led to a credit on this track, especially since I tracked down the mashup idea to a TikTok of his with a couple hundred thousand likes wherein he does the typical “pretend to do anything on a mixing board” as he dances around to an obviously pre-programmed mashup of the two tracks in this medley, which is probably not enough for a track on its own so took a cosign from Majestic to get on Spotify, who also probably helped with his connections to get the sample cleared.

The original mashup, available on The Jammin Kid’s SoundCloud, is a pretty straightforward mashup with a few additional production touches but no outright reworking, pairing Canadian legend Céline Dion’s 2002 hit “I’m Alive” with the soul group The Whispers’ 1979 classic “And the Beat Goes On”, their only #1 on the US dance and R&B charts, and one of their biggest hits in general, as it peaked at #2 in the UK in 1980, behind Kenny Rogers’ “Coward of the Country”, and is an iconic, undeniable funk track. If you think you don’t recognise it, listen to those first few measures and have all the memories coming back. Once again, it makes perfect sense for a French house remix. That’s not what The Jammin Kid did though, he placed the vocals of a Céline Dion song from beyond her biggest era and one that didn’t even chart on the US Hot 100. A big worldwide hit, of course, because it’s still Céline Dion, but at least from my experience, not one nearly as remembered as the instrumental he’s being paired with. I also don’t really like the song, frankly, it’s some adult contemporary schmaltz that wastes Dion’s iconic voice. It did peak at #17 in the UK however, whilst Blazin’ Squad’s cover of the Bone Thugs classic “Crossroads” was #1. Similarly to the Whispers, it is built for sampling and actually has a history of being made more upbeat and disco-influenced. A popular remix of the time places the vocal against a soundalike of Blondie's "Heart of Glass".

The mashup itself is fine if kind of lacking in much more of an idea than just “this song works on this song”, which is sometimes all you need, but I definitely prefer the more intricate house remix from Majestic, which phases out its isolated instrumental elements from “And the Beat Goes On” is a very wispy way that absorbs the smoother elements of the original mashup rather than fully reimagining it in sped-up house form, which does help it go down a bit easier considering all the glitz and saccharine nature of mixing two very famous and shimmery songs together. Interestingly, The Jammin Kid is replaced as a producer by industry co-producer and writer, Lee Tyler, which goes to show just how little idea or involvement he had in developing the track any further - it’s not unrecognisable in this form, far from it, but it has such a clearer sole identity from Majestic and Tyler’s reworking. There’s a lot of swell to the gospel choir, disco strings and trickling synth cascade as well as typical French house guitar riffs but it does feel a bit like, well, exactly what it is. TikTok backing music for a guy dancing around in his living room pretending to produce. I do like that a song with this interesting of a story and rabbit hole is charting, as well as it being notable that TikTok mashups if given the right push and clearance, can be successful risks for all companies involved, from the original labels to opportunist scene-familiar DJs, and make hits in themselves. I just don’t think this thesis of a flip is particularly inspiring.

#53 - “HOT TO GO!” - Chappell Roan

Produced by Dan Nigro

I was worried when I started looking into the lyrics of this track and their meaning, because it seems to be all about high school - the chorus is a cheerleader chant, and “HOT TO GO!”’s main conceit is about her school experience, wherein her appearance was dismissed as “pretty”, but not “hot”, with the Chappell persona absorbing the overt sexuality she was never granted during those times. Now, I was worried because of the perhaps bratty nature of the song which definitely is there and I can’t personally relate to much of the teenage melodrama anymore, but this might actually be my favourite of hers so far, mostly because I love this. The blooping new rave synth bop is still less interestingly textured than it should be but its taunting sing-songy loop reflects the almost condescending nature of her treatment as an adolescent, and the twinkling shakers in the chorus bring it to an incessant, mechanical level that I find a fascinating choice. The post-chorus, which should be the moment that feels like a release given its blast of guitars, is still stiff and constricted by its limitations, with the most catharsis coming from Chappell’s vocal outbursts within the verses, which are often just comically honest. She actually got a laugh out of me when she expressed her clear ulterior motives in the second pre-chorus that she made this song so that this girl would sleep with her, connecting the otherwise perhaps disparate themes of this song, which is mostly a dance track, albeit one that ropes in the potential tedium of those genres as a plot device, with that outro being a great way to end off the track; its awkwardness and lack of mutual response from the second party is the kind of skit you see in a 90s or 2000s teen comedy. Perhaps surprisingly, this one ended up being my favourite from the three, but still, I’m not fully convinced on whether that album would be to my taste, I suppose we’ll see if we get more debuting from it or her later works in the future.

