#rubin icons

[wiltkingart]

patho ladies part 1

[theghoulboysblog]

any leftover candy? trick or treat!!

FOR YOU POOKIE?!? 🤭 always 💋

MARI 🧡

SARA 💚

TAMMY 💛

here’s a collection of photos of the girls serving FACE 🤭 NO ONE IS GIVING ACTOR, ARTIST, AND CEO LIKE THESE THREE ARE 😭😭😭

[vintage-tigre]

[gt-icons]

Random Actress icons

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[donamarocas]

give credits if you repost, please

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Xoxo ❤️✨

[fuckyeslilkim]

Lil Kim's Squat Pose Is Iconic. Its Photographer Discusses it for the First Time

In a rare interview, Michael Lavine discussed the day he shot Lil Kim’s Hard Core cover, the booklet, and that feisty, nearly 30-year-old poster we just can’t get enough of.

Even though Michael Lavine has photographed OutKast, Ghostface Killah, JAY-Z, Missy Elliott, Foxy Brown and many others, he didn’t start out capturing larger-than-life rap acts. Like multiple moments throughout his career, he just fell into the next phase of artistry, which was deifying a generation of Black storytellers.

Lavine’s interest in photography goes way back. He led his high school’s yearbook committee as the head photographer. Soon after, at Washington’s Evergreen State College, he studied traditional street photography in the style of Robert Frank and Garry Winogrand. While in Washington, he befriended the group responsible for the record label that became Sub Pop, and documented a then-emerging sound that, to this day, continues to inspire chart toppers. He wasn’t interested in being married to any particular genre or group though, because boxing yourself in isn’t the move. “I just never felt comfortable kind of being pigeonholed in anything to my own detriment. It's not good for business to do that,” he said. “You're supposed to kind of dive in, not pull away. But that's just how I was wired. I wanted to do my own thing.”

After fostering the trust of music industry greats (“I started working for Rick Rubin. He was one of my first clients and he hired me to shoot a bunch of his Death American acts because he was starting to do metal at that time,” Lavine recalled) and becoming a Black Book highlight, he fell into shooting some of the biggest rappers on the scene. His knowledge of capturing Black talent helped. “I was very good at skin color and doing warm skin tones and lighting people,” he said. “For some reason, I think there was this problem with white people who didn’t understand how to light Black people, which was just ridiculous.”

In short, he came, he saw, he snapped. Legacies were cemented in the process, most notably with an image of one of the greatest female rappers that has become one of hip-hop’s most beloved and recreated photos — Lil Kim’s iconic squat seen ‘round the world.

Below, the retired photographer gave Okayplayer a rare interview where, for the first time, he discussed the day he shot Lil Kim’s Hard Core cover, the booklet, and that feisty, nearly 30-year-old poster we just can’t get enough of.

This interview, which took place over multiple conversations, has been edited and condensed for clarity and length.

When did you first meet Lil Kim?

The date was 7/30/96. The anniversary just passed.

What was your first impression of her?

My impression overall was she was not like she is, as in the present. She was very quiet and under the thumb of Big Un. Remember Big Un?

Are you talking about Lance “Un” Rivera?

Yeah. He was there. He was the man in charge of her and was kind of in control of the shoot. Kim didn't say a word. I don't think I spoke to her once about anything, but we had a nice rapport in front of the camera. She was great and we made a lot of pictures together, but I felt like there was this circus going on around us and it was just me and her. You get this intimate bond with your subject a lot of times. She's in her lingerie and rolling around on a bed. So, I was trying to be my normal, respectable self, and being professional and making the images with her in tandem.

I would direct her like, "Let's try this. How about coming over here? What if we lean this way?" There were a lot of sets. We had rented a brownstone in Manhattan probably. It was a couple floors. It might have been two floors. So there was a bedroom, a little balcony, a fireplace, and those big doors.

I interviewed Kim last year and she told me she just kind of dropped into the squat pose naturally.

It was very spontaneous. When you're doing photo shoots, at least when I was working, it was an organic process and you let things happen. It's like a creative flow. Whenever you have a creative director there holding out a [composition] like, "Here, do it like this," it just was always bad and kind of nothing. It was like the safest way to get whatever it is that they had in their minds. But to make a great photograph you have to let things happen. You just have to go with it.

There was no layout for her to do that pose. It just was natural. Part of it, I spent a lot of time low angle, meaning I was always kind of lying on the floor, crouching down myself. So, it's possible that one of the reasons she did it was because I was probably sitting on the floor looking up at her because that's kind of how I do. My style was based on the hero, meaning my job was to make people look like heroes with iconic style.

My style was based on making people look cool and giving them lots of options. So, we would take a lot of different kinds of photographs. I used different kinds of lighting. We moved very quickly. A lot of things happened and it was very much an exciting experience. Somebody had a set prop person there bringing flowers. For the cover shot, we had all those flowers in front of the fire, and the bear skin rug we brought that in. It was a normal hip-hop shoot. I was intimidated. It was a very hard day. Everybody was being kind of tough and intimidating, and nobody would talk to me.

Were you scared?

I was never scared, but they all had guns. It's not that I was scared..scared is not the right word. It's more like I felt kind of out of place a little bit. I didn't even speak with Kim. I was dealing with Un mostly, and Un had a lot of ideas. So we were trying to do all the things. I was getting coverage for him. He wanted to have her hold the honey bear. Remember, there's a shot of her holding a honey bear on the black satin sheets? We had a lot of props. I had a props guy. His name was Jerry Schwartz. He was very good and we had brought a bunch of stuff.

So, for example, I remember Puffy came in for a shot and I did one shot with Puffy and Kim together. And Puffy, I worked with him many times. He didn't even say hello to me.

I was just like, “Really? Do you have to be that way? You're so cool you don't want to embarrass yourself talking to the photographer, actually acknowledging him?”

I never really felt at home around Puffy. I think at that time, because I don't think he's like this anymore, but at that time he was — and I know this happened to several other people that I've witnessed throughout their careers — they're really striving. It's very hard at the beginning and they'll push, push, push. They're just about their thing and they don't care about you. So, he was yelling at everybody all the time.

On set that day?

Not that day. Other days.

Oh, just in general?

Just in general. Barking orders. But that day he came in briefly and we did the shot and then he left. There's one shot, I don't know if you've seen it, of them together on a wall. I don't even know why he was there. I can't remember. He had something to do with the record, I guess.

"There was no layout for her to do that pose. It just was natural," Lavine said of the image.

The image came out as the poster, “Lil Kim Coming Soon.” When you're there that day, you have no idea what images are going to stand out. Zero. There's just no way anyone could know. It isn't until there's time to contemplate the session when you edit it and you start to live with the images. And the graphic designer who, I can't remember who it was. Maybe you can find that out.

Maybe.

Let's see if there's a name on here. I don't know. Big Beat records? I don't know who that would've been. Atlantic maybe? I think it was Atlantic Records, no?

Lil Kim was [signed to] Atlantic.

It was Atlantic? Maybe it was, I don't know who it was. Liz Barrett? There were a bunch of people in the Atlantic art department at the time. I could probably look at the invoice.

Do you still have the invoice?

I don't know. Let's see if I do. '96...

If you do, you're the best records keeper of all time.

Yeah, there's Kim and Puffy right there. I have the whole job here. Ed and Carl were my assistants. The location was 24 West 10th Street. That's where we shot it. Here's something for you. Ready for this?

Yes.

So, these are notes from my conversation with the manager. "Little Kim. Female. She's the other woman, somersaults in bedroom, not raunchy. Doorway of bedroom, satin sheets. Blouse, undone. Honey in hair, on bed and on phone. Down pants. Unbuttoning pants. No whips and chains. Classy, sexy, lush, lustful. Candles in the background. Fruits and chocolates." There you go.

The notes Lavine was given prior to the Lil Kim shoot.

So, those were the notes that you were given before the shoot?

Yep. Those were the notes I was given before the shoot.

"Not raunchy" really stands out because I think you conveyed that.

"Not raunchy" — peekaboo, sexy shit.

Oh, man. Well, you did it. You accomplished the goal. And that actually flows really well into my next question, which was what do you believe they were trying to convey with the shoot?

It was funny that they hired me because I was known for not exploiting women in my photos. That was one of the reasons I didn't ever shoot women because back in the day, you were expected to shoot women with clothes off. I refused to do that and I never did it. I think this crouching picture was the raunchiest picture that I had ever done. Actually, that's not true. I did one once. But it was not my normal style, shall I say.

But also, it's an empowering image. I just generally felt uncomfortable sexualizing women throughout my career. That shoot was uncomfortable for me because I had to do that, and I think she was a little unclear as to what she was doing herself. I have no idea. I didn't talk to her. I'm not sure what she was thinking. Years later, I talked to her because we were both well complaining about this image being bootlegged.

She did mention that during our interview. That people were making t-shirts and making their own memorabilia.

It's completely illegal what they're doing, and it's got to be the most bootlegged image of mine. It's like whack-a-mole, you can't stop them. You send out your lawyers and then they just shut down and open with a different name. I could probably go out, spend some time and sue them all and she could, too. Who has time for that? If you have a lawyer and you have a lot of money, you could do that.

That sounds like a lot.

I mean, it's unfortunate. But she was talking about trying to do some merch of her own. The smart thing to do would be to get a deal with Merch Traffic or somebody that does merch, and then they would take care of trying to squash the illegal competition. But I thought that she was going to maybe have that happen this year, but I haven't heard from her.

But the image is just getting more and more famous. It's funny, you never know what kind of resonance an image is going to make and impress upon the culture at the time when you make it. It's rare that there's an instant classic. It's very hard to have that kind of impact these days just because of the nature of social media. Back then, there was a poster and that poster was the only poster. There was no other place to see it but the poster.

Now, it's everywhere.

That image really stands the test of time. Very few images stand the test of time like that image that I've worked on. It's one of my more recognizable images and I have a lot of them.

You do.

So, what can I say? It was a perfectly nice day. She was lovely. We had a nice rapport. The pictures came out great. I continued to work for many years after, and I'm retired now.

What made you jump into hip-hop photography?

Well, that's a funny question because I think my whole life, until recently, has been me falling into things that I wasn't planning on. I was driven to do photography so I was on that path. But if you would've told me my senior year, my fifth year of college, I was going to be shooting rock bands for a living for the rest of my life, I would've said, "Really?" I would've had no idea. But that fifth year [of college] I got a job to shoot a rock band and it just turned into —

The rest of your life?

It turned into the rest of my life. I never said, "I'm going to be a rock photographer." I never said that until I was one. Then, I had no plans on shooting hip-hop. It was an up-and-coming market at the time. I didn't know anything about it. I was friends with Kurt Cobain hanging out at rock shows, and really was unaware of a lot of hip-hop.

I did some hip-hop jobs early. I shot De La Soul, who I loved. I shot a few bands and hip-hop acts that were popular around that time. I got to know a lot of people in the business over time because I worked in it for so long. I was really close with Groovy Lou, who I loved as a stylist. June Ambrose. A lot of people.

But this was a defining moment. That shot, that poster when it came out, it made a lasting impact. It's still gaining speed. At that time, nobody knew who she was.

Did you know who she was?

I might've heard her name but not really. I just got hired on jobs. That's how I learned about people. I listened to the record before anybody else heard it. I got it first. But a lot of people were that way — I would learn about them on the job. That's how you learn because if I'm shooting 100 jobs a year, I don't have time to do anything but the job that's in front of me.

Did you listen to the album before the shoot?

Oh, I'm sure, of course. I don't remember the exact moment I listened to it but I always did. But that was part of the job, and we listened to it all day long during the shoot because that's what we did.

When did you realize that photo was really making waves?

Well, I think it happened over time. Obviously, the poster immediately was like, “OK, that's intense.”

Was it everywhere? Was it all over town?

It was everywhere. And when the poster came out it was powerful. It was a dramatic statement and it sent shock waves immediately. It was clearly influential at the time, I will say that. It was shocking and effective. It put her on the map.

Do you think it put her on the map more so than the cover?

Oh, yeah. The cover, who knows what the cover looks like? Nobody does.

[strathshepard]

“Look for what you notice but no one else sees.” –Rick Rubin

See also: Legendary graphic designer Paula Scher talks about the process of designing this iconic book at Pentagram – a good primer on publication design in general.

If you don’t have it already, buy the book here

[sapphicnaturalrights]

here are deep dives for each of the prompts for the week! if you have any more questions, our asks are open! as always, feel free to combine as many prompts as you like, just try one, or pay them no attention at all

day 1: heaven & hell / bury your gays

one of the juiciest binaries in the supernatural lore, you could start off the week with getting to grips with the angel and demon sapphics, from ambriel to abaddon. you could focus on heaven and hell together or pick one. or maybe these aren't places, but instead states of mind?

there's a lot to be said about supernatural as The Bury Your Gays show, and now it's time to focus on the sapphics! as jess moore says, "i was dead the moment we said hello". this is a chance to focus on the women the show killed off and how viscerally and violently it did so. you could reclaim that violence, get revenge, or find new meanings in it. you could also explore women in horror, and maybe bury some gays in fun new ways...

day 2: pink / chappell roan

an iconic colour on many a pride flag - the sapphic, lesbian, bisexual, pan, trans flags to name a few - pink holds a lot of symbolism, and for a lot of women, some baggage too. from the barbie fans to not like other girls, what's the first thing to come to mind when you think of pink?

imagine it: what if we had chappell roan on 2021 spnblr. what would you have created then? maybe the most prolific sapphic icon of the present moment, get inspired by her songs, her lyrics, or her wonderfully camp aesthetic.

day 3: came back wrong / monster

you can bring back the gays you burried, but are they still the same? an iconic trope which occurs in the canon of the show, but has endless potential for other women characters too - what if amara brought back [insert dead sapphic here] instead of mary? what is so 'wrong' about how they've come back? women characters are often fridged - killed for men characters' plot development - so how do these resurrected women get their agency back?

what makes a monster a monster? feel free to play with the good/bad, right/wrong, human/monster dichotomy. what about that fraught, tense, intimate relationship between a hunter and a monster? what if you love that monster; what if the monster loves you...

day 4: butch & femme / disabled sapphics

two iconic terms for queer women, butch and femme play with gender identity and presentation. traditionally, butches '...prefer masculine signals, personal appearance, and styles', and femmes '...prefer behaviors and signals defined as feminine within the larger culture' (x). we've all heard of butch!jo, but how many other supernatural women can you experiment with?

for some more reading on the roles of butch and femme in sapphic communities, here is an article by queer studies scholar gayle rubin.

when you hear 'disabled supernatural sapphic' it is all too easy to think of eileen and pamela. but we invite you to get crazy with disabled headcanons too! you could explore how sapphic hunters cope with disabling injuries, how angels and demons learn sign language for each other, or the effects of learning disabilities and neurodivergency on your favourite spn women.

day 5: lavender / one episode wonder

another colour day! as a variation of purple it is another popular colour on pride flags, and as a flower lavender has all sorts of symbolism in sapphic communities. from 'lavender marriages' between lesbians and gay men, to the lesbian 'lavender menance' movement of the 1970s, we invite you to dive deeply into the varied meanings of lavender with this prompt.

one episode wonder is for the women who only graced our screens for a single episode! they are a prominent theme in supernatural and now we get to ask - how are they doing? are they dead or flourishing; how did their experience with the supernatural world affect their connection to the hunting life? did they get into it like charlie? are they still trying to make sense of what happened? undoubtedly they met other women because of it...

day 6: new & niche / gaslight gatekeep girlboss

we all know sapphicnatural is brilliant for rarepairs, and this prompt is a chance to celebrate that! we challenge you to come up with new pairings which have never been conceived before, and get funky with them. you could also find a 'niche' pairing which is not often talked about within sapphicnatural and contribute to growing their sapphicnatural following!

for some inspiration here, check out @mrcowboydeanwinchester's sapphicnatural statistics sheet. pulling from the fics in the sapphicnatural collection on ao3, there is info about how many fics are written about each ship. you could pull from a ship near the bottom of the list, or create your own!

gaslight gatekeep girlboss is the final prompt of the week and it's time for a fun one. here at sapphicnaturalrights we support sapphics' rights and sapphics' wrongs and think you should too!!

day 7: free day

this day is a free space! go wild! you can catch up with something you wanted to work with during the week but didn’t have time for, or just explore something else completely

that's it! make sure you tag all your creations with #sapphicnaturalrights so we can see and reblog your gorgeous work!

[d-criss-news]

Jeremy Jordan, Daphne Rubin-Vega & More Join HAZBIN HOTEL Musical Series

In the continued spirit of Thanksgiving, Prime Video is showing its appreciation to Hazbin Hotel fans by revealing the premiere date for Season One of the highly anticipated adult animated musical comedy.

Episodes will be available to stream exclusively on Prime Video beginning January 19, 2024, in more than 240 countries and territories worldwide.

Guest stars include Broadway veterans Darren Criss (Saint Peter), Jeremy Jordan (Lucifer Morningstar), Daphne Rubin-Vega (Carmilla Carmine), Patina Miller (Sera), and Jessica Vosk (Lute). They will join the stacked lineup of previously announced main cast including Erika Henningsen, Stephanie Beatriz, Alex Brightman, Keith David, Kimiko Glenn, Blake Roman, Amir Talai, Christian Borle, and Joel Perez. The series will feature original music and lyrics from platinum-certified artist Sam Haft and Emmy-nominated Andrew Underberg. In true Broadway fashion, Prime Video will be announcing the new guest stars via the marquee at the iconic Pantages Theatre in Hollywood today from 8am - 6pm PT. Assets will be serviced to you directly. Fans can continue to visit here to pre-order special packages that include exclusive Season One merchandise, digital access to the first two episodes before they release on Prime Video, and a virtual Q&A event with Vivienne Medrano and special guests. Early access episodes will be available to stream for a limited time on the A24 App.

—

About Hazbin Hotel Hazbin Hotel follows Charlie, the princess of Hell, as she pursues her seemingly impossible goal of rehabilitating demons to peacefully reduce overpopulation in her kingdom. After a yearly extermination imposed by angels, she opens a hotel in the hopes that patrons will be "checking out" into Heaven. While most of Hell mocks her goal, her devoted partner Vaggie, and their first test subject, adult-film star Angel Dust, stick by her side. When a powerful entity known as the "Radio Demon" reaches out to assist Charlie in her endeavors, her crazy dream is given a chance to become a reality.

[stopandimagineloveforever]

Daytime Revolution – Official Trailer

For one extraordinary week beginning on February 14th, 1972, the revolution was televised. Daytime Revolution takes us back in time to the week that John Lennon and Yoko Ono descended upon a Philadelphia broadcasting studio to co-host the iconic Mike Douglas Show, at the time the most popular show on daytime television with an audience of 40 million viewers a week. What followed was five unforgettable episodes of television, with Lennon and Ono at the helm and Douglas bravely keeping the show on track. Acting as both producers and hosts, Lennon and Ono handpicked their guests, including controversial choices like Yippie founder Jerry Rubin and Black Panther Chairman Bobby Seale, as well as political activist Ralph Nader and comic truth teller George Carlin. Their version of daytime TV was a radical take on the traditional format, incorporating candid Q&A sessions with their transfixed audience, conversations about current issues like police violence and women’s liberation, conceptual art events, and one-of-a-kind musical performances, including a unique duet with Lennon and Chuck Berry and a poignant rendition of Lennon’s “Imagine.” A document of the past that speaks to our turbulent present, Daytime Revolution is a time capsule reminding us of art’s power to break down barriers, and the bravery of two artists who never took the easy way out as they fought for their vision of a better world.

[tomorrowxtogether]

TOMORROW X TOGETHER & Jonas Brothers - Do It Like That

Oh my God, this is the collab we didn’t know we needed. Can you blame us for voting it the best new music of the week on Billboard? And believe me, their contenders were very powerful ones. I mean an 89% vote in a category featuring Taylor Swift, Rauw Alejandro, and a Cardi B collab? Once you listen to it, it’s going to be extremely hard for you not to hit the replay button. But boy would I want to be the one receiving those beautiful praises that make up the lyrics of the song.

With thumping basslines and heavenly harmonies, TOMORROW X TOGETHER‘s upbeat track, “Do It Like That,” with the Jonas Brothers, from prolific producer Ryan Tedder – I’m talking about the Tedder behind OneRepublic’s “Counting Stars” and Beyoncé’s “Halo” – is the real feel-good song you need whenever you feel like you can’t get people to dance on top of their cars just by your presence.

“You get me so off track, yeah / Been spinnin’ for miles / But I think that you like that / Can’t deny it,” Nick Jonas kicks off the song, with Joe Jonas leading the pre-chorus, before the three brothers join their voices together in the chorus.

The dance pop song describes the feeling you get that moment you fall in love with someone. Since humans are so very conceited, we often tend to think that whoever we’re falling in love with is the best in the world, and the song perfectly captures that feeling. In fact, its most iconic line is a highlight of that: “You rockin’ that fit / That’s makin’ all them strangers smile.”What screams harmony better than eight great singers joining their voices together on one epic song?

Penned by COLETON RUBIN, Grant Boutin, and Ryan Tedder, the single was accompanied by an exhilarating music video featuring all of TOMORROW X TOGETHER members, including the Jonas Brothers. Within three days, the video managed to bring in 16 million views and looks set to debut at a comfortable spot on various charts across the globe.

“Do It Like That” is the first piece of music from TOMORROW X TOGETHER after the release of their February single “Goodbye Now.” If you want to know more about TOMORROW X TOGETHER’s world, you can certainly catch up with them when upcoming concert/tour documentary, arriving on Disney+, debuts later this month.

The Jonas Brothers heavily promoted the song to their fans with various posts containing snippets of the song’s lyrics. “You sending signals and them waves go far,” Joe shared, with Nick following it up by sharing the same pictures from Joe’s post and adding, “You’re bringing my life back, yeah, you’re doing it in style.”

[kaus-quietis]

A Circus Library - quick recommendations of short stories, poems, comics and novels I've recently read #1

Hello there! I'm the circus resident poltergeist, Eliott, managing this blog until Lav comes back. Today I offer you a slightly different formula of my super awesome super rare super bookclub post, as Lav would say!

Hello hello hello! Is this a bookclub?! Is this chaotic ramble?! Ding ding! You got it wrong!

Writing full on reviews is tiedous and long, and while I appreciate doing it, I'm myself not always in the mood to read a long post explaining why a book is genius. Do I love that from time to time? Yes! Do I have the attention span to write one now? Nope! However, I still wanted to share some titles I recently (re)discovered, and that I think are marvellous reads for anyone wanting to dive into something new.

Here you'll find a few recommendations with the shortest of words to tell you why they are great, or just scream about it.

short disclaimer before I begin because this is tumblr and while I forgot a lot about this website, I remember how the TW thing works lol, it's at your own discretion to search for the works beforehand if you have any trigger you don't want to encounter.

Jack Spicer - Billy the kid

The master of my fate, captain of my soul as Timothée Chalamet would say idk I barely know the guy. Classic and gold, Spicer is an amazing writer and this poem is phenomenal. It's quite short and perfect if you want to know more about the wonder that was US American poetry during the 20th century. Of course I'd encourage you to read all of his works, but Billy the Kid is perfect to start somewhere.

Ryunosuke Akutagawa - Hell Screen

Classic and iconic, I've recently pushed further than Rashomon and boy oh boy am I never turning back. Hell Screen is a phenomenal short story displaying all the elegance and cruelty Akutagawa can incorporate in his works. It's mesmerizing, it aches, it's everything I love. I read this story in Jay Rubin's translation (Penguin Classics), and even though I do not speak Japanese so I cannot compare, I dare say it's a very good one.

Lucie Bryon, Thieves

I never recommended comic books before but I wanted to for a change! I am a huge comic book lover, but most of the ones I usually read are not available in english language. This one is, though. Thieves is a beautiful comic about growth, falling in love and finding acceptance in others and in yourself. It's light and heartwarming, like eating candy.

Ottessa Moshfegh, Lapvona

Now, this book exploits one of my biggest plot weaknesses ever, and that is fucked up people in medieval settings. Lapvona tells the story of Marek, a sheperd's son, who'll be caught in a series of unfortunate events, political struggles, and secrets, all inside the town of Lapvona. It's dark and unsettling, the characters are scandalous and horrible, yet sickeningly human. Now, I said to check the TW yourselves, but be very careful with this one, if you can think of a TW, then it's certainly in this book.

Osamu Dazai, Early Light

In the Storybook ND series, this book contains three short stories : Early Light, Three Hundred Views of Mount Fuji, and Villon’s Wife. I'd recommend the three of them, as it's a fantastic dive into Dazai's shorter works. I think that reading his short stories is very important to understand his work and the width of the subjects and stories he wrote about. It helps that once again, in my opinion, the translation chosen by this publishing house is so good.

This is it for today! Here you have five of the works I read (or re-read) this summer, and that I'd warmly recommend. There are two short stories (Dazai, Akutagawa), a comic book (Bryon), a novel (Moshfegh) and a poem (Spicer). 'Till next time!

[genpitre]

finally changed my icon here sorry y’all😔 rubin will be in our hearts forever

[deepergrooves]

André 3000's 'New Blue Sun' Vancouver Review

Highly anticipated ambient jazz show marks a new dawn but leaves fans ATLienated

Birdsong, crickets and rich ambient soundscapes echoed through the deep purples, rosy reds and starlit ceiling of the Queen Elizabeth Theatre in Vancouver on Friday October 11. The scene was perfectly set for a first glimpse at André 3000's highly anticipated 'New Blue Sun Live' Concert series, an unexpected leftfield step into instrumental ambient jazz from the seven-time grammy winning hip hop icon.

Warm up act serpentwithfeet created a suitably gentle atmosphere with kind-hearted crowd participation numbers and feel good R&B. Despite a few empty seats in the pit, likely a result of the high ticket pricing, the room was poised and curious to see how this drastic stylist shift would translate to the stage.  

Origins, synergy and mystical synchronicity

The cosmic butterfly effect that led to the creation of André 3000's 'New Blue Sun' album has already become a tale of folklore. There have been countless stories of André, seemingly never to be found without some kind of wind instrument in hand, serenading unsuspecting Uber drivers and wandering the strip of his new home of Venice Beach like a nomadic jazz monk. It was one such encounter with legendary Californian music arranger and percussionist Carlos Niño in a Venice Beach grocery store that apparently sparked a creative partnership between the two that birthed the 'New Blue Sun's album project. Niño does admit that he had been keeping an eye out for André when he heard he'd moved to town but don't let the truth get in the way of a good story!

Before this reawakening, again mythically attributed to a Hawaiian ayahuasca trip (referenced in the album track 'That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn't Control...Shit Was Weird'), André admitted that he had been suffering with creative block, social anxiety and a mounting sense of pressure to deliver something great in this next phase of his life. In a candid interview with hip hop mogul Rick Rubin on the 'Broken Record' podcast he sounded lost and fearful of his legacy. There was however a flicker of light in André's voice when he began speaking about his new meditative morning breathing routine, involving experimentation with an eclectic set of wind instruments.

Building anticipation - A deep, earthy and aesthetically engaging opening

The show began with a striking visual of a single white beam of light entering a prism just above what looked like a traffic cone before splitting into reds and greens in front of André, backed by his supporting musicians and six lights in a half-crest formation behind the stage. The lighting overall was dark and moody with André just about visible with his red jazz-elder beanie and glasses.

He was stood before a blanket that housed numerous flutes, whistles and other tools. To his right was keyboardist, and Alice Coltrane disciple, Surya Botofasina. At the back was the aforementioned Carlos Niño who seemed to set the tone with various percussion instruments, gongs, shakers and even plants which were a big source of inspiration for the album. To his left, composer and percussionist Deantoni Parks, responsible for the pulsing beat that surfaced through the evening.

The opening song built slowly with Carlos Niño employing various rattles, bushes and what looked like a slinky being swung above head at various points. André let out a mix of guttural and high pitched yelps and animalistic sounds in what felt like a Sun Ra-esque free jazz introduction. Some in the audience seemed bemused early on but for the most part the crowd was still on board and excited with yelps of approval in response to André.

After the first song, André reassuringly addressed the crowd with his southern charm and silky charisma. He introduced the band, cracked a few light jokes and explained the approach to the night - a purely improvised experiment and journey that we would all be embarking on together. It felt courageous and bold, in keeping with the album itself, but what was to follow unfortunately felt for the most part meandering, lacking cohesion and at times difficult to digest.

A brave pursuit but ATLienating for fans

There were some moments where it felt like the embers of an idea were burning but they were never fully formed or realized. A deep, dark primal drum beat from Deantoni Parks ultimately petered out. A lightsaber like hum and arpeggio riff from Surya Botofasina that felt like it could take things in a cosmic, electronic direction (adjacent to album track 'BuyPoloDisorder's Daughter Wears An André 3000 Shirt Embroidered') again pulsated and dropped out before ever taking hold.

Overall, there was a lack of melody, hooks, breaks or structure. There was no pattern, story or resolution to the jam-session musings. There were also no direct songs or distinct elements from the album that could be latched onto. Pure experimentation is a noble pursuit, but for a new group and an artist who is admittedly new to the instruments and finding his feet, it felt like a lot to take on.

At one point André began riffing in what sounded like an imitation of a primal language, which he jokingly admitted he had been making up on the spot. It was a funny moment, but a bit too close to the bone for someone attempting to communicate using instruments he wasn't necessarily fluent in.

It was hard to tell if the accomplished band were limited by André's range or if they were intentionally playing a supporting role but either way they were consigned to little more than background hushes, atmospheric flashes and ponderous patterns.

The final crescendo, albeit very charged, was particularly challenging and had the feel of a free jazz ayahuasca trip being led by an inexperienced astral traveler, with Andre finally slowing things down by breathing rhythmically into the microphone as the lights turned to blue.

New Blue Sun - A New Dawn for André 3000

I still love André 3000 and support this artistic change; the New Blue Sun album is fantastic and deserving of acclaim. This is undoubtedly the start of a process and an experimental phase for a long term project, but the current iteration felt ill equipped for such an ambitious undertaking. Despite the dark mood lighting, the stage left nowhere to hide. In the end, there was a limp standing ovation but no calls for an encore.

This felt like a harsh reset, a journey of purification teetering on the edge of a bad trip, but cleansing for what will hopefully now be futile ground for one of our generations true shining stars. The New Blue Sun is rising, but the cold light of day can be harsh.

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Art by  Rubin Chung

Celebration Month! #100challenges

Presented by CDQ Magazine

This month we are celebrating the 100th session of the community by resharing some of the most iconic artworks from the past! Next month we will start again with our regular posts.

Discover the artists of the Character Design Challenge community and the current Theme of the Month in our Facebook Group! And when you repost your design on our Patreon page, you can also win awesome prizes every month and choose the future themes!

RULES | WINNERS | MAGAZINE | BOOKS

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Hollywood Sex Goddesses | Tales From Hollywoodland

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Hollywood Sex Goddesses | Tales From Hollywoodland

Dive into the glamorous and seductive world of Hollywood’s most iconic sex goddesses in this captivating episode of the Tales from Hollywoodland Podcast. We explore the lives, careers, and lasting legacies of the silver screen sirens who defined an era with their beauty, charisma, and talent. From Marilyn Monroe to Rita Hayworth, discover how these enchanting women captivated audiences and became timeless symbols of allure. Whether you’re a classic film enthusiast or curious about Hollywood’s golden age, this episode offers a fascinating look at the stars who redefined glamour.

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#HollywoodSexGoddesses #IconicActresses #SilverScreenSirens #ClassicFilmStars #HollywoodGlamour #MarilynMonroe #RitaHayworth #GoldenAgeofHollywood #HollywoodBeautyIcons #LegendaryActresses #FilmHistory #HollywoodLegends #VintageHollywood #HollywoodBeautyStandards #HollywoodsGoldenEra #TalesFromHollywoodland #Podcast