#pre type o negative era

[vanalex]

[josiebelladonna]

What’s a fic you’ve read more than once?

been a long time since I’ve actually read any fanfic, and it’s usually from other fandoms, too. music rpf is just… it’s painful to even look at anymore. between the awful grammar, the synopses that turn me right the fuck off, and the dark specter of a fact that i don’t know if the author is going to be a backstabbing jerk to me either on here or on ao3.

2. What’s a gifset you always have to reblog?

anything from any of testament’s videos. gifs of these men are like canteens in a desert.

3. What’s a headcanon you can’t stop thinking about?

there’s a few:

alex’s gray streak is synonymous with lightning and if he loses it, he loses his ability to play guitar as incredible as he does.

alex has crooked teeth to conceal his fangs.

alex really does shoot a little pre-cum whenever someone calls him alejandro. …take all the time you need.

the whole “milk and cookies” thing from fever (long story short: sam liked to treat alex to ginger snaps and he would let his gaze fall onto her chest. it’s a parody of the male gaze, a middle finger to misandry and the belief that men shouldn’t express their sexuality, and a subtle clue that alex has always loved her and been attracted to her).

eric is geddy lee’s evil twin (listen to dragonlord and you’ll see what i’m talking about)

from a few kinktober one shots: eric actually is a dragon. the thing that coaxes him out is angry eroticism.

eric often fantasizes about tying up alex and hand-feeding him things like cannoli and donuts.

eric has a food kink and a bdsm streak. chuck has a water kink + a textile kink. alex is the kinkiest of them all (a guy that straitlaced is hiding some things FACT).

chuck’s cancer left scar tissue on his heart and lungs. eric has scar tissue on his legs from when he fell down the stairs. alex’s gray streak is a scar from when he smacked his head on a thousand-foot Mesa of stone shaped like a castle. any questions?

another one: the whole thing with poison plants. my guess is it’s a hangover from writing anthrax fanfic, given joey’s last name (and it helps that he has a song called “deadly nightshade”), but i really don’t know where it came from.

another one: the connection between alex and snakes. one of those things that needs to be written out into a full-fledged essay.

4. What’s a fanart you love looking at?

uuuuuuuuuuuuggggggggggghhhhhhhhhhh, i don’t know.

5. What’s an idea you’d love to create if you had the time/inspiration?

i’ve had an idea for a fic called “weekend at billy’s” (parody of weekend at bernie’s) for a long time now. i’ve also had an idea for a second sequel to seasons grey since beginning dark roots of earth, and an idea for a testament/powerwolf fic for @teababe27

i officially do not have the motivation to do any of them because i am genuinely hated. fandom is sick of seeing me. in fact, i’m surprised i even have the motivation to do anything that has to do with writing people hate me so much 🫤😢

6. What’s something you’ve discovered since entering this fandom? A new trope you love? A different analysis of them? Something else?

i’ve discovered a few things, actually. i like class. i’m sensual. i’m kinky, perhaps too much so. these five men have helped me uncover my true self. they are painfully untapped. dark fantasy and gothic lit tropes fit them like a glove, like they’re a step over a band like type o negative in terms of darkness: must be all the black they wear. testament fans (for the most part, anyway) apparently have me on some kind of shitlist—you know, i just think back to last year, when their social accounts started sharing more of my drawings, the amount of comments that downright bashed me, like i thought soundgarden, pearl jam, and metallica fans were fucking rude.

7. What’s your favourite era? And has this changed after multiple relistens?

practice what you preach era. forever the “stud” era.

and something about bands having album covers that are mostly black released around the time of albums with covers that are yellow, like it’s a sign that things are about to get kinky around here. they have practice what you preach —> souls of black —> the ritual —> low; anthrax had state of euphoria —> persistence of time; soundgarden had superunknown —> down on the upside; alex himself has a variant of this with veritas —> conundrum (see?).

8. What do you expect going into your kinktober event?

nothing, and i really mean that, too. i didn’t say “fuck it all and no regrets” yesterday for no reason. they’re not a popular fandom to begin with and i’m the most reviled fanwriter right now: i made them radioactive. in fact, i’m surprised more metalheads don’t want to tear me a new one, both with them and anthrax and metallica. i’m an alt rock kid who wandered off because the alt rock fandom wants nothing to do with me, either. what’s worse is when i’m out of here, i know some other writer is going to come along with something in their arsenal and people will just eat that shit up and bury me, forgetting i was ever here in the process. 5 and a half years and nearly 5 million words total on ao3, and it’s all going to be buried six feet under by some obnoxious 19-year-old bitch who writes for her “readers” not because she has a very real crush on alex and had a feeling that the feelings are mutual and wanted to explore it.

9. What line/dialogue/description from something else (a poem, a book, a tv show, a movie, or something else) do you feel describes them?

“you’re my vitamins.” -nirvana, “drain you” (one of their best songs, no less)

[liveby-thesword]

ABOUT ME! 🖤🕸🦇👽🕷

welcome! i post archives and shitposts n such

you can call me “a” i guess??? (literally just the first letter of my name)

i’m bi 🦄🦄🦄

i’m extremely insane and not normal about 2001 new jersey founded american rock band my chemical romance

also going thru a crazy black veil brides era rn

i love music (if you couldn't tell)

my favorite bands:

- MY CHEMICAL ROMANCE

- PIERCE THE VEIL

- SLEEPING WITH SIRENS (seeing them in september!)

- BLACK VEIL BRIDES

- TALKING HEADS

- FALL OUT BOY

- PANIC! AT THE DISCO (pref. pre split 😔) (rip ryan ross)

- PARAMORE

- A DAY TO REMEMBER

- PALAYE ROYALE

- GREEN DAY

- TYPE O NEGATIVE

- DANZIG

- THE FALL OF TROY

(AND MANY MANY MANY MORE)

i love concerts (DUH)

heres all the concerts i’ve been to:

PIERCE THE VEIL (with L.S. DUNES, DESTROY BOYS, AND DAYSEEKER)

THE CURE

QUEEN

IM SEEING:

SLEEPING WITH SIRENS

SISTERS OF MERCY

(best believe i have a goddamn concert bucket list)

(and yes i SOBBED when mcr announced the WWWY date and i realized i couldn't go)

AAAAAAAANNNNNYYYYYYYYWWWWWWAAAAAAYYYYYSSSSSS………

i like movies!!!

favorite movies:

- THE CROW

- HEATHERS

- SAW

- AMERICAN SATAN

- THIRTEEN

- NIGHT OF THE LIVING DEAD

- WILDTHINGS

- DONNIE DARKO

- SCREAM

i don't know what else to add about me!

hope you found some interest in my interests

here is an underground song i enjoy: :)

[doomedandstoned]

Edmonton’s DEGENERATOR Unveil Emotive Sonic Experience in Debut LP

~Doomed & Stoned Debuts~

By Billy Goate

DEGENERATOR is an eclectic two-piece from Edmonton, Alberta featuring Barrett Klesko (guitar, bass, vocals) and Jonathan Webster (drums), a dream-weave of modern/heavy metal mingled with elements of grunge, sludge, stoner, progressive, and Gothic.

Frontman Kelsko reveals:

'The Abyssal Throne' is a lyrical journey of how I fit in the cosmic scheme. It touches on themes of time, madness, despair, and contrasting dark and light. The music, which came first, was shaped to match these themes.

The duo, in fact, began with Webster's drum tracks and constructed the album around that scaffolding. Kelsko also experimented with vintage gear to produce a fuzzed-out sound inspired by '90s greats such as The Smashing Pumpkins, Type O Negative, and Alice in Chains.

There is a feeling of sorrow that pervades the record, but this is tempered by big drumming ("The Spiral"), compelling rhythms ("Hiraeth''), winding snake-like riffs ("Eternalism"), rumbling crescendos ("Heart Like a Hole"), and consoling vocals ("For Every Truth").

The guitar play is outstanding throughout, with plenty of thoughtful touches ("Neurotonic") and effective emotional moments ("A Way Out") reminiscent of Jerry Cantrell. There is great musical inventiveness on display here, with a deft blend of influences. An ideal vibe for this foggy, cloud-covered Thanksgiving Day.

Degenerator's new spin The Abyssal Throne is an emotionally moving album, worthy of being on a playlist with the likes of Chevelle, Young Hunter, Ancient VVisdom, Foot, and Mars Red Sky. Look for it this Friday, November 24th (pre-order here), and take it out for a long drive on a gloomy morning.

Give ear...

The Abyssal Throne by Degenerator

SOME BUZZ

Degenerator, Edmonton, Canada’s aggressive sonic titans, unleash a captivating blend of stoner, sludge, grunge, and goth rock with their debut album 'The Abyssal Throne,' which is streaming now. Led by Barrett Klesko (Alle Else Fails) who is joined by Jonathan Webster (Pass of Era, ex-Striker), this relentless musical force delivers a spellbinding sound that resonates with fans of grunge, sludge, stoner, and doom metal. These internationally acclaimed musicians set the stage for an immersive journey through explosive moods, progressive time signatures, and hauntingly unusual vocal melodies. Klesko comments on what’s in store for those who check the album:

"This album is a radical departure from anything I have produced before. It’s more somber, but not as heavy, as All Else Fails, slower, but also more profound than the Misfires, and though it has more order than The Secret Places of the Earth, it still keeps some of the mystery. I hope my fans can discover a new facet of my creativity and a new bond with the art that I make.”

Degenerator is a sonic experiment that Klesko conducted to unleash the noise that was haunting his mind. He wanted to capture the essence of retro The Smashing Pumpkins, with their saturated fuzzy guitars, but also add a touch of gothic darkness that he finds deeply appealing. Interestingly, they started with the drums and then built everything else on top of them.

Drawing inspiration from the genre’s most revered figures, Degenerator fearlessly invites listeners into an enigmatic soundscape where raw emotions intertwine with thought-provoking lyrics. Their music reflects the complexities of the human experience, delving into the depths of despair while simultaneously igniting a raging fire within the soul.

From the very first notes, Degenerator launches audiences into a realm where aggression surges and anticipation fills the air. With their unyielding commitment to innovation, they flawlessly navigate intricate and progressive time signatures, resulting in a sonic assault that defies convention. Each song becomes an adrenaline-fueled journey, enticing listeners to surrender to the primal depths of their own emotions.

'The Abyssal Throne' is completely DIY, mixed and mastered by Webster and produced by Klesko, who also did the album artwork and leveraged AI to create something that reflected how the music made him feel. It is recommended for open-minded fans who want to experience something new and who enjoy Baroness, Torche, Smashing Pumpkins, and Soundgarden.

Follow The Band

Get Their Music

[k-i-l-l-e-r-b-e-e-6-9]

𝔗𝔶𝔭𝔢 𝔒 𝔑𝔢𝔤𝔞𝔱𝔦𝔳𝔢 - 𝔅𝔢 𝔐𝔶 𝔇𝔯𝔲𝔦𝔡𝔢𝔰𝔰

[steele-pierced-my-heart]

That like early era Carnivore Pete is like so fucking delicious and raw...

Don't get me wrong, I adore Type O Negative era Pete... That era Pete I feel like I could have given my heart as soul to.

But Carnivore era Pete could have rawed me in a filthy alleyway, completely ruining me, and I would have thanked him for it.

Then there's this era of Pete, that I would have corrupted so fucking much. (Pre Carnivore and Type O Negative) God he was so fucking cute.

No matter what era of Pete, if I could have, I would have given him the world, and warshiped his entire body and soul.

I hope you found peace baby, wherever you are. 💔

[doomonfilm]

Ranking : The Coen Brothers (1954/1957 - present)

Directing a film can be one of the most vast, task oriented and stress inducing undertakings imaginable, which makes it odd that more directing duos, specifically sibling duos, do not exist.  Sibling duos like the Wachowskis, Hughes, Farrellys, Safdies and even the Zellners have made names for themselves, but one set of siblings easily towers above the rest : the Coen brothers.  With nearly 20 films under their belt, and nearly as many stylistic varieties and storytelling approaches found within, it is hard to argue the impression they have left on moviegoers worldwide over the past nearly four decades they’ve existed professionally.  With such a stellar record of films under their collective belts, I’ve decided to do the most stress-inducing task of all : rank these films from least to most favorite.

18. Intolerable Cruelty (2003) For a duo with so much distinct style and flair for storytelling, this film feels the least like a Coen Brothers film.  If anything, this feels like a script that sat on a shelf in pre-development hell, possibly for years, only for someone considering themselves a bit of a ‘maverick’ or ‘forward thinker’ to discover it and think that a dose of Coen Brothers magic could save it.  Even with the star power of George Clooney and Catherine Zeta-Jones behind it, this one feels a bit too ‘by the numbers’ to stand out from an oeuvre that nears perfection.

17. Hail, Caesar! (2016) I’ll be completely honest with you all... I don’t remember much about this film.  I remember enjoying it, but I don’t remember being blown away by it.  I remember enjoying the colorful display of old Hollywood, and it’s always refreshing to see George Clooney lean into roles that border upon slapstick.  For as much as I found this film not all that memorable, however, it stands above Intolerable Cruelty simply because it does not trigger bad memories.  

16. Burn After Reading (2008) This film is what Intolerable Cruelty wanted to be... a property that is a hair closer to by the books, but full of a screwball approach that heralds to a forgotten era of film while using an incredibly stacked cast.  Of all the Coen Brothers films I’ve seen, Burn After Reading feels like the property that all involved enjoyed making the most.  Like many of the Coen Brothers films, the cast on this one is mega-stacked, and from top to bottom, everyone involved shines in roles that go against their standard types, or amplify the most off-beat aspects of their performing ability.

15. The Ballad of Buster Scruggs (2018) The fact that Netflix was able to pull the Coen Brothers for a film is a win in itself, and with the duo choosing to do an anthology piece, Netflix was primed to maximize on their investment.  While highly entertaining, however, the anthology nature of the property leaves it feeling a bit unfocused and disjointed at times... none of these stories really had enough meat on the bone to be expanded into feature-length films of their own, but for some reason, all parties involved passed on the opportunity to  make a multi-episode serial rather than a film comprised of multiple tales.  While using variance in storytelling methods and visual styles may work for some less talented directors, in the case of The Ballad of Buster Scruggs, it feels more like snack-sized bites in the place of true sustenance. 

14. The Ladykillers (2004) On paper, this film should have been a disaster.  The Coen Brothers generally opt for original stories, so the fact that they chose to adapt such an obscure 1950s property for the modern day was strange, especially in light of the fact that most every element with the exception of Tom Hanks’ character was given a modern update.  Somehow, despite all of this oddness, The Ladykillers managed to capture a sense of the classic Coen Brothers slapstick comedy that they famously established themselves with early on in their career.  Tom Hanks is given the green light to go completely ridiculous, and to much of the viewers’ delight, he does so with great aplomb.  His supporting cast shines, the comedic turn brings new energy to the story, and the southern gospel setting brings a rich sense of spirituality to an otherwise run of the mill film.   

13. O Brother, Where Art Thou? (2000) The Coen Brothers were essentially household names by the turn of the 20th century, but O Brother, Where Art Thou? propelled them into a legendary status.  The grassroots mix of The Odyssey and the Robert Johnson crossroads legend took on a life of its own, leaving behind a soundtrack that birthed an entire generation of folk and bluegrass enthusiasts, as well as a film that showed the world George Clooney’s comedic chops.  Much like The Ladykillers, O Brother puts viewers deep into the unfamiliar territory of Southern ‘discomfort’, with the African-American experience playing a major role in the narrative.  Of all the Coen Brothers films one could use to introduce a stranger to their catalog, this one may be the best, as its infectious nature and stunning look leaves an impression on most anyone who has the pleasure to view it.

12. True Grit (2010) The Coen Brothers had already covered a wide bit of genre ground within their first three decades, but surprisingly, they’d not done a true western up to that point (though many argue that No Country For Old Men is a modern take on the western).  Therefore, when it was announced that their first western would be a remake of the iconic John Wayne film True Grit, many were surprised, and curious if they could pull it off.  Not only did they pull it off, but in my humble opinion, they made a version that more than holds its own against the original.  For the handful of big name and seasoned actors that signed on, it was the breakthrough performance of relative newcomer Hailee Steinfeld that outshined all.  While The Ballad of Buster Scruggs was a fun revisit to the world of the western, True Grit was the kind of achievement that makes me want more traditional westerns from the duo.

11. The Man Who Wasn’t There (2001) Listing the Coen Brothers films is by far the most difficult ranking I’ve done to date, and the first film that really gave me trouble in terms of placement was The Man Who Wasn’t There.  Personally, I find this film to be captivating and nearly flawless... Billy Bob Thornton’s detachment is rich and intrusive, which makes it all the more sinister when he does choose to exude even a hint of passion about something, be it positive or negative.  The black and white photography, in league with the tone of the film, puts me in the mindset of films like In Cold Blood, and some of the sequences in the film stand out as some of the most iconic in the world of Coen Brothers films, especially the car crash.  For a classic-style film noir, a genre that anyone with half a brain knew was a slam dunk for the Coens, the duo went above and beyond to both modernize and wholly embody the style.  One of several Coen Brothers films that sits with you long after the final credits have faded away.

10. Inside Llewyn Davis (2013) If this isn’t the darkest comedy in the Coen collection, it’s certainly giving the number one contender a run for its money.  The intimacy of this film is unmatched within the broader collection of Coen characters, excluding The Dude, but the difference between Llewyn and The Dude is the personality equivalent of the difference between oil and water.  You may marvel at Llewyn’s talent, but all the while, the film is screaming at you that “THIS IS A CHARACTER YOU SHOULD NOT ROOT FOR”.  The symbolism found in the film is minimal while being incredibly effective in how it punctuates Llewyn’s personality and character, and the story structure is an equally subtle swerve that baits you into paying deeper attention, only to realize that the setup was the punchline the entire time.

9. The Hudsucker Proxy (1994) I’m a sucker for a Coen Brothers comedy, especially the ones that play like human cartoons, and one of their absolute best was The Hudsucker Proxy.  The writing on this film is so tight that it would absolutely pop if it were any tighter.  The entire A Christmas Carol-esque approach to the story makes it a wonderful moralistic tale that makes people laugh so much that they often don’t realize they are being taught a lesson about morals, integrity and self-respect.  Tons of familiar character actors fill the frames, everyone tasked with supporting roles fit firmly and comfortably into the created world, and the man trio of Tim Robbins, Jennifer Jason Leigh and Paul Newman are functioning on genius levels of performance... especially Jennifer Jason Leigh.  While not quite a holiday movie, there is enough of a holiday sense that it could be shoehorned into a seasonal viewing, but any time set aside for this gem is the right time to watch it.

8. Barton Fink (1991) In my humble opinion, this may be the strongest end to end performance from John Turturro in his long and storied career.  As clear-cut fans of film, it is always a pleasure to see the Coen Brothers explore the world of film, and by using this approach, they are able to tell a bold, brash and haunting tale about the issues that come with assumptions about character and talent.  The takes on Hollywood and the indifference of those in power, especially when it comes to assisting young and promising talents that may one day usurp them, and powerful.  The real bow on the story, however, is the larger than life presence of John Goodman, who goes from being a slightly aggressive and overbearing sense of support to a literal madman by both name and action.  For a film that mainly consists of individuals talking to one another about passion, talent and secrets, there is a kinetic energy that feeds the forward momentum of this movie, and for that, it stands out in the Coen collection.

7. Miller’s Crossing (1990) It’s not surprising that the Coen Brothers could make a compelling and memorable gangster film, but I don’t think that anyone expected a film as vicious and dark as Miller’s Crossing.  For a duo that generally relies on nuance and contemplation to get their points across, this film certainly proves that they are more than capable of excelling in the direct approach as well.  The era-specific costuming is outstanding, the murky city areas stand in stark contrast to the woods of the titular Miller’s Crossing, and the sheer volume of bullets are a stark reminder of the Prohibition-era story we are viewing.  Gabriel Byrne shines in his lead role, bringing a world of fury, deceit and mistrust in tow with him.  The iconic hat blowing in the wind serves as not only the biggest memorable moment from the film, but possibly also the single moment of peace and beauty found in a film that holds up a dirty mirror to a dark world.

6. A Serious Man (2009) Of all Coen Brothers films, this is easily the most underappreciated and slept on of the bunch.  I’m a sucker for movies that embrace Murphy’s Law, and when mixed with the parable nature of the Book of Job, we are presented with a darkly comic and relatively unique version of the hero’s journey.  The way that the personal, professional and philosophical problems pile up on Michael Stuhlbarg’s Larry are meant to be felt by the audience, and the way that his bad luck boomerangs out into the world during the film’s resolution must be seen in order to be believed.  The way that destiny and chance dance around one another in this film is narratively breathtaking, and for such a subtle film, it is a truly remarkable achievement.

5. No Country For Old Men (2007) When you think of the Coen Brothers, you don’t necessarily think of evil incarnate, and yet, the duo succeeded in capturing a character in the form of Anton Chigurh, the closest thing to the Terminator that the duo has ever created (to my knowledge).  The story is a wonderful, subtle tale of how the times can change into something we don’t recognize before we recognize the change, but it is easily Javier Bardem’s iconic performance that gives this film all of its power and ominous energy.  His unyielding forward momentum, his disdain for obstacles in any form, and his disregard for human life are enough to instill real fear into those who partake in viewings, and his presence will more than likely haunt you far beyond completion of the film.  A true modern-day masterpiece that would have been higher, if not for...

4. Blood Simple (1984) What a powerful debut, and one that not only hinted at, but outright put the spotlight on the promise of the Coen Brothers when it came to stark visuals and stunning storytelling.  For such a simple, small scale story, the tangled web that is woven is a slippery slope of deception and distrust that leaves little to no survivors in its wake.  The scale of the film is deceptively small, but the quality shines in every aspect that it can.  Seeds are placed that pay off wonderfully, and the color palette presented gives the film the feeling of a Technicolor film-noir.  Much like A Serious Man, Blood Simple deserves to be talked about and held up much more than it is by fans of film. 

3. Raising Arizona (1987) What a wonderfully ridiculous movie about something as simple as the trials and tribulations of navigating love, marriage and parenthood.  The most hilarious aspect of this film, in my opinion, is how it feels like a living and breathing cartoon, both in terms of the character performances and the outrageous events that take place within the world of the film.  Nicolas Cage is operating on a completely different level, Holly Hunter is equal parts charming and hilarious, Trey Wilson is wonderfully over the top, John Goodman and William Forsythe bring excess hilarity to the wild proceedings, and Randall “Tex” Cobb is downright iconic in terms of his ridiculous character.  The pacing of the film is breakneck and feverish, the comedy hits never stop coming, and the utter charm emanating from the midst of the caper presented is infectious.  As a second film, this could not be any more different than Blood Simple, and yet somehow, it connected so vividly with viewers that it remains a must-watch film to this day. 

2. Fargo (1996) What is there to be said about Fargo that has not already been said?  For a duo with more iconic films to their name than some directors have completed films, Fargo was an immediate signal that the limits of the Coen Brothers’ creativity and skill had not even began to show its full breadth.  Within less than five years of release, the film was already heralded as a classic (of all-time, not just modern day), the mystery surrounding its possibility of being based on a true story built a world of intrigue around the movie, and it has gone on to create a universe of its own in the form of an FX TV show that recently wrapped its fourth season.  There is not a wasted role in this film, and to this day, any movie fan worth their salt will happily bust out their version of a Minnesota accent that is almost certainly based on one of the many memorable characters that inhabit the world of Fargo.  Numerous actors, including William H. Macy, Frances McDormand and Steve Buscemi, all found breakout success in the wake of this wonderful film.

1. The Big Lebowski (1998) Was there ever any doubt for this placement?  For everything that Fargo did in terms of success within the world of the film industry, The Big Lebowski did that and more for the worlds of the counter-culture and cult film fans.  The story we are presented with is so simple, yet so ridiculous in its journey, that it almost insists on viewers revisiting it over and over.  Like many Coen Brothers films, nobody cast in the film is wasted or misused, and due to these stellar performances, the film finds itself as one of the most quotable in recent memory.  Much like the performances of the cast, the writing does not waste any words or opportunities, often referring back to itself in extremely subtle and nuanced ways that present themselves over time, and to hilarious effect.  Nobody would have expected a film of this nature to have a fandom, and yet, the legions of fans for this film are unique to that of the Coen Brothers catalog in the sense of their dedication, devotion to and love of the movie.  While not everyone’s cup of tea upon first viewing, The Big Lebowski is truly an example of the gift that keeps on giving.   

If the Coen Brothers never make another film, they’ve already created and achieved more in their journey that most filmmakers can dream of.  Many of their films could honestly be considered works of art, and nearly all of them are compelling with an ability to leave deep and lasting impressions.  If you are unfamiliar with the Coen Brothers, do yourself a favor and check out their work, as it may bring a new sense of invigoration to your love of film.

Editor’s Note (12/10/2020) : Inside Llewyn Davis added to the number 10 position, all films ranked lower adjusted accordingly.

[buiocelestiale]

Philippine Literature

Henlo there demons its ya boi, Nyah Lajom. 

Today we’ll talk about the Southeast Asian mainland is where you'll discover Vietnam, Indonesia, Philippines, Thailand, Malaysia, Singapore Cambodia, Laos, Myanmar, Brunei, and Timor-Leste. 

However, today, we'll talk about the prevailing subjects of writing in the Philippines, from pre-colonialism to contemporary occasions.  

Literature grew out of adages and enigmas concerning the human condition and one’s relationship to the climate.

Before we were colonized, we had a type of literature that empowered us to pass down legends and stories. It is called Oral Literature, pretty self-explanatory. 

For example there’s a Philippine legend about the adoration among Sidapa and Bulan (Sidapa is the God of Death and Bulan is a Moon) Sidapa experienced passionate feelings for the moon's magnificence and did everything to win his heart and once saved his life.

All wellsprings of Philippine folklores are initially passed down orally. As oral writing is passed on verbally, changes in stories and the expansion of stories through time are characteristic marvels and part of the developing dynamism of Philippine folklore.

( @yizhansiasm artist)

And afterward, Spain came, the nightmare of all ✨ u n d i s c o v e r e d  ✨ land. They introduced Christianity and even though we have our own culture they seemingly stripped it away and repressed people that doesn’t agree with their beliefs.

Anitism means Ancestral Religion. Spanish ministries utilized the deprecatory term "Anitería" and one might say that they did not condone any religion that isn't Christianity. As we all know social classes and discrimination is rampant in this era, the Spaniards favored the rich and powerful, while the poor were abused and killed. 

During the Spanish colonial period, the theater got famous. During this time, Spanish pilgrims endeavored to show their language to native individuals, which implied religious songs and poetry discovered their place in the public eye.

The theme of literature in the Spanish era was dominated by religion. By the 19th century, Philippine writers were using written literature to their own benefit by writing about the negative effects of colonization. 

In spite of the fact that they contributed a great deal for the sake of Literature, they still mistreated us. For instance, due to the oppression occurring, Dr. Jose Rizal composed Noli Me Tangere and that had a ground-breaking sway on the Filipinos. I think in this era, Socio-political and religious themes were clashing.

21st century in writing alludes to world literature delivered during the 21st century. The proportion of years is writing composed from (generally) the year 2001 to the present.

In contemporary times, there are many aspiring writers and you can't actually say that there is a predominant topic in writing now, in light of the fact that various writers have their own style and subject. 

Summary: 

Ancient Period - (Oral Literature) Dominant themes were myths and legends.

Colonialism - Socio-political and religious themes were dominating the literary world in this era.

Contemporary Period - There is no dominant theme in this era because different writers are rising and each of them have their own theme and style. 

Nyah D. Lajom

[buddaimond]

Kristen Stewart. Androgyne. The Beautiful Boy. Gamine. Epicene. The Tomboy. Either/Or. Neither/Nor. Both.

by Sheila O Malley

(I simply HAVE to share and post this brilliant piece by Sheila about Kristen’s acting. Read her profile if you question her capability to judge)

Camille Paglia is not the only one to observe that the great movie stars – of any era – are those with androgynous characteristics. The same could be said for literary characters (people always seem to forget the cross-dressing incident with Mr. Rochester in Jane Eyre), for art, for architecture. Not so much yin-yang, but a fluid back-and-forth, an effortless integration, a beckoning that can be very destabilizing. Part of star power is that destabilizing effect. Kristen Stewart is the best example we have today of an actress working in that hard-to-quantify-or-even-talk-about realm. When we talk about charisma, I’d just point to Personal Shopper, one of the best films of 2017, where the majority of the film features Kristen Stewart answering and responding to texts … seriously, that’s most of the movie … and you cannot look away.

It’s not a ridiculous over-statement to call her this generation’s Brando. Brando (I’m talking his acting persona now) was macho, brutish, carelessly and thoughtlessly Alpha (he hated those qualities in men which just goes to show you you don’t have to “like” the characters you play). However: without his sensitivity, his soft beautiful features (beautiful as opposed to handsome), and his vulnerability which – frankly – put many of his female co-stars to shame … he would not be Brando. It is the overwhelming sense of an almost feminine openness and softness, mixed with the muscly sexy body, the brawny confidence, that makes Brando Brando.

It’s almost forgotten now but one of the reasons Brando was so explosive – and also so controversial – was that no one had ever seen a leading man like that before, a leading man that vulnerable and emotional. It just wasn’t done. Screaming and crying “Stella” was not particularly … manly. It’s hard to imagine John Wayne (as much as I love him) doing such a thing. Brando punched open the door for other men, creating a larger emotional space in which they could operate. AND, in addition to all of this, Brando is also one of the most riveting people to have ever graced the silver screen. What he had – in terms of personality, beauty, intrigue – was magic. It cannot be imitated, manufactured, manipulated, or created by a PR team. Alain Delon had it. Monica Vitti had it. Cary Grant had it. Marlene Dietrich had it. Talented people, all. But with something ELSE: magic. It’s also not a surprise that all of these actors had an androgynous quality, an “other” quality, something that made you look at them closer to try to figure it out, a mysterious and self-consumed self-obsessed quality that is a powerful draw for an audience.

And to those of you out there who are Supernatural fans, this is the realm in which the green-eyed freckled Jensen Ackles works too, and is one of the main reasons I got hooked into the show, since I could not stop watching him. I’ve written about that extensively. I talk a lot about his “burlesque,” and how he seems to have consciously (or no) incorporated it into the character he plays. The character was not written that way. The character conception initially was that of Han Solo. The sexy masculine wisecracker. Ackles is tall, muscular, Alpha, casually and intuitively tough, a Leader. He is a throwback to John Wayne, which comes very naturally to him. But he’s androgynous too, in a way Wayne was not. The burlesque – the softness – the receiving type of sexuality – but it’s a receiving presented in a performative way which can seem very aggressive … it’s hard to pin this stuff down, and that’s why it’s interesting – is all him.

Kristen Stewart may not have the range of a Brando, but “range” is over-rated. Especially by many of today’s credulous film critics and many aspiring actors. I remember getting into an argument with some dumbbell actor in a class I took who compared Spencer Tracy negatively to Dustin Hoffman. “He’s always the same,” complained the dumbbell. I have a talent for making new friends so I lectured him on why he was wrong. Ever since Robert DeNiro gained all that weight for Raging Bull, radical ACTUAL transformation is what has won Oscars, is what gets the most awe-struck commentary. (And I love DeNiro. But I don’t want the OTHER kind of acting to be dismissed as “just playing themselves,” “they’re always the same”. It’s incorrect.) Old-fashioned star power … well, you can’t put a price on it. No coincidence that those who “have it” are still some of the biggest box-office draws.

Kristen Stewart is one of the most naturally charismatic, naturally gifted actresses working today. I was so pleased when my mentor from the Actors Studio, Sam Schacht, a man who studied with Lee Strasberg, who KNOWS from “Method”, listed her as one of his favorites (*great interview...click link!!) when I interviewed him, a girl who struck him as “authentic.” The very nature of authenticity means it cannot be faked. You can’t TRY to be authentic because then … you wouldn’t be authentic. It’s like the copy of a copy of a painting. Well-trained eyes can tell the difference.

You cannot take your eyes off of Kristen Stewart. Even when she is just buried in her phone.

In Personal Shopper, she is depressive, intense, thoughtful. It’s interior work. This is not an expressive character. She dresses like she’s a teenage boy, in ratty sweaters, sneakers, wool caps pulled down, a blunt-edged ponytail sticking out of the back of her head. But in one extraordinary sequence, filmed almost in one take, she tries on a dress hanging in the closet of the high-profile woman she assists. She is not supposed to be doing this. It’s hard to even conceive of this character WANTING to put on a see-through black dress with an S&M type harness underneath. As Marlene Dietrich croons “Das Hobellied” in the background, Kristen Stewart strips down, and … languorously, slowly … puts on the harness, pulling at the straps to give her more breathing room. The straps though bind her down. Her bare breasts emerges between the straps. She stares at herself, completely unselfconscious in her near-nudity. She thinks again, takes off the harness, and slips on a black see-through bra. On with the harness again. The straps constrict her. She looks like she’s being served up as some male fantasy. And maybe she’s trying that on for size. Being a male fantasy is not entirely a bad thing, you know. I would also suggest that women love to look at beauty too. She’s a female fantasy too. But she doesn’t strut. Or pose. Or “act sexy.” She stares at herself. She slips on leopard-print shoes with dizzyingly high heels. She walks around the apartment.

Marlene Dietrich – one of the most famous androgynes who ever lived, accompanies this strange slim boyish girl in her transformation.

The sequence ends with her lying in the bed – wearing the dress – and masturbating. Is she thinking about anyone? The Unknown texter? Or herself, and the memory of her reflection in the mirror? Or both?

It’s one of the sequences of the year. And why? Nothing happens. It’s like any other “play dress-up” scene, a version of the well-known “fashion montage” in countless other films. Assayas knows what he’s playing with, knows we will come to such a sequence with preconceived notions and expectations. He doesn’t oblige us, though. Neither does Stewart. What goes on in that sequence is something else entirely. She is beautiful boy, pre-teen tomboy, glamorous woman, simultaneously. With deference to Camille Paglia, she is an extreme example of a sexual persona. And it is hers alone. The fact that she’s uncommonly beautiful … almost intimidatingly so … adds to the overall effect. And, like Marilyn Monroe, Kristen Stewart can – at will – depending on the project – dim her beauty. She can appear extremely ordinary. She could walk through Times Square undetected, I have no doubt.

Watch her extraordinary performance as the over-tired lawyer visiting a small town to teach classes in Kelly Reichardt’s film Certain Women. Hunched over her coffee late at night, with a long drive ahead of her, she is plain, dowdy, with circles under her eyes, almost tubercular in her exhaustion.

But she doesn’t make a big deal out of it. She does not “strut” in her plain-ness, she does not want to be congratulated for opting out of the Beauty racket.

Stewart is completely beyond those prosaic and careerist types of concerns. This is what Sam Schacht was talking about when he mentioned her authenticity.

Stewart is not vain, but she is CLEARLY aware of the effect she can have … she is not some “idiot savant”.

She knows what she’s doing.

Lots of actors know what they’re doing, though, and don’t create the captivating effect she does. She works ONLY with subtext. It’s part of her genius.

The camera is designed to pick up thoughts. She does not have to work to show that she’s thinking. She does not “act like” she’s thinking. She just THINKS, and the camera catches it. (Many actors – even good ones – “act like” they’re people. They don’t know how to BE.) What she has is total trust that the camera will catch what she’s doing. She knows she doesn’t have to act. She knows that the name of the game is not ACTing. It’s BEing.

The thought of anyone else doing the dress-up sequence in Personal Shopper makes me wince with discomfort. They’d be very busy showing us how this slim and competent and depressed boy-girl feels about what she sees in the mirror.

Kristen Stewart doesn’t “busy herself” with acting.

She stands in the harness. She looks at her breasts. She adjusts the straps. She looks in the mirror. She looks and looks and looks.

And we can’t stop looking either. At her. 

(**I’ve added a reply comment screenshot to her essay addressing criticism of Kristen’s acting, including Rob’s):

I’m baffled by those who think she’s a “log” – although I’ve heard that a lot! She does not EMOTE, even her crying is somewhat interior – she doesn’t sob.  She’s just so RELAXED onscreen and relaxation is so hard to come by, especially in acting. It’s even more extraordinary when you consider how she started out – as a teenager in this insane franchise which catapulted her to international celebrity – before she even had a chance to develop herself. Usually people like that vanish – or have a hard time finding their way.  But look at what she’s done with it!!

Same with Pattinson too. He was in TWO great movies this year.  Wildly different. Non-mainstream.

Both of them are really doing it right.  

[industryupdatenews]

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·         North America (U.S., Canada)

·         Latin America (Brazil, Mexico, Argentina, Rest of Latin America)

·         Europe (Germany, Italy, France, U.K., Spain, Benelux, Russia, Rest of Europe)

·         East Asia (China, Japan, South Korea)

·         Japan

·         APEJ (China, India, Indonesia, Thailand, Singapore, Australia & New Zealand, Rest of Asia Pacific)

·         South Asia & Oceania (India, Thailand, Indonesia, Malaysia, Australia & New Zealand, Rest of South Asia & Oceania)

·         Middle East & Africa (GCC Countries, Turkey, Northern Africa, South Africa, Rest of Middle East & Africa)

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·         Hansen Holding A/S

·         Dohler Group SE

·         E&O Laboratories Ltd.

·         Koninklijke DSM NV

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·         Wine & Fermented Beverages

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·         Bacteria 

·         Yeast 

·         Mold 

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Car repairing in Brooklyn Peter Steele and Louis Beato.

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Baby Peter 🥰

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