#50 - “6 in the Morning” - Flex (UK) featuring Nate Dogg

Produced by Flex (UK) and Doc Funk

Yes, (UK) is in their official Spotify name, and I say “they” because this doesn’t feel like a chart placement for this specific song but more of a phenomenon because oh, boy, there’s a rabbit hole to go on with this one. I don’t actually know where our story starts, but an obscure loosie from the late rapper Nate Dogg was circulating at least as early as 2009, where a popular, unauthorised upload still remains on YouTube. There is artwork on Discogs of this being a physical, non-label, perhaps unauthorised release, but it’s not explicitly dated as far as I can find, so this being described as “new music” in June 2009 is as far as I’m getting. It’s a catchy, twinkly R&B-rap fusion with some uncredited female vocals and a lot of richly-voiced hooks from Nate, who was just the master of those, though the song doesn’t sound fully finished considering the sheer amount of chorus, a bit of an unmoving beat and vocal mixing not as layered as it could be until its meandering outro, but also sounding slightly unfinished was kind of the norm for cheap 2000s pop rap. In 2009, Nate Dogg was suffering from having experienced two strokes the years prior and was largely retired from music as a result, with this record not seeing an official release until long after his death.

After passing in 2011, Nate Dogg naturally fell victim of the pop music indutsry’s exploitation of its deceased, but not nearly as heavily as one would expect from a death that could be placed firmly in the dying moments of rap’s bling era, as hip hop tends to treat posthumous features even less gracefully than other genres. Hell, the only reason “Gangsta Walk” probably didn’t get an immediate posthumous re-release is that it had been on the Internet for a few many years and sadly, Nate Dogg had fallen into irrelevance… until 2016, wherein a remix of his song with 50 Cent, “21 Questions”, went viral on SoundCloud. As Mixmag reports, California producer SNBRN was granted access to an unreleased acapella from Nate Dogg’s estate for him to place a warm, vaguely tropical house beat under, speeding up the track to fit the tempo and placing some nice, yet very typical and now quite dated pianos and horns that fit how this genre really sounded for quite a while there. Whilst not charting, it was a viral enough success that this became retrospectively recognised as the original song, particularly due to reporting that, in my opinion, was misleading and did not do its due diligence in explaining the leak circuit around the track that had existing for nearly a decade at this point. Nonetheless, Genius does not have a page for Nate Dogg’s original and attributes samples of that vocal to the SNBRN track “featuring” Nate Dogg.

There aren’t countless examples but are now plenty of dance tracks using that Nate Dogg vocal, and now that 2010s nostalgia is in the midst, it makes all too much sense that yet another viral hit would be made out of flipping the sample on a house beat, so here comes Flex to do just that with a pretty boring house beat that does sound like a throwback to older garage tracks due to its bass and use of an acapella that’s kind of crusty at this point, ends up having to be drowned in reverb, but that and the wonky synth paired with the vocal make this feel less like a throwback and more just a cheap, dull and frankly lazy attempt at taking what was already a successful flip and throwing it into this producer’s style. Well, as far as I know that it’s his style because he has no other Spotify presence, but I understand that streaming doesn’t reflect club mixes, and this definitely feels like the kind of remix that gets thrown into one of those and promptly forgotten the morning after. The story behind this track’s success is so much more interesting than the song itself that it’s honestly humorous.

#35 - “places to be” - Fred again.., Anderson. Paak and CHIKA

Produced by Fred again.., Skrillex and Boo

A collaboration between Fred again.., Skrillex and Anderson .Paak is like a dream to me. I’m not surprised that it exists given how collaborative all these guys here, but I’m absolutely glad it does and yes, it lives up to all expectations, this is excellent in all the ways you’d expect and then some. Bringing the breezy blue skies of “ten” to the frenetic drum and bass of “leavemealone”, this is such an organic meshing of the styles that feels second nature to Fred again.. at this point, and the overall vibe is a transcendent rush of feelings, borrowing tiny snippets from Alabama rapper CHIKA’s commandeering, kind of sexy poetry and fusing them melodically to create hooks that feel way too obvious to have been reconstructed through samples of spoken word and not just be inherently there in the sample. I don’t know which one of the three it was to form a hook out of a 2017 poetry recording from an underground rapper, probably Fred’s given he’s done it before, but it’s just as cute and catchy as it is thematically fitting to the lifting of worries that this song embodies. The clipped percussion amidst a myriad of pitched-down vocal glitches and a loveable wave of vintage synths, delightfully slightly distorted to push this into a similar vapor feeling as a lot of the other EDM tracks debuting this week, allows this song to feel homegrown despite the big names involved and the disparate sample selections. It’s impressive to have a drum and bass song with this much immediate punch and drive still feel like such an airlift, and the first time I heard it, knowing that it would be special, I was still pretty awestruck by just how beautiful I found this track.

I could swear I’ve heard the pitch-shifted “down” / “I” hook from somewhere, maybe even sampled in another EDM track, but given WhoSampled haven’t found it yet, my immediate thought is just that it’s co-writer BEAM delivering ad-libs that were then implemented as one of the song’s many hooks, alongside the main conceit of the track that CHIKA’s got places to be, and they’re next to her partner for some intimate time. It’s adorable and loving, so when .Paak comes in with his familiar pre-verse child-like shouts of “yeah!”, I knew a special verse was coming. I understand that most chart fans will be familiar with his smooth jams alongside Bruno Mars as part of Silk Sonic, or even his funk and soul solo albums, but he has a pretty storied history of rapping over wonky electronic tracks by acts like KAYTRANADA so he’s not a surprise here and he’s also just a perfect fit. Going for a faster flow than usual, embedding inklings of promising melodies within otherwise rapid bars about just having fun with this girl, .Paak oozes an effortless and carefree charisma, and is fully at home with this subject matter - if you know, you know, the guy just loves women. Same. Anyway, even the lyrical details amidst the quicker, less noticeable parts of his rhyme scheme here, add to the otherworldly atmosphere created, referencing NASA and the fact that, hey, if they put a man on the Moon, the least he can do is make that ass shake, right?

In further choruses, CHIKA’s sampled vocals are warped and flubbered in a way that .Paak’s fuller vocal mix that fill in for, both in harmony and separately, making a song that could narratively feel quite distant due to an original verse being in combination with several samples, fall brilliantly into place. The level of care put into not just the sound design but the thematic, narrative elements of the songwriting that can be involved in what may sound like rote sequencing decisions, may not be unique to Fred again.. and Skrillex but they are masters at this, and .Paak is down to let those visions into reality as he hypes up the CHIKA sample with his ad-libs as if they were recording in a studio together. They literally complete each other’s sentences, it’s gorgeous. So where does it go from that perfect second chorus? It goes through the motions, but hardly in a negative way as it continues to soar further into the skies on the cover art, with a vocal chop from someone who is definitely BEAM panning from left to right and whilst being explicitly stuttered nonsense, somehow makes complete sense when .Paak or CHIKA pre-empt it with “You got that…”. Like, yes, sometimes that loving feeling is completely indescribable, and human relationships can only be expressed in a garbled emotive response, that eventually has to slow down into a rest as the night is over and you both need some sleep. CHIKA’s lines about adjusting her speed slow down and warp into a glitch but it doesn’t feel inhuman, it just feels like the inevitable winding down, and you can tell from the lyric chosen that there’s still a great deal of mutual comfort in that.

I have gone into way too much detail about this, probably, and the next review will be just as frustratingly long, but the care put into tiny little details like a stray chipmunk soul vocal used to transition between parts, a funny YouTube clip from 2020 they picked out and placed in the bridge, it’s all just so endearing and immersive. It’s everything I love about what can be done in this genre when taken to a pop format, and even without, and effortlessly intertwines the story and character of the artists involved to its sonic design. I know it’s only been a week since release but I can confidently say that if it isn’t my favourite song of the year so far, it’s close, and I understand that this is in large part because, well, of course a song like this would be to my taste, but I hope I’ve given more than enough valid reasons for that love not to be misplaced.

#1 - “Houdini” - Eminem

Produced by Luis Resto and Eminem

I am far from the biggest Eminem fan in the world, as is probably well-documented on this blog, but I’m well-informed enough and definitely nostalgic for some of his older material when he took himself less seriously. I knew that eventually he was going to come around fully to the goofy Slim Shady persona - his last album, Music to be Murdered By, was just teeming with dad jokes and “horrorcore” lyrics - but the sheer amount of self-referential humour and surprisingly smooth integration of the character into the modern day seems like both an ambitious project to take on and a cheap take on the nostalgia circuit. Nonetheless, there seems to be a higher concept to this all being the final nail in the coffin for that persona, with this lead single featuring Slim Shady returning by travelling to interact with the modern Eminem and make his typical irreverent comments about pop culture that he would back in the day. Lyrically, whilst it’s not exactly laugh-out-loud funny, he’s really bumped up the surrealism to some of the commentary as to ensure we know that this character should probably die: just full of pointless hatred and cheap dad jokes, but still comes back to pester the game.

The magician conceit doesn’t go very far outside of the cover art or that incessant chorus borrowed from the very prominently sampled “Abracadabra” by San Francisco group the Steve Miller Band, which fits in both the pop climate and Em’s discography as he’s sometimes been one to sample, at his leisure, cheesy choruses in incredibly obvious and corny ways. “Abracadabra” itself peaked at #2 for two weeks here behind Captain Sensible’s equally ridiculous “Happy Talk” and Irene Cara’s “Fame”, with their bigger hit, and only UK #1 being “The Joker”, an actually good song. Whilst I’ve never liked “Abracadabra”, its inclusion here is playful and almost mocking, I feel like Em doesn’t even like the song either, so there’s a snarky nodding of the head to the audience with how gratuitous its use is. As for Em’s flow and lyrics themselves, he has not sounded this smooth in a while and whilst still occasionally choppy, I think that comes from an intention to always be exactly on-beat outside of the funny, sing-songy melodic flow switches, as if you care to look back at Em’s plethora of goofy tracks, whilst a lot of them are just as choppy, he tends to take a more conversational and devil-may-care attitude towards its cadences, and that is somewhat present here but less so than when he was making tracks about shitting, pissing and cumming. I guess you could say that over time, he’s gotten less fluid.

The track even starts with a classic Paul Rosenberg skit where he finally gives up on trying to reel Em in, before he ends up taking shots at Megan Thee Stallion (no pun intended), modern technology, RuPaul, “wokeness” and even Rosenberg himself, and whilst I’m sure some people will take this at face value, not only are these kinds of anti-PC lyrics wherein you’re supposed to know he’s in the wrong Shady’s bread and butter, but they’re 1.) more clever than half of the edgelord memes you see on X nowadays and 2.) very obviously just as dedicated to dissing himself as those he mentions, and some of those people like R. Kelly might deserve the mockery. The Megan Thee Stallion joke is cheap, but part of the joke is that Eminem doesn’t have a chance of a collaboration - a “shot at a/her feat/feet” - in the first place, and when he calls Paul a male cross-dresser, he knows full well that you can look up the “My Band” video and a myriad of others and see Em doing the same. He even dedicates a lot of this song to criticising his previous drug addictions and whilst you may find that even harmless jokes about trans people would still be rough coming from a guy on Em’s level, that argument relies on the idea that anyone is taking the line “My transgender cat’s Siamese, identifies as Black but acts Chinese” as anything more than a throwaway non-sequitur poking fun at the idea that anyone can “act” like a certain race. If this is taken by any commentator from any end of the political spectrum as an attack on wokeness, they’re missing both that Eminem himself is very woke and that the song takes elements of wacky right-wing commentators, bringing them into the Slim Shady persona which would be very in-character for a character who slings around the F-slur, and by connecting them with such degeneracy as Slim, he’s absolutely parodying them. Is this line that far from how Alex Jones thinks the government is turning frogs gay using chemicals in the ocean? And plus, if we can hump dead animals and antelopes, then is there a reason that a man and another man can’t elope?

This is a certifiable entry into the now prolific standard of goofy, nonsensical Slim Shady tracks, and to nerd out a bit, this is exactly the kind of style I want from Eminem. My favourite album from his is the inexplicable and fascinating Encore and some of my favourite tracks from him like “Rain Man” or “Campaign Speech” are absolutely off the rails. A concept album about this character is really exciting to me and whilst some of the references to his catalogue are more surface-level, even in that first verse, he references deep cuts like “Evil Deeds”, implements one of the catchiest flows from “My 1st Single” - as soon as I heard that concentrated verse, I knew that he was finally back in that bizarro space I love and calculating it in a much clearer and funnier way. I’m weary to say it, but this is a hilarious, promising single and I’m genuinely really curious to where this album goes. Also, he shouted me out on the third verse. Always love a cactus bar.

Conclusion

It should be pretty evident, right? A good week, with a lot of insane rabbit holes, detailed, intricate productions and a whole lot of sampling upon sampling, just a lot to talk about overall, but if you read any of this, you’ll be able to tell that the Best of the Week goes to Fred again.., Anderson .Paak and CHIKA for “places to be”, whilst the Worst of the Week handedly falls in Flex (UK)’s hands for just a boring remix of a promising track from the late Nate Dogg in “6 in the Morning”. There’s nothing worthy of a Dishonourable Mention here so I’ll tie the Honourable Mention between Eminem’s “Houdini” and Disclosure’s “She’s Gone, Dance On” - sorry, Chappell Roan, “HOT TO GO!” was close, but it’s a lot of competition. As for what to expect from the next episode, RAYE’s on the horizon, as are Halsey, Sabrina Carpenter aiming to avenge the #1, Jung Kook of BTS and most importantly, Charli XCX has a new album. But for now, thank you for reading, long live Cola Boyy and I’ll see you next week!

[electroniccityphase1]

Century Electronic City Phase 1: 6 Acres of Modern Amenities

Modern living at Century Electronic City Phase 1! The heart of one of Bangalore's most vibrant tech hubs, this residential oasis offers a harmonious blend of convenience and luxury. Let's delve into what makes Century Electronic City Phase 1 a standout choice for those seeking contemporary amenities in a prime location.

Location and Connectivity

The heart of Electronic City, Century Electronic City Phase 1 offers a prime location that seamlessly blends work and leisure. This vibrant neighborhood is a hub for tech companies, providing residents with unparalleled career opportunities within arm's reach. Connectivity is key at Century Electronic City Phase 1. With easy access to major highways like nice Road and Hosur Road, commuting to other parts of the city becomes a breeze. The upcoming Metro line extension further enhances accessibility, making travel even more convenient for residents. Surrounded by shopping malls, restaurants, and recreational facilities, this project ensures that residents have everything they need right at their doorstep. Whether it's grabbing a quick bite or unwinding after work, there's always something exciting to explore in the vicinity of Century Electronic City Phase 1.

Overview of the Project

Welcome to Century Electronic City Phase 1, a vibrant and contemporary residential project located in the heart of Bangalore's tech hub. This meticulously planned development spans over 6 acres and offers a perfect blend of luxury and convenience. The project features elegantly designed apartments that cater to modern living standards, with spacious layouts and premium finishes. Residents can enjoy stunning views of the surrounding greenery from their balconies, creating a serene oasis amidst the bustling city life. Century Electronic City Phase 1 boasts amenities such as a swimming pool, fitness center, landscaped gardens, children's play area, and more. Whether you're looking for relaxation or recreation, this project has something for everyone. With its strategic location near major IT companies, educational institutions, shopping centers, and healthcare facilities, Century Electronic City Phase 1 provides unmatched connectivity and accessibility for its residents. Experience urban living at its finest in this dynamic community by Century Developers.

Modern Amenities Offered

Step into a world of modern comforts and conveniences at Century Electronic City Phase 1. This futuristic residential project boasts an array of amenities designed to elevate your lifestyle to new heights. From fitness centers to lush green gardens, every corner of this development is crafted with your well-being in mind. Imagine starting your day with a refreshing swim in the infinity pool or unwinding after work in the luxurious spa facilities. For those who love staying active, there are sports courts and jogging tracks available for you to maintain a healthy lifestyle. You can also host gatherings with friends and family in the BBQ areas or relax under the stars at the rooftop sky lounge. With round-the-clock security, ample parking spaces, and high-speed elevators, Century Electronic City Phase 1 ensures that every aspect of your daily life is taken care of seamlessly.

Why Choose Century Electronic City Phase 1?

Looking for a modern and convenient lifestyle in Bangalore? Century Electronic City Phase 1 offers the perfect blend of comfort and sophistication. With 6 acres of thoughtfully designed amenities, this project provides everything you need for a fulfilling living experience. From lush green spaces to fitness centers and recreational facilities, Century Electronic City Phase 1 caters to all your lifestyle needs. Whether you enjoy unwinding by the pool or staying active at the sports courts, there is something for everyone here. The strategic location near Electronic City ensures easy access to major IT hubs, educational institutions, healthcare facilities, and entertainment options. With seamless connectivity to key areas in Bangalore, commuting becomes hassle-free for residents. Choosing Century Electronic City Phase 1 means investing in quality construction by one of India's leading real estate developers. Century Group's commitment to excellence and customer satisfaction makes them a trusted choice among homebuyers. Experience the best of urban living with unmatched amenities and convenience at Century Electronic City Phase 1.

About Builder : Century

When it comes to real estate development in India, one name that stands out is Century. With a legacy spanning over four decades, Century has been synonymous with quality and innovation in the construction industry. The company's commitment to excellence is reflected in every project they undertake. Century has earned a reputation for delivering premium residential and commercial spaces that exceed expectations. Their attention to detail, focus on sustainability, and adherence to timelines have made them a trusted name among homebuyers and investors alike. What sets Century apart is their relentless pursuit of perfection and dedication to customer satisfaction. By combining modern design aesthetics with cutting-edge technology, Century ensures that each project surpasses industry standards. With a track record of successful developments across Bangalore, including Electronic City Phase 1, Century continues to raise the bar in the real estate sector. Trusting your dream home or investment with Century means investing in quality craftsmanship and unparalleled expertise.

Conclusion

As you can see, Upcoming project in Electronic City offers a unique blend of modern amenities and strategic location that make it an ideal choice for homebuyers and investors alike. With its facilities, lush green spaces, and connectivity to key areas in Bangalore, this project by Century is set to redefine urban living. Whether you are looking for a comfortable home or a lucrative investment opportunity, Century Electronic City Phase 1 has something to offer everyone. Don't miss out on the chance to be a part of this vibrant community where convenience meets luxury. Choose Century Electronic City Phase 1 for your next real estate venture and experience contemporary living at its finest with all the conveniences right at your doorstep.

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