#so it's generally helpful i think to understand how it was retooled

[majorbaby]

@insulindian-phasmid i hope you don't mind, these are really great tags. i've reformatted them so they're a bit easier to read:

#this makes a good point i've been thinking about lately. not just about mash but stories and audience tastes in general

#western writers typically focus on characters as individuals

#we believe good literature is about A Complex Main Character and the humans around them

#and what's most important is everyone's thoughts and feelings. what are their flaws? can they change & grow? literature as psychoanalysis

#i'm making it sound godawful but of course it's not. this is hamlet. this is 90% of our favorite fictional series

#but it's not the only type of story

#a good story doesn't have to be about a three-dimensional character with flaws who changes over the course of three acts

#in the context of well-developed evolving relationships with other flawed three-dimensional characters

#a story doesn't have to be about individual characters at all. stories don't have to be about our humanity

#they can be about systems. a Nation. the gods. political philosophies. or stories that are just fucking funny

#where the characters are automatons programmed by the writers to serve a specific function. and in mash seasons 1-3 it's satire

i think when considering Margaret and her much lauded 'character development' it's less about her developing from a bad person to a good person, but from a narrative device, as she was in MASH 1970, to a three-dimensional character. the former isn't inherently poor writing.

this happened deliberately as the show shifted from satirical plotlines that emphasized the moral bankruptcy of the systems that prop up the war machine to a show about how being in the war wore on the characters individually and changed them as people.

season 4 and onward focus more on individual character drama, highlighting the flaws and virtues of each character, their interiority, their changing relationships with one another and brings in their relationships with offscreen characters - most infamously, Peg and Erin Hunnicutt but also Dr. Pierce Senior, Radar's mother and uncle who eventually passes and Honoria Winchester. Even minor characters get at least one episode that focuses on some offscreen relationship, Mulcahy's sister Kathy and Klinger wife/ex-wife Laverne.

maybe with the (blessed) exception of Frank Burns, I think the function of all the characters changes from 1-3 to 4-11 as the show made this shift.

Trapper is a lancer. we get some glimpses into there being more to him, in Kim and Check-Up - but most of what we see is him performing a specific function, propping up Hawkeye, who in turn props up the messaging of the show. I would have loved to see Trapper's interiority explored more in the later years but I'm not mad about it missing in 1-3 - it's not about him getting "more", he got plenty in terms of what he was created to do. him having 'conflict' with Hawkeye isn't something that would've ever occurred to the writers at that time and you would never hear trapper say something like 'i can't divide myself emotionally' he doesn't have enough of an emotional self to divide.

when it comes to Hawkeye, in 1-3 i think the details of his life beyond what we see of him on screen are extraneous. hence the inconsistencies with his backstory, his sister, his mother, him being form vermont - this stuff just didn't matter back then. focusing on it now can be fun if you're trying to explore the character in fanwork, but the reason Hawkeye's sister (who i've affectioned named 'benjamina pierce') disappears is because they weren't really thinking too hard about her in the first place, you're not supposed to remember her and so the show assumes you won't.

Hawkeye writes home to his father but we don't learn a whole lot about Daniel Pierce at the time, he's only there for Hawkeye to narrate to, that doesn't mean Hawkeye doesn't love him, it's just that the writers don't intend for you to focus on their relationship until at least The Late Captain Pierce.

Other major developments wrt to Daniel happen much later on: he is retconned into being a doctor in the later years when the show wants to care about developing those details of Hawkeye's life and in season 10 we get Sons and Bowlers.

Hawkeye gets a little more character stuff than the rest of the cast because he's the protagonist but there's still a marked shift between 3 and 4, starting with his emotionally charged personal drama re: Trapper - before that, he does have moments where he emotes but it's always to fulfill the show's anti-establishment messaging: Yankee Doodle Doctor, Carry on Hawkeye and yes, even Dr. Pierce and Mr. Hyde. again, that doesn't mean we can't diagnose him with a laundry list of issues based on that episode when constructing headcanons but his mental state alone can't be divorced from the messaging at this point. "why does he do these things?" asks Henry at the end of Pierce/Hyde, and Trapper replies not that Hawkeye is damaged or hurting or broken (even though he may be all these things) but with the show's central thesis "he took this oath never to stand by and watch people die" - his breakdown directly ties back to the show's criticism of state violence. compare to Bless You Hawkeye, which might've taken place anywhere whenever Hawkeye smelled mouldy pond water.

so if even Hawkeye is more of a device than a character in the early years, what can we say for Margaret?

the Margaret character does her job. the hypocrisy of "fighting for peace" is paralleled perfectly in her relationship with Frank. these are two people who claim to be god-fearing, well-to-do, conservative Americans, but they engage in the same vices as Trapper and Hawkeye: drinking, promiscuity and scheming and worse, Frank and Margaret look down on others for it.

i get why people want something 'more' (really, something 'else) from Margaret and I'm glad we did eventually get that because it was sorely needed, but tbh i adore early Margaret and i think it's a little silly to call her a 'bad person' or 'underdeveloped' - she's just a villain clocking in.

similarly i don't think we're meant to reflect on Hawkeye/Trapper/Henry's philandering as assessments of their character so much as they are clear statements on traditionalism and sexual liberty. you can personally dislike whatever you want in a character but i think the context of the show airing in 1972 when attitudes towards sex, particularly female pleasure, were starting to finally loosen, is relevant.

some people want character drama from MASH and that's their preference, but character drama isn't inherently 'deeper' or 'more complex' than satire. on the contrary some of the writing is so technically strong in the early years, the jokes on-the-ball, the witty criticisms of American foreign policy and the traditional values that uphold it buried within objectively hilarious episodes like Tuttle (where they create 'the perfect American man' except that he's not real and make fools out of ranking officers while they're at it)... I'd argue that that's highly complex.

i don't see the point in getting hung up on the morals of a character who clearly intended to be a villain when judging whether or not they're a 'good' character or not. calling her 'flat' when they're all somewhat 'flat' because the show is not trying to get you overly invested in their personal lives seems unfair to me. same can be said for comparisons of Frank and Charles which are critical of Frank. or my most beloathed criticism: of Henry for being an 'incompetent CO' - that is a feature, not a bug.

criticisms of 'flat' characters in general are definitely valid, but imo only when those characters exist alongside nuanced characters who have rich interiority. since Margaret exists alongside Trapper and Frank, I don't think that critique is valid here. she actually gets a few solid moments where we get the sense that there may be more to her, in Aid Station and Carry On Hawkeye. compare that to episodes that frame her as being entirely sympathetic when she's been a terror to people she holds structural power over: The Nurses or the Birthday Girls - both good episodes in general, but it's another kind of flatness to present a character as being wholly sympathetic when they've turned around and done the very same thing that was done to them to others. just something to consider about how making Margaret 'more nuanced' actually glossed over some of her interesting complexities.

[bonefall]

Any information about Tallstar’s group of nomads? Specifically Reena I was OBSESSED with her as a kid.

Tallstar's Revenge in BB is Tallstar's Collapse! It is a tragic book about Talltail being offered freedom with the nomads, meeting the various cultures all around the area, but ultimately being unable to break away from Clan Culture and believing that he can fix it.

SO, the Nomads are a much bigger part of the book. The "search" to locate the Nomads and kill Sparrow is completely gone. He was with them that whole time!

I'm still tweaking and retooling this, but here's the Nomadic Group so far, plus the "Clanmew" names that they use when interacting with Clan cats;

Algernon/Mouse The leader of the group, and the second-oldest. He's generally the most 'practical' one. He's going to be the one who's best at 'putting things into perspective' for Tall, especially when Tall becomes uncomfortable in ways he can't explain. For example I want to have a moment where Tall meets kittypets and unpacks a "fragility" towards considering their way of life, realizing that he becomes unreasonably uncomfortable around them. Algernon helps him work through that.

Bess/Mole Like canon, she's the mother of Reena and mate of Algernon. She's also combined with Mole for now! A note though, none of the nomads will be joining StarClan on death. That's one of those... weird details that people gloss over, so it's worth mentioning I'm intentionally removing it. They have their own religion; they believe in reincarnation.

Reena (Junior)/Brambling Like canon, she has the name of her aunt. In general I just really like her, no notes, just a fun supporting character

Jake/Sparrow A combination of the two! Jake IS Sparrow now-- Sparrow is just the name he uses with Clanmew speakers, especially because they have a problem with pronouncing Js. Tall quickly learns how to pronounce the real names of all his companions, learning to speak Townmew, and even a little bit of Tribemew.

Wee Hen/Moorhen I've decided to have this character be alive when Tallpaw first joins the Nomads. She's an old, grandmotherly sort of character who likes to tell old stories. She passes away during the book, to show how the Nomads perform a funeral and honor their dead. After doing their ritual, he asks if he may share his own and sit vigil for her, and they think that is a very touching thing for him to offer.

It's a book about learning, understanding, and bringing the xenophobic clan culture of this era into perspective, through showing how Tall works through the way it has influenced his beliefs and mindset.

I'm still working on the Nomads though. I think 5 is enough, though I'm not opposed to un-fusing Boss/Mole and maybe adding another one of the little side characters into the fold. Pixie had a GREAT name, for example, so they could be fun to have in this group.

[kindahoping4forever]

Watch Me Bloom: A Few Weeks Ago // Ashton Irwin

Thanks to everyone who read, shared and/or sent a kind word about A Few Months Ago. I’ve never divided up a fic like this before so it’s been both exciting and nerve-wracking, but I’m so pleased to see the response! 

The concept for this section came about early on but I revised and retooled it a lot so again, many thank yous to @cal-puddies​​ for the constant (and I mean constant) encouragement, reassurance and support that I require when writing, I know I was especially needy about this one. 😂 Also shout out to @ashtonangst​​ for the last minute notes and vote of confidence on the final revision.

No thanks to Ashton Irwin for distracting me, stealing my thunder and generally being a Gremlin TWICE IN ONE DAY. He’s the worst and I love him 😌

Warnings: Boyfriend!Ash featuring the slightest hint of angst, unprotected sex within an established relationship, shower sex, mirror sex, playful spanking, wow there’s really not a graceful euphemism for tit fucking is there? Well there’s elements of that as well as oral sex performed on a male and brief cum play. But like. All in a soft, fluffy context lmao

Word Count: 3390

Watch Me Bloom Masterlist

Masterlist // Taglist // Ko-Fi

Let  me  know  what  you  think!

You exhale loudly as you shut your laptop and reach for your phone. You’d arranged to take the morning off, wanting to be with Ashton when news of his album broke online, to watch the chaos unfold, to enjoy seeing him take in all the love and excitement you knew he deserved.

You were grateful to be working from home but it’s often difficult to get away and unfortunately, you woke up to calls about a work emergency, resulting in an unavoidable Zoom meeting that dominated your morning. Ash was understanding but you couldn’t help how disappointed you were.

You scroll through the messages from him, smiling at the liberal use of exclamation points and bizarre choice of emojis used to convey his excitement about the screenshots and links he��d sent you. He’s already getting press and the fans are losing their minds at every new piece of information. You’re thrilled for him but can’t shake how defeated you feel that you weren’t able to be there to experience it all firsthand.

You consider heading downstairs to check in but you note he’s probably getting ready to post his official announcement by now. Not wanting to disturb him, you instead decide to head for the bathroom, thinking a hot shower might improve your mood. You stop to answer one last text, reassuring him that (save for the spelling errors you corrected), the draft of his post is excellent and the fans will be ecstatic to hear him confirm the news.

You step under the rainfall shower head and stand still, letting the hot water run over your body, feeling your shoulders drop and your muscles relax. You close your eyes, enjoying the chance to shut off your brain after a morning of feeling so many varied emotions.

After a few minutes, you begin your routine and you’ve just finished with your body scrub when you hear footsteps shuffling through the doorway; you turn to see Ashton observing you through the glass shower walls. “Well, hi,” he greets you, tone flirty as his gaze flickers up and down your wet, naked body.

You can’t help but feel your mood brighten at his presence. “Hi,” you match his inflection, laughing. “All posted? Officially in business?”

Even through the slight steam you can see the pride on his face. “Officially,” he beams.

“Excellent,” you smile back. You turn away momentarily to return the sprayer to its mount and chuckle when you hear the shower door. Within seconds, Ash is naked behind you, slinking his arms around your waist and fitting his face into the crook of your neck, swaying with you as he presses quick kisses into your neck. .

“Just announced your very own album and yet you’re still gonna act like finding your girlfriend in the shower is the most exciting thing to happen to you today?” You tease, leaning back against him.

He laughs as he sucks your earlobe into his mouth. “Even in the big moments, gotta take the time to appreciate the everyday ones,” he murmurs, biting gently.

You squeeze his hands as they rest on your hips. “Well, speaking of big moments, I still feel bad that I missed out on this morning, Ash,” you softly admit.

"Baby, it couldn’t be helped," he says nonchalantly, sweetly kissing your cheek before spinning you around to face him.

You’re not quite ready to meet his eyes, so you play with the chain around his neck as you choose your words. “I know, but… you’ve really made an effort with some of the stuff we talked about, like coming to bed with me or having dinner together. So I kind of feel like I’m not showing you the same courtesy - and for something so much more monumental,” you point out.

“Sweetheart, your work isn’t any less important than mine,” he frowns, brushing your wet hair off your face. “I know you wanted to be there and that means a lot, I don’t feel slighted at all, I promise.”

Ashton cups your face and kisses you sincerely. When you pull away, you rest your head on his shoulder; he pecks the top of your head and then reaches for the shampoo. You smile to yourself as you feel him begin to apply it to your hair. He gently taps you and you loudly smooch his shoulder before lifting your head and turning your back to him once again. He works the shampoo into a lather, applying just the right amount of pressure with his fingertips to give you a relaxing scalp massage.

There’s a cozy tranquility in the air as he grabs the handheld sprayer and rinses your hair out, cutely shielding your eyes when he comes close to your face, having learned from past showers gone wrong. Next he applies your conditioner and while it sets, you have him lean closer to you so you can wash his hair. It’s the longest and curliest it’s been since you’ve known him and you truly can’t get enough of it.

You can hear the smile in his voice when he breaks the silence to say, “You know, it’s pretty sexy that you’re so good at your job the whole company was ready to fall apart just because you wanted the morning off."

“Yes, that’s exactly what happened. I’m so glad you’re not threatened by my #GirlBoss nature,” you giggle. You scratch your nails over his scalp as you finish lathering his hair and the resulting groan has you absentmindedly biting your lip.

“Never! Plus it means less work for me,” he jokes, yelping as you tug on his hair in response.

You finish up with each other’s hair, chatting and joking easily. When you’re done, you burrow into his chest again and he hugs you tight against him. “You OK, love?” He asks.

“Yeah, just enjoying being close to you on your special day,” you answer softly, smiling as you trace the trail of water droplets running down his chest. “Wanna have something for us to remember it by, this is a nice start. Maybe I’ll order us something good for lunch, set up a fancy backyard picnic.” You lightly kiss along his collarbones as you think out loud.

Ash smiles, running his hands up and down your sides. “Sounds nice… we could also make a few memories in here.” He wiggles his eyebrows as his hands detour to grab your ass and pull you closer to him. “Feel like celebratin’, baby?”

You grin. “Ah, in a year where you’ve already gotten ‘new album sex’ and Jesus, how many rounds of ‘new single sex,’ you’re still playing that card?” You tease, voice wavering because his hands have wandered to your breasts to roll your nipples just the way you like. “Seems pretty greedy to me.”

He responds with a low, smug laugh in your ear, "Can't help it if I'm prolific, sweetheart.”  

“Well, I am happy to see you so frequently inspired," you tease, hand dropping to give his cock a firm squeeze as you proudly bat your eyes at your innuendo.

He smiles, pulling you in; it'd be sweet if there wasn’t such a devilish look in his eye. He gives you a lengthy and lusty kiss, hands roaming over your body, groaning as you work him to hardness. “Feeling pretty inspired to take you like this.”

He’s barely finished his sentence when he turns you around towards the shower door. You give a satisfied hum as you put your hands out to brace yourself and instinctively spread for him. “Aww, that’s my good girl,” he purrs. You shiver as he traces his fingertips all the way down your spine, starting at your neck and working his way down; once he reaches your ass, he uses both hands to cup it, squeezing and massaging.

You sigh and arch your back, jutting your hips out, wanting him to continue; a loud open palm smack lands across one of your ass cheeks and though you expected it, a half-gasp, half-moan escapes your lips.

He leans in to whisper in your ear, cock brushing against you. “Thought I was the greedy one here,” he teases, delivering a strike to your untouched cheek, followed by a pair of rough slaps to each side. Your whines reverberate through the bathroom while his mouth lavishes kisses along your shoulders, hands soothing the reddened skin of your backside.

His hands wander between your legs but you stop him, murmuring, “Don’t need it, want you enough already.”

Ash sweetly kisses behind your ear before pushing inside you at an agonizingly slow pace. When he's made it all the way in, without thinking, you breathe out, “Yes, finally,” which earns you another quick spank. You giggle, catching sight of his amusingly annoyed reflection in the mirror above the counter across from you.

He playfully nips your shoulder and thrusts into you. As he picks up speed, he notices you biting back a moan. He growls, “Uh-uh, let me hear you, baby, wanna know how good my cock feels inside you.”

You rock back against him, hoping it’ll earn you another swat and when it does, you whimper loudly. “Feels so fucking good, Ash,” you enthuse. Keeping your balance against the door with one hand, you straighten up to reach behind you and pull him in; he understands, movements slowing as he kisses you hungrily. You tangle your hand in his hair, giving it a tug and he grunts into your mouth.

One of his hands travels to briskly begin rubbing your clit; the pressure is like a jolt of electricity through your body and your hand drops from his hair back to the shower door to steady yourself. “Careful, love,” he rasps, other hand pawing at your breasts.

Nuzzled into him, you stay in that position for a few moments and he moves against you, occasionally pressing his lips to your face. You catch sight of the mirror again and become fixated on watching him as he carefully works your body: the way his hands work in perfect coordination to please you, how his hair falls in his face as he drives his cock into you, how his eyes screw shut and he fusses his lip between his teeth at the sensations of having your pussy wrapped around him.

It fascinates you to see the two of you like that, so loving but also driven by what seems to be a desperate need.  “Look at that,” you pant, stroking his forearm to get his attention. “Look how well we fit together… I didn't realize it'd look as good as it feels, babe.”

Ashton groans as he studies your reflection. “What a fuckin’ gorgeous sight we are,” he agrees, voice gravelly with lust. “You always look so unbelievable when I watch you take me, baby.”

You moan at how wrecked he sounds, how wrecked you look, the eroticism of your encounter overwhelming you. “I love seeing us like this, Ash… Fuck… Wish I could actually see it, see myself taking your cock,” you babble. “Might have to finally make that tape like we’ve talked about.”

“Fuckin’ hell, baby,” he whispers, fingers digging into your skin. You spread your arms further apart on the door and he smoothly sweeps them behind you, locking them into place with his. Restrained, with nothing to brace you, your front leans completely up against the door and you watch as your tits obscenely bounce off the glass as he speeds up, pounding into you.

You start breathing heavily and he smiles to himself, knowing he’s got you figured out. “Should I be nice and let go so you can touch yourself, baby? Or would that ruin it, since me holding you like this is what’s getting you off?” He taunts, grip on your arms tightening.

“So fuckin’ close… Ash… please… fuck, please,” you murmur, unable to take your eyes off the mirror, feeling yourself slowly tense as you watch him manhandle you, seeing yourself so debauched.

Ashton shifts your arms, pinning them back with just one of his, leaving his other free to roam down the front of your body. “Because you said ‘please’,” he smirks, rubbing fast around your clit. You whimper in relief and your head starts to drop down but he nudges it with his own. “Nah, baby, watch. Want you to see how beautiful you are when you cum for me.”

“Ashhhhh… babyyyyy… fuuuucck…” Your words come out in staccato sighs as you bounce between his body and the glass; his fingers are steady on your clit and his voice lowly encourages you, telling you how amazing you are, how much he wants to feel you cum. He sounds like he needs this as much as you do. You zone out a little as you pulse around him, watching yourself orgasm through the glass, and as always, it’s his soothing whispers of “so pretty, baby” that bring you back to earth.

He gently sets your arms back on the door, pressing soft kisses over your shoulders as you come down. His hips have completely stilled, waiting to see how much more you’re capable of handling. “You good, love?” He sweetly asks, studying your face in the mirror.

"I'm so glad I had to work today," you joke breathlessly. He snorts and bites at your neck.

You feel spent but a thought popped into your head while watching your reflection and you want to explore. “Up for trying something?” You eagerly ask.

“Of course,” he agrees curiously. You push off the door, allowing him to slip out of you and you turn towards him, wrapping your arms around his neck.

“I know I gave you shit earlier but it really does make me happy that this is how you like to celebrate,” you start, pecking along his neck and jaw, landing at his lips, which you kiss softly. “And I just want you to know I really am so so proud of you.”

Ash’s arms wrap around your waist and he smiles brightly. “I know, baby. And I’m so grateful to have you with me. Every step of the way, you were there to take care of me.”

You kiss him harder, filthier and needier than you did before and his resulting groan tells you he’s caught off guard. You feel him shiver under your touch as you ghost over his nipples before stopping at his new rib tattoo on your way to his abs and then finally gripping his cock.

“Well, I am absolutely going to take care of you right now,” you wink, dropping to your knees in front of him. He laughs at your questionable joke but quickly sucks in a sharp breath when you begin placing wet kisses along his shaft, whimpering as you taste yourself on him. You trace your tongue along the underside of his cