#puppet master {verse 2 / james}

[bolides]

@slaughterlocked said: [TOUSLE] (sender ruffles receiver’s hair.) for james!!! | parent & child prompts

after hours clean up would be an exhausting chore to some, but at fredbear's, there was always f̷u̶n̷ to be had. it was definitely more fun than going home, for sure.

leaning his weight against the broom in his hands, laughing fills the air -- sharing stories of crazy parents populating the restaurant in days past was one of his favorite past times. while in the middle of recounting a particularly exhausted father they had to wake up at closing time, a hand presses onto his dark mop of curls, sending them to and fro, eliciting even further laughter.

"hahaha, hey!! cut it out, this hair takes a lot of work, and i won't see you trying to comb out all the tangles, pops!"

[bolides]

hands go up defensively, a step taken back from his boss and that expression. he had seen afton step outside, knew what was coming (that stench was all too familiar to him, after all.)

it was a hard time at the diner. after... the incident, business was slowed to an absolute crawl. hardly anyone wanted to risk their kids around the suits anymore, even in performer mode, with humans literally inside of them. james didn't think he could really blame them. weeks later, he could still hear the crunch and the screams. he shakes his head briefly, as if to clear these thoughts.

hands go to his pockets, and after a moment, a slightly crumpled up cigarette of his own is drawn out (stolen from a pack his mom thought she hid expertly.)

"got a light, boss man?"

🔧 @bolides (𝚊𝚜𝚔𝚎𝚍 𝚏𝚘𝚛 𝚊 𝚜𝚝𝚊𝚛𝚝𝚎𝚛)

𝚒𝚝 𝚑𝚊𝚍 𝚘𝚗𝚕𝚢 𝚋𝚎𝚎𝚗 𝚊 𝚏𝚎𝚠 𝚠𝚎𝚎𝚔𝚜. the diner was... suffering, but they continued to keep the doors open. no thanks to william, who's costume reeks of stale, burnt out cigarettes. he's lucky he's been able to keep his alcohol habits out of his working hours. of course, henry had taken over operations, to allow william some... 𝚝𝚒𝚖𝚎 𝚝𝚘 𝚐𝚛𝚒𝚎𝚟𝚎. the suits, and his boy. though none such time had been taken. his comfort was cold, sitting in front of the television without need for his, while the afton patriarch had nothing but his daughter to make him happy. it had become his job in itself to take care of her and -- his eldest, as their mother was largely unable. the elder of the two stealing the solitude of his shoddy office, while his daughter did her best to keep herself entertained. it would be easier at the other location, but no matter.

he's outside staring at nothing, with a cigarette passing idly from fingers to lips. blinking, and frowning. 𝚏𝚊𝚛 𝚊𝚠𝚊𝚢… he hears the chime of the door, and a pinch of his brows makes a subtle wince with fluttering blinks. head turning, whilst the headless golden bunny scowls towards his employee. "the performance doesn't start for another twenty minutes." he says harshly. "what do you want?"

[blazehedgehog]

2024 in Movies: First Quarter

So around this time last year I made a post about how I'd started attending a group movie night my friends do. I usually only attended around Halloween, but they started streaming movies as a group year-round, every Monday and Tuesday, and after a few months, I started setting a reminder so I could participate. It's kind of complicated and involves installing special browser scripts and may not entirely be above board, but it's only for like five people, so whatever.

Last year I listed out all the movies I'd watched. People do "challenges" to ingest 52 pieces of media a year. One a week. So they'll do 52 books, or 52 movies, etc. I think after six months of attending my group movie night, I was up to around 60 or 70 movies.

But that was 2023. It's 2024. I attended most movie nights, on top of this putting me in the mood to watch more movies on my own time. This year? 153 movies. Three times what's supposed to be a challenge for some people! Here's what I watched this year.

Unfortunately, Tumblr absolutely refuses to let me post the entire thing in full. I assume it's because it's a giant list of 153 links. It doesn't actually tell me what the problem is, it just gives me a vague "Sorry, there was an error saving your post." So we'll have to break it up by quarters:

📆 January 2024 Merry Little Batman ⭐⭐⭐ 1/2 Ralph Bakshi's Wizards ⭐⭐⭐ Belle ⭐⭐⭐1/2 Lupin the Third: Castle of Cagliostro ⭐⭐⭐⭐ The New Adventures of Pippi Longstocking ⭐⭐⭐ Coneheads ⭐⭐⭐ 1/2 Child's Play ⭐⭐⭐⭐⭐ The Land Before Time ⭐⭐⭐⭐⭐ Fantastic Planet ⭐⭐⭐ Fantastic Mr. Fox ⭐⭐⭐⭐⭐ Mad Monster Party? ⭐⭐ Frankenweenie (2012) ⭐⭐ 1/2 Planes, Trains and Automobiles ⭐⭐⭐⭐⭐ Paddington ⭐⭐⭐⭐⭐ Paddington 2 ⭐⭐⭐⭐⭐ Looney Tunes: Back in Action ⭐⭐⭐⭐ Justice League: Warworld ⭐

📆 February 2024 Ginger Snaps ⭐⭐⭐ Gremlins 2: The New Batch ⭐⭐⭐⭐⭐ From a Whisper to a Scream ⭐ 1/2 Wonka ⭐⭐⭐ 1/2 The Stepfather ⭐⭐⭐ 1/2 Stepfather 2 ⭐⭐ Spider-Man: Across the Spider-Verse ⭐⭐ 1/2 Puppet Master 4 ⭐⭐⭐ 1/2 Nimona ⭐⭐⭐⭐ 1/2 Puppet Master 5 ⭐⭐ Spooky House ⭐ Leatherface: The Texas Chainsaw Massacre III ⭐ Joy Ride ⭐⭐⭐ 1/2

📆 March 2024 Star Trek: The Motion Picture ⭐⭐⭐⭐ James Bond: Tomorrow Never Dies ⭐⭐⭐ 1/2 Dungeons & Dragons: Honor Among Thieves ⭐⭐⭐⭐⭐ Star Trek II: Wrath of Khan ⭐⭐⭐⭐ The Human Tornado ⭐⭐⭐ 1/2 The Lighthouse ⭐⭐⭐ Star Trek III: The Search for Spock ⭐⭐⭐ Dolemite is My Name ⭐⭐⭐⭐ Star Trek IV: The Voyage Home ⭐⭐⭐⭐⭐ Dune (1984) ⭐⭐

[daddy-ul]

Master of Puppets part 1 - It’s Electric -- abt Cliff (2)

Kirk: I just remembered something: Cliff was a big REM fan

Lars: oh yeah, I remember that

Kirk: and he actually turned us into them

Lars: sure

Kirk: again

Lars: Lifes Rich Pageant

Kirk: Life Rich Pageant, and I remember him just wanting to do just, again like a call-response thing that was very similar to REM was doing at that time

Kirk: and he was like “we are gonna start doing this cool, you know, one guy sings and another guy finishes the line” and-- and remember him just like very adamant about that once he heard--

Lars: did that weaved into a particular song?

Kirk: I, I...

James: yes, but no one else could sing, so it didn’t work

Lars: *laughs*

Kirk: yeah, exactly

Lars: *laughs louder*

James: he was definitely into what was really unique about them back then is... there were 2-3 different verses, but they were all sang at the same time, and they would just gonna go over each other; there was no specific way of doing it.

James: Cliff loved caos that way, musically, things where weren’t supposed to be normally, so he loved that and I think that the issue was no one wanted to step up to the mic and do the other part

Lars: yeah and it’s intresting you say that because the stuff you and I came out with, especially me, was about order and about... you know “bridge-chorus-bridge-chorus” and making it very easily digestable

Lars: and all of those New Wave Of British Metal things were all 3 minutes, and it was just super... y’know, easy to sort of understand and wrap your head around and I guess ultimately we ended up with the right balance of those two different elements, y’know

Lars: between chaos and order

[cursedcandyroses]

...And Now the Ramona Park News, Executive Produced by Vincent Staples

“Summertime 06″ was Vince giving a first person view of the world he grew up, with the mind state and fear based instincts of someone who was bred to either rule or perish, no in between. “Big Fish Theory” was Staples taking 10 steps back, and expanding from his birthplace to the world around him today and 1000 years in the future. Now with FM!, Vince comes back home to see the only thing that’s changed is his perspective on the place he grew up in with the recognition of an audience who does nothing but gain from his people's pain. 

     “FM!” came with short notice, and a short run time, but though 22 minutes zooms in and out and works as the watershed moment to solidify Vince Staples as less the lead Long Beach correspondent, instead the behind the scenes puppet master of the local news. Months back, on a nightmare trip to Miami I saw Tyler The Creator live with Taco and Vince as the openers. After Taco played an elite DJ set that went from lo-fi Knxwledge knockoffs to Lil Pump, Vince not only put on a show to out do the headliner, he meshed together all his past works, and maybe inadvertently his future work with his stage show. Surrounding a bullet proof vest wielding Vince were over a hundred rotating screens occasionally fizzing in and out with news anchors telling the troubles of the world today. Following these messages, came a small suite of album cuts fitting the theme of these news clips. Seeing Vince live was eye-opening, not just because it showed how deeply rooted Vince is to this art shit, but the fact that the fan base that embraced and helped break him does not give a flying fuck about that artistry or the new sounds that it breeds. Even after struggling to leave the venue just to see my Santa Fe behind the locked gates of a parking garage with no operating hours or emergency numbers attached, in the back of my mind the crowd still confused me. I’ve been to handfuls of concerts before, and never have the openers and headliners had such a directly connected audience, and never have I seen a less enthusiastic crowd when Vince touched the stage. Given, the Odd Future fans of old that still hold a beef against 2DopeBoyz and Steve Harvey for no reason other then Tyler told us to, are not one in the same with the very young pastel bearing audience a 2018 Tyler the Creator show brings in. After taking the wrong Uber to a hotel with zero reviews & one overpriced room left on the other side of town, a very embarrassing call home on why I wouldn’t be home that night, and many months passed, I saw the video for “FUN!”. A look into his Ramona Park neighborhood by way of a Google Maps camera, ending with a young and frightened white kid closing his laptop to run downstairs for dinner. A kid who fit the demographics of said 2018 Tyler The Creator shows to a tee.

     Artists like Nas, Biggie, Boosie, have had their careers defined by how great their storytelling is. Vince is another person who should be sworn into this exclusive club. Though he doesn't always focus on direct narratives the way they do, Vince can create an ethereal feeling within his records that makes him less a narrator, and more the director of the film that’s being told. This new vision of stepping out of the spotlight and letting the scenery tell the story makes hip-hops most popular crip (next to the Patron Saint of Long Beach himself) like few before him. Acting as the voice of the people most times comes not from the want to do so, but more it’s all they know. It’s an option to all artists, but best done unconsciously. An obligation forced on to artists today is one to be political and forcing these conversations to be had by people who are uninformed, misguided, or frankly are too twisted to be given a platform for these views. Again, Vince is none of these. Rather he’s a young man who sees what’s going on, knows why it’s going on, was once a part of the problem for survival, and now has the platform and mindset to push forward change for the better. 

     Bringing along Big Boy and his radio show cast to ease his new report along the way the stage screens did, with Staples being less the centerpiece and more the glue to hold the show together. In 11 tracks E-40, Ty Dolla $ign, Kamiyah, Kehlani, Jay Rock, Earl Sweatshirt (!!!!) and Tyga (??!!??) manage to show their faces, along with background vocals from other acts of the West Coast’s never ending pantheon of acts. Bars flowing with peanut gallery humor, gun talk, and remorse over window breaking bang alongside production almost entirely from producer of the year, Kenny Beats with co-producer credits coming from Cubeatz (co-credits on R.I.C.O., THat Part) and Hagler (co-credits on Trophies, Teenage Fever). Kenny has been omnipresent this year with his ear popping, high energy collabs with 03 Greedo, Rico Nasty, Key! and Zack Fox all while another album with ALLBLACK sits in the tuck for later this month. At first glance the crowded credits are overwhelming but with Vince having such a clear vision for his projects yet again, every cog rotates with ease. Collaboration and storytelling are the foundation rap was built on when it was all James Brown and disco samples 45 years ago in the Bronx, and in 2018 a kid from Long Beach can play puppet master behind a head rush of an LP with these same ideals and still sound like no one else. 

Best Tracks: “Don’t Get Chipped” & “Tweakin’”

Best Verse: “Run The Bands” Verse 2

Best Beat: “Relay”

[unprofessionalmusicrater]

Metallica, 'Master of Puppets' (#97)

Master of Puppets was Metallica bassist Cliff Burton’s last album with the band. After his death in 1986, Master of Puppets (which was already wildly popular), became a way for hardcore fans and casual listeners alike remember an artist that brought them such joy. The album focuses on the rage and terror drugs bring, and the energy it hopes to capture definitely bleeds into the music. The opening track, “Battery”, does not wait for listeners to settle down for Metallica to do what they do best: electric guitar solos. While the track is 5:12 long, the energetic and aggressive guitar chords speed the song along and it’s over before you know it. The self-titled track of the album lands spot number 2 in the order. “Master of Puppets” builds an electric guitar looping to the first verse where lead singer James Hetfield repeatedly uses the words “faster” and “master” to paint a violent picture not for the faint of heart. At around 3:45, “Master of Puppets” slows down and allows a mesmerizing guitar solo to take hold of the listeners. While at first I did enjoy the vibe Metallica had going for it, by the 3rd track, “The Thing That Should Not Be”, I was tired of it. One problem I found with the entire is album is the repetitiveness of many of the tracks. I found the most meaningful song on the album to be “Welcome Home (Sanitarium)”, where the band dives into other emotions like fear and sadness, made clear through the slow background and heartfelt lyrics. 

While I appreciate the concept of the album and the talent that goes behind creating such legendary guitar solos like the ones on Master of Puppets, it was ultimately tracks like “Lepper Messiah” that turned me off. The track had the least amount of creativity put into the lyrics than any other track, and even the guitar was unpleasant. In total the album has a runtime of 54 minutes, and is composed of 8 tracks. The limited number of songs leads to multiple songs ranging well over 8 minutes, and makes the album very tiring to listen to at times. I can understand the appeal Master of Puppets would have to a normal heavy-metal fan, and I respect the contributions Metallica has made to music and rock. Maybe I’m missing something, but to me Master of Puppets feels like 54 minutes of deja vu. 

[surviiived]

Emily Dyer

=BASIC INFO= FULL NAME: Lydia Jones (birth name) NICKNAME(S)/ALIAS(ES): Emily Dyer, the Doctor, Survivor PRONUNCIATION(S): Em-i-lee AGE: 27 GENDER: Female SPECIES: Human BIRTH DATE: March 17th SEXUALITY: Bisexual =PERSONALITY= PERSONALITY: Calm, collected, mild mannered, serious, intelligent, responsible, straightforward, nervous (at times), paranoid EMBODYING QUALITY/IDEA: A doctor who is always trying to do what is best for her patients, as she’s made too many mistakes in the past to allow them to repeat. LIKES: Books, herbs, helping people, treating patients,  DISLIKES: Coyotes, not being useful, lying FEARS: Having her past catch up to her WEAKNESSES: She is too paranoid and is very quick to think people are out to get her and know about her secrets. Most of the time, she catches herself when she’s spiraling and calms down, but this happens many times every day. STRENGTHS: She is very responsible in a motherly way. If one of the other survivors doesn’t take care of themself, she will scold them in a caring way and will help them. SPECIAL/SIGNIFICANT BELONGINGS: Her syringe that she heals with.  =PHYSICAL AND HEALTH INFO= HEIGHT: 5′5″ WEIGHT: 126 lbs BODY TYPE: Physically weak, but not fragile. Slim and of average height.  JEWELRY: Simple stud earrings  PIERCINGS/TATTOOS: Earrings SCARS/DISTINGUISHING MARKS: N/A =RELATIONSHIP INFO= RELATIONSHIP STATUS: Verse dependent  PARENTS: James (alive) and Sarah (deceased) Jones  SIBLING(S): Sarah Ann (younger sister, deceased), John, Alexander, Thomas (older brothers, alive) – BEST FRIEND(S): verse dependent (probably emma) FRIENDS: Emma  ACQUAINTANCES: other survivors ASSISTANTS: N/A GUARDS: N/A ALLIES: Survivors PETS/SPECIAL ANIMALS: N/A – ENEMIES: Freddy, Kreacher (she just doesn’t like them) MAIN ENEMY(IES): Hunters MOST HATED: Herself =STORY INFO= STATUS: Alive BACKSTORY: Lydia Jones was born into a middle class family and the youngest of five children. She had three older brothers and one older sister. Her father was an excellent shoemaker, which is where the family’s currency came from. Her brothers helped their father with the family business, which left Lydia to tend to their family as a “woman should do” in that time. Her sister, Sarah Ann, died at the young age of 6 (Lydia was only 5 at the time) which severely damaged her mother’s mental health. On top of mental health, her mother developed the illness typhus, which only made her more mentally ill. Lydia was the only one who could take care of her since her brothers and father were so busy with the business. Lydia dealt with her mother’s harsh outbursts and cared for her until her death three years later. Tending to her mother affected her greatly, as she developed a resolve that she would never let someone die of an illness if she could help it ever again. It also made her interested in the medical field and learn of how mental illness can take over someone’s mind. After her mother died, she completed her primary education. Her father was willing to pay for a bit of college for her, but he didn’t believe a woman should get too much of an education and instead take care of the family from home. After getting a taste of med school, Lydia knew that this is what she wanted to do with her life for sure. She started doing minor procedures on her peers in order to make enough money to continue her education, often experimenting on herself to learn what her schooling hadn’t taught her yet. After graduating, she opened her own clinic. Lydia’s clinic started off strong but quickly began to plummet in money—after all, who would ever want to go to a female doctor when they could go to a male one? In order to compensate for her lack of funds, she began to offer secret—and illegal—treatments to patients who actually would want a female doctor performing on them. To make money for the business, Lydia began to perform abortions on her patients, no matter what the circumstance was—as long as they could pay. During this time, she also volunteered to work at the White Sand Street Asylum on Wednesdays. This started out to help people with mental disorders like her mother had, but soon the people here started to force her to do procedures she didn’t want to do—one of them being electroshock therapy on Lisa Beck, who Lydia promised to cure and was unsuccessful. It got to the point where Lydia started to refuse to treat the patients at the mental asylum—that was the first mistake she made. After refusing to ever come back, Lydia became terribly paranoid that she would get in serious trouble for not doing as the asylum wants of her. Soon, while she was in the middle of an abortion patient’s treatment—for Martha Remington—, Lydia began to fear that the people who work for the asylum were just outside her clinic and that she had to run. The paranoia heavily disrupted her decision making and she left Martha and her unborn child on the operating table to die. It wasn’t until the next day that Lydia realized just what she had done. Realizing she’s ruined not only her reputation but her life, Lydia became on the run and changed her name to “Emily Dyer”. Emily was distraught and didn’t know what to do with her life, that is, until she received a mysterious letter telling her to go to a manor and play a game to right one of her past wrongs. Now, she has taken it upon herself to heal whoever needs her at this manor and to make sure Emma Woods—or Lisa Beck—is alright. At least now she could save Lisa... – PLACE OF BIRTH: England PAST LIVING QUARTERS: England CURRENT AND FUTURE HOMES: Oletus Manor – NATIVE LANGUAGE(S): English LANGUAGES SPOKEN: English, Bits of French =TALENTS/OCCUPATION/EDUCATION= OCCUPATION/JOB: Doctor (previously) BOSS: Herself (owned her own clinic) TALENTS: Medical knowledge  YEARS OF EDUCATION: 17 LEVEL OF EDUCATION: Med school graduate (top of her class) =GAMEPLAY= WEAPON/ITEM: The elixir in her syringe can heal any injuries no matter what is broken or wounded. Med Master: Carries around a syringe and can heal herself when wounded. The Doctor can heal fatal wounds quickly. Whenever the syringe is used to heal herself, her injuries are reduced by 25% and the time required for self-healing is reduced by half. Due to her medical background, syringes are not depleated when used. Med Elite: Can detect and heal even the slightest injuries. The speed of healing others is increased by 60%, and self-healing speed is increased by 20%. All teammates’ healing speed is increased by 5%. Haughty: Physically weak. Vaulting speed is decreased by 10%. Veterans: Veterans are more vigilant than novices and gain an additional 2 sec boost when hit. EXTERNAL TRAIT: N/A ABILITY: N/A PERSONA: Spectator, Borrowed Time =VERSES= ~ᵗᵃᵏᵉ ᵐʸ ʰᵃⁿᵈ ᵃⁿᵈ ˢᵉᵉ ʸᵒᵘʳ ᶦᵈᵉⁿᵗᶦᵗʸ~ |COA Verse|: Lydia Jones was once the doctor of a crew of pirates. She was strict, witty, and allowed for no bullshit on the ship—a force to be feared and respected. But after a disaster that destroyed her ship and killed her crew, Lydia died along with her found family—until she was brought back to life by the Netherwalker. Now under the impression that her name is Emily and with no memories of her life before, this Rebirthed woman struggles to find her place within the Abyss. She wants to aid in the heroes of the Bureau but little does she know that she is merely a puppet for their greatest enemy to tow with.  ~ʷᵉ ʷᵉʳᵉ ⁿᵉᵛᵉʳ ᵈᵉˢᵗᶦⁿᵉᵈ ᵗᵒ ˢᵘʳᵛᶦᵛᵉ; ᶠᵒᵘᵍʰᵗ ᵒᵘʳ ʷᵃʸ ᵗʰʳᵒᵘᵍʰ ᵈᵉᵃᵗʰ ᵗᵒ ᶠᵉᵉˡ ᵃˡᶦᵛᵉ~ |Hunter Verse| Alias: The Black Death Past: Emily—or Lydia, at the time—wanted to be a surgeon. She found a certain thrill in the sight and smell of blood, and she wanted to “help” her patients by removing their “injured parts” permanently... But during the plague, surgeons weren’t at all needed and instead forced to work as regular doctors. When Lydia got ill with the Bubonic Plague, however, she didn’t die—not all the way. She continued to “live” and soon found her body was decomposing itself, so to regain her youth and beauty, she “borrows” the skin of unsuspecting people and operates on herself to replace her decayed skin with healthy flesh. She came to the manor so she can operate on more patients, and she was never one to turn down a bit of blood and pain~ (Ask me for a pic of what she looks like, cause I’ve drawn it out!!) Abilities: Emily has scalpels attached to her fingers. This and her medical knowledge allows her to make the most of her attacks, giving her attacks worth 1.5%. She can see the outline of anyone who is injured (beyond 25%) that’s within her fear radius—even on the very edge—due to her medical knowledge. She can create a mist thick with dangerous bacteria around an area, and the longer a survivor spends in this area, the more their health drains until they are incapacitated.  ~ᵒᵘᵗ ᵒᶠ ᵗʰᵉ ᵈᵃʳᵏ~ |Out of the Manor Verse|: This is a verse that all of my muses have. This ‘verse’ contains all AU threads, crossovers, and just any interaction that doesn’t take place within Oletus Manor.

like this post if you have read it and agree to it, please.

[documentaryoncinema]

Documentales, 19

‘Necessary Evil: Super-Villains of DC Comics’, Scott Devine, J.M. Kenny, 2013, VOSE.

Los malvados y muchas veces carismáticos villanos de DC Comics son analizados por guionistas, directores, actores y responsables de la editorial.

‘The New cinema’, Gary Young, Michael Heilemann, 1968, VO. 

Entre la Nouvelle Vague y el neorrealismo italiano, Europa había sido objeto de una transformación continua en cine desde la década de los 50, mientras el sistema de estudios en América gimió bajo su propio peso e inercia. Un nuevo Hollywood había llegado con ‘Bonnie y Clyde’ en 1967, y ya en 1968 se pensó cambiar la forma narrativa. 

De acuerdo con la descripción en YouTube aparentemente el documental nunca se emitió en televisión, ofrece una mirada fascinante a cineastas jóvenes de finales de los 60 y entrevistas de Gene Youngblood con George Lucas, que proporcionan un aspecto sobre su temprana carrera y la determinación de rebelarse contra las fuerzas dominantes de Hollywood.

Con la presencia de Peter Fonda, Dustin Hoffman, Roman Polanski y Sharon Tate, Andy Warhol, Francis Ford Coppola y George Lucas entre otros.

‘William S. Burroughs: A man within’, Yony Leyser, 2010, VOSE.

Sobre William S. Burroughs de la vida y la obra del que fue calificado como el mayor exponente de la contracultura americana.

Narrado por el actor Peter Weller, con imágenes de archivo inéditas hasta el momento y numerosas entrevistas a amigos y artistas como Iggy Pop, Patti Smith, Genesis P-Orridge, John Waters, Gus Van Sant y David Cronenberg entre otros.

‘Milius’, Joey Figueroa, Zak Knutson, 2013, VE.

Sobre la historia de uno de los directores y productores más controvertidos de la historia de Hollywood, John Milius. Desde sus aspiraciones infantiles por unirse al ejército hasta su abandono de la industria del cine por sus creencias radicales y comportamiento volátil, Milius ha dejado un trabajo legendario en películas como 'Apocalypse now’, 'Tiburón’, 'Conan el bárbaro’ o 'Harry el sucio’.

Cuenta con la participación de él mismo, Charlie Sheen, James Earl Jones, Sam Elliott, Ed O'Neill, William Katt, George Hamilton, Kurt Sutter, Randal Kleiser, Lorenzo di Bonaventura, Bob Gale, Paul Schrader, Bryan Singer, Oliver Stone, Kathleen Kennedy, Matthew Weiner, Harrison Ford, Sylvester Stallone, Arnold Schwarzenegger, Richard Dreyfuss, Steven Spielberg, Clint Eastwood, Martin Scorsese, Francis Ford Coppola, Robert Zemeckis y George Lucas entre otros.

‘Cinema komunisto’, Mila Turajlic, 2010, VO.

Aunque Yugoslavia haya desaparecido como país, todavía existe en las películas: por ello se convirtió en una nación puramente cinematográfica.

De ello trata el documental que narra casi cincuenta años de la construcción de una identidad nacional a través del cine.

Desde un exhaustivo rastreo de archivos, la directora serbia Mila Turajlic logró narrar toda la dimensión épica de la República Federal Socialista de Yugoslavia, centrándose especialmente en el afán cinéfilo de Josip Broz, el Mariscal Tito, primer ministro entre 1963 y 1980, contada por su proyectorista privado, un personaje extraordinario llamado Leka Konstantinovic.

Con cameos antológicos de Alfred Hitchcock y Orson Welles, esta historia del cine yugoslavo es un álbum completo del apogeo del género bélico en su máxima versión antinazi, una cronología sobre la megalómana pulsión de producción que supera cualquier verosímil y, sobre todo, un catálogo lujoso de la grandeza aventurera perdida del cine industrial.

‘Easy riders, raging bulls: How the sex, drugs and rock 'n’ roll generation saved Hollywood' (‘Moteros tranquilos, toros salvajes: Como la generación del sexo, drogas y rock ‘n’ roll cambió Hollywood' - ‘La generación que cambió Hollywood. Easy riders, raging bulls’), Kenneth Bowser, 2003, VO - VOSE.

Basado en el libro con el mismo título de Peter Biskind sobre la generación de directores que dominó el cine estadounidense en los años 70.

Con la participación de Coppola, Scorsese, Bogdanovich, Arthur Penn y Peckinpah entre otros.

'La verdadera historia de Fiebre del sábado noche', Anthony Uro, 2010, VOSE.

‘Rewind this!’, Josh Johnson, 2013, VOSE.

“Rebobine, por favor.

Los cambios tecnológicos en los dispositivos de consumo audiovisual han tenido un gran impacto en la manera de ver, conservar y realizar cine, televisión y otras formas de la comunicación audiovisual. La actual revolución digital del cine se vio en cierto modo prefigurada por el impacto que produjo en los primeros ochenta la consolidación del vídeo doméstico.

El documental ’Rewind This!’, dirigido por Josh Johnson, 2013, que pudo verse en el pasado Festival de Sitges y que ha tenido un pase reciente en el canal especializado en cine TCM, es una oda al VHS. En una estructura clásica de documental divulgativo, Rewind This! presenta a lo largo de su metraje a una serie de personalidades singulares cuya vida, trabajo o forma de pensar y sentir el audiovisual se han visto marcados por el VHS. Son coleccionistas cuya máxima pasión es escarbar en ignotos mercadillos en busca de piezas olvidadas por el tiempo, cineastas independientes, empresarios avispados que supieron ver la revolución que se acercaba, o aficionados de la vibrante escena de Austin, Texas, cuna de algunas de las más estimulantes convulsiones en la cinefilia contemporánea. Todos estos personajes insisten con sus testimonios, opiniones y análisis en la idea de que la consolidación del VHS como soporte para el consumo audiovisual a lo largo de los primeros años ochenta del siglo XX supuso una serie de cambios notabilísimos que cambiaron radicalmente el panorama del cine y que fueron, sin duda, el detonante de las condiciones que dan forma a la actual era de hiperinflación de vídeo.

En primer lugar, el VHS fue la piedra angular del cambio de nuestra relación con la televisión, al introducir la posibilidad de lo que se conoce en el ámbito especializado como time shifting (grabar los programas de televisión para verlos en un horario más conveniente). De hecho, puede decirse que el VHS nació, quizá no como tecnología, pero sí como producto de consumo, para grabar televisión. Pero la liberación del sometimiento al horario de emisión (que, en realidad, tampoco parecía una reivindicación mayoritaria) no fue la única consecuencia. Esa capacidad de registro para el visionado diferido se traduciría, también, en una capacidad de archivo, lo que acabaría teniendo un impacto sensible en los cinéfilos, al crear las condiciones para generar colecciones cinematográficas particulares.

Algo más tarde llegaría la otra gran transformación provocada por el VHS: la popularización del consumo doméstico de películas. Rewind This! narra aquel momento fundacional en el que Andre Blay solicitó a las majors los derechos de explotación de sus películas en formato de cinta magnética doméstica. Todas las majors declinaron excepto Fox. Pero la realidad se impuso, y pocos meses después, las grandes productoras-distribuidoras habían creado sus propios sellos de vídeo, iniciando así la transformación más profunda que la industria de los contenidos audiovisuales haya tenido en su historia. Para entender la magnitud de tal cambio, baste pensar en dos fenómenos. El primero es la importancia que desde entonces han tenido los beneficios por explotación de vídeo doméstico en la cuenta de resultados de cualquier major. El segundo es la irrupción en el ecosistema industrial del audiovisual de nuevas prácticas empresariales y nuevos enfoques del negocio. El productor, director y guionista Charles Band, máximo responsable de la que fuera una de las más destacables productoras independientes de los años ochenta (Empire Pictures), reflexiona sobre este fenómeno de forma muy clara en Rewind This!, cuando explica que, aunque las diferencias de presupuesto entre Terminator 2 y su producción Puppet Master fueran enormes, ambas ocupaban en el videoclub el mismo espacio y luchaban por el mismo público. En la época del dominio incuestionable del blockbuster en las salas de cine, los videoclubes fueron una saludable ampliación del campo de batalla para la competencia entre productoras y distribuidoras y el caldo de cultivo para la eclosión de toda clase de cineastas independientes. Aún más, el concepto de cineasta independiente amplió sus límites notablemente, para incluir a realizadores de guerrilla armados con una cámara doméstica.

Estas líneas han comenzado apuntando que las transformaciones que produjo el VHS prefiguraron el momento actual de la cultura del vídeo. Quizá se entienda mejor diciéndolo de otro modo: hay mucha menos distancia en el salto del VHS a la combinación de vídeo digital e Internet, que en el salto del cine doméstico en formato Super8 al VHS. En la actualidad, aunque no haya desaparecido el evento televisivo en directo, el time shifting es una práctica casi generalizada, el consumo en casa es ya la forma privilegiada de ver cine y la producción amateur vive su minuto de oro gracias a la combinación de los millones de cámaras de vídeo disponibles en toda clase de dispositivos y los servicios de alojamiento de Internet. Y lo que creó las condiciones para ese cambio tecnológico y cultural fue el VHS.

Y ahora viene lo que para el autor de estas líneas es la coda triste de la historia: más de dos décadas después del momento de gloria del VHS, los amantes del cine doméstico en formato físico nos vemos obligados a batirnos en retirada. El streaming, el VOD y las descargas, tanto legales como alegales o ilegales, se convertirán definitivamente en las formas habituales (si no las únicas) de consumo cinematográfico en casa, dejando nuestras estanterías de discos (dvd y blu-ray) como reliquias. Pero, y pido disculpas por el exceso de terminología militar, después de la retirada viene la guerra de guerrillas. No debería resultar extraño, por tanto, que algunos de esos amantes, convertidos en guerrilleros, hayan comenzado a rebobinar la Historia, reivindicando aquellas cajas de sueños hechas de cinta magnética envuelta en enormes y poco prácticas cantidades de plástico.”

Publicado originalmente en COMeIN. Revista dels Estudis de Ciències de la Informació i de la Comunicació de la UOC, 27 (noviembre de 2013) por Jordi Sánchez Navarro, investigador y profesor de comunicación (UOC). Programador en Anima’t de Sitges Festival Internacional de Cinema Fantàstic de Catalunya.

‘Perdidos en La Mancha’ ('Lost in La Mancha’), Keith Fulton, Louis Pepe, 2002, VOSE.

En 2000 Terry Gilliam intentó llevar (ABC.es) El Quijote a la gran pantalla en un proyecto titulado 'El Hombre que Mató a Don Quijote'. Sin embargo una serie de desgracias para la historia del cine hace que nos tengamos que conformar con el documental sobre el rodaje de éste magnífico sueño de Gilliam en España que ahora piensa reanudar.

En el puede verse como los técnicos se desesperarán por el modo de trabajar de Gilliam, una mente caótica y genial donde hierve una imaginación desbordante, y por los accidentes, lluvias y productores intransigentes.

'American movie’, Chris Smith, 1999, VO.

Sobre Mark Borchardt, un aspirante a director de cine que trata de financiar el proyecto de sus sueños y poder así terminar de rodar su película, de terror y de bajo presupuesto que había abandonado años atrás. Wikipedia.

[airadam]

Episode 129 : Wheel And Come Again

"I don't wanna be a playa...I just coach the team."

- Lord Finesse

I had a new experience recording this episode - making an error which meant I had to re-record the whole thing again! Still got it out on time, and so we have our annual tributes to the catalogues of J Dilla, Big L, and Big Pun - alongside some other heavyweight picks. We open proceedings with something fairly topical...

Twitter : @airadam13

Playlist/Notes

Ice Cube : Chase Down The Bully

The recent march in Washington DC by masked white supremacists (with a police escort, at that) put me in mind of the Charlottesville rally in 2017, which is sampled in the intro to this track from "Everythang's Corrupt", and made this a fitting opener for the month. Ice Cube may be running a basketball league and making family films now, but he can still bring the righteous fire on the mic whenever he chooses. Beau James' beat has the kind of heft needed to match, although I think the little breakdown on the second half of each verse could have been swapped for more of that heavy main loop!

J Dilla : Jay Dee 37

I don't think I've played this one before - with so many Dilla beat compilations created over the years, filled with tracks with no real titles, it's easy to make a mistake! This is taken from the 2016 "The King of Beats" release, and it's a neck-snapper for real - doing the most with just bass, a simple drum pattern, and a few keys. 

Jay Dee ft. Frank N Dank : Pause

If you're a fan of the man's work to any substantial degree, you'll know this one - a favourite at every tribute night and on mixtapes for sure. Frank N Dank grab the mics and swagger all over this one with the kind of lyrics that make the whole crowd join in! This banger was a clear standout on his solo LP "Welcome 2 Detroit", which was the first of the "Beat Generation" releases on BBE. There's a specific reason why that LP was first - many of the other producers signed up were so intimidated by the total free rein they were given, they let Dilla go first to see what he'd do!

D.I.T.C. : Stand Strong

If the lyrics sound familiar to some of you, that's likely because this is basically a remix of the Show & AG track "Dignified Soldiers" (as you can hear in the hook), done for the crew's self-titled LP. I think the original does have the edge, but I wanted to play this for those that may have missed it, and of course for everyone who wants to hear lyrics from the late Big L!

Marco Polo ft. Supastition : Heat

I somehow overlooked this one for quite a while, despite the fact that pretty much any Marco Polo beat is worth your attention, and Supastition is never one to bring a weak verse. Don't sleep - make sure you give "Port Authority" from 2007 a few good end-to-end listens for some straight-up Hip-Hop.

Big Pun : Leatherface

The title may be a reference to "The Texas Chainsaw Massacre", but the sample on the hook and outro tie this one firmly into the infamous motel scene in "Scarface" (actually, doesn't show as much as you remember). This version is from a white label 12", but you can easily find the uncut raw on Pun's second LP "Yeeeah Baby", with the same production by Arkatech Beatz (known elsewhere as Infinite Archatechz). 

Mix Master Mike : Rebel Enforcer

The "Anti-Theft Device" album by one of the founders of the Invisibl Skratch Piklz probably had more straight-up beats (rather than cuts and juggles) than many would have expected before hearing it, and it certainly set out that Mike has a well-rounded skill set. This was a nice inclusion with a few samples heads will immediately recognise alongside others that aren't obvious at all!

Sean Price & Lil Fame : Center Stage

Given the aggression of the lyrics you can actually hear, I can't even imagine what the censored material was! "Price Of Fame" (genius!) is a major Brooklyn team-up of the late great Sean P and Lil Fame of M.O.P, who not only contributes the hook here but also produced the raw beat. His use of the "Brownsville" vocal sample is a perfect, inspired addition! Great video too - worth watching just for the puppet version of Jill Scott :)

DJ Shadow : Walkie Talkie

A producer I know was commenting recently how different DJ Shadow's catalogue has been since "Endtroducing", which is the work that brought him to prominence. That's definitely true, but this track from "The Private Press" has a touch of the energy of something like "The Number Song", as Shadow pieces together pieces of vocal to go braggadocious in his own way over an abrasive beat.

Inspektah Deck : City High

Dug this one out on a mixtape and realised I didn't have a good copy, so digital purchase came to the rescue as I grabbed it from the "The Movement" album. Deck is in solid form describing the grind of trying to come up in NYC - though it's a tale that could fit many other places. Production is by Phantom of the Beats (aka Haas G), whose catalogue has tracks as varied as "Apollo Kids" and "Magic Stick"! This one is soul-sampling crispness from the era when producers were leaving the vocals in and letting them run through the verses; notably in this one, the sample isn't actually saying "city high", but I'll leave you to find it...

Busta Rhymes : Show Me What You Got

One of my favourite Dilla beats gets an outing here, highlighting the fact that the work he did with Busta Rhymes is still probably the most weirdly-overlooked part of his overall production catalogue. The drums lazily skip over a late 90s sample - bearing in mind that this is from the 2000 "Anarchy" album, so this was an unusually contemporaneous sample source - that is guaranteed to move your neck or shoulders!

14KT : Down The Street From Peace

Skills to pay the bills...for everyone on the street. The Michigan native coming out of LA with the ill jazz styles is an absolute wizard on Maschine and this track gives you just a taste. This track is a great example of the work on the "For My Sanity" album, which often throws tradition structure and bar counts out of the window, and embraces freedom and experimentation.

Away Team ft. Nervous Reck : Look

It's been a very long time since we visited the "Training Day" album from the heyday of the extended Justus League crew out of North Carolina, but it's never too late to go back. Khrysis is on the boards with the heat ;) and Sean Boog joined by Fayetteville's Reck, who strides along next to the beat just daring it to say something!

Black Moon : Look At Them

Only partially chosen as a thematic companion to the preceding track, this was from a strangely overlooked LP from last year, the long-awaited return of Black Moon on "Rise Of Da Moon". With Buckshot's slithering flow, 5 Ft giving contrast, and Evil Dee on the turntables and the beats, how could you go wrong? If you've not heard the album yet, do give it a shot.

J.Chambers ft. Koro Fyah : Escape The Kingdom

New single from a Manchester MC who continues to grind on the underground and work on his craft. With the recent resumption of deportations of British Black people to Jamaica, this reggae-fused track is right on time. The Rastafari vocalist Koro Fyah is the perfect addition on the hook for this short and pointed piece.

Gang Starr : Beyond Comprehension

This isn't the first track that comes to mind when I think of the "Step In The Arena" LP, but it's a low-key smoker. Guru's ability to use his monotone style at slow tempos was solidifying in this period , and Premier's scratching fits the beat perfectly.

4Hero : Les Fleur

This is a beautiful cover version of the classic 1970 song by the legendary Minnie Riperton - not an easy act to follow by any stretch! Nonetheless, Carina Andersson does a praiseworthy job vocally over the production from Marc Mac and Dego on a song just made for the springtime. The 2001 "Creating Patterns" LP is the source for this one, an album which has aged very well.

Royce Da 5'9" ft. Cee-Lo Green : Politics

We finish the month with a great track from the time after Royce had build something of an underground audience, but long before much of the wider world had caught on to what he was bringing. This standout from the 2005 "Independent's Day" album is a great collaboration - Nottz' beat is gritty, but is shepherded into a bluesy feel courtesy of Cee-Lo's voice and re-interpretation of an old Spooky Tooth lyric for the hook. Perhaps despite the curses, this track for me definitely fits into the category of "Tracks That Could Play At The End Of A Series Of 'The Wire'"!

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[ao3feed-mythology]

Judgment’s Beginning

read it on the AO3 at https://ift.tt/2IrZGqG

by Darkrealmist

A poem based on the mockery of Judgment, set during The House of the Dead 2.

Words: 301, Chapters: 1/1, Language: English

Series: Part 11 of The House of the Dead Poetry

Fandoms: The House of the Dead (Video Games), Christian Bible, Christian Bible (Old Testament), Christian Bible (New Testament), Irish Mythology, Tarot (Divination Cards)

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: Gen

Characters: Judgment (The House of the Dead), James Taylor (The House of the Dead), Gary Stewart (The House of the Dead), G (The House of the Dead), Caleb Goldman, Amy Crystal (The House of the Dead), Harry Harris (The House of the Dead), Ebitan (The House of the Dead), Randy (The House of the Dead), David (The House of the Dead), Steve (The House of the Dead), Aleister Crowley

Additional Tags: 2000s, Action, Action/Adventure, Adventure, Advice, Alliteration, Anger, Animalistic, Arcades, Armor, Bats, Battle, Beginnings, Biological Warfare, Biological Weapons, Blades, Blood, Body Horror, Canon Compliant, Canonical Character Death, Canon - Video Game, Cars, Chaos, Character Death, Character Study, Complete, Corporate Espionage, Corpses, Creature Fic, Criminal Masterminds, Cross-Posted on FanFiction.Net, Dark Fantasy, Death, Despair, Disasters, Double Entendre, Driving, During Canon, Europe, Evil, Evil Corporations, Evil Plans, Fanfiction, Fanservice, Fantasy, Fear, Female Protagonist, Ficlet, Ficlet Collection, Fire, First Aid, Flying, Free Verse, Gardens & Gardening, Genetically Engineered Beings, Genetic Engineering, Genetics, Genocide, Giants, Gothic, Government Agencies, Guns, Horror, Humanity, Hybrids, Implied/Referenced Character Death, In-Jokes, Insanity, Insults, Invasion, Knights - Freeform, Laughter, Libraries, Loyalty, Mad Science, Mad Scientists, Male Antagonist, Male Protagonist, Master/Servant, Mental Link, Meta, Metaphors, Missions, Monsters, Mutants, Mutation, Mystery, Nature, Nightmare Fuel, Nightmares, Occult, Originally Posted Elsewhere, Originally Posted on FanFiction.Net, Pain, Plague, Poetry, Pride, Prose Poem, Psychic Bond, Psychology, Puns & Word Play, Puppeteer, Rain, Rare Characters, Rare Fandoms, References to Canon, Rescue, Revenge, Saving the World, Science, Science Experiments, Science Fiction, Science Fiction & Fantasy, Second Chances, Series, Shock, Shooting Guns, Short, Short & Sweet, Showing Off, Sins, Spies & Secret Agents, Suffering, Supernatural Elements, Surprises, Survival, Survival Horror, Tarot, Technology, Telepathic Bond, Undead, Urban Fantasy, Unethical Experimentation, Venezia | Venice, Vehicles, Victorian Science Fiction, Video & Computer Games, Video Game Mechanics, Villains, Violence, Weapons, Wings, Wordcount: 100-500, Wordcount: 100-1.000, Wordcount: Under 10.000, Zombie Apocalypse, Zombies, Ambushes and Sneak Attacks, Demons, Skeletons

read it on the AO3 at https://ift.tt/2IrZGqG

[bolides]

@slaughterlocked said: “That’s what my father told me when I was your age.” | tyke & sons starters

silence falls over the pair as the teen considers these words -- something about them bothers him, but he can't quite put a finger on it... until he does.

"your dad actually told you useful stuff? mine usually just ignores my existence or tells me what i'm doing wrong. even when i'm doing nothing. especially when i'm doing nothing."

this last part is mumbled, but the sentiment is clearly still there.

[bolides]

@feralreason said: "it looks like someone bled on that pizza, doesn’t even look like sauce." | jerma985 cooking prompts

"uhh... yeah, i think we messed up somewhere along the way." he scratches his head, looking at the, frankly, abomination before them. "i uh... i don't think they're gonna let us back in the kitchen unsupervised after this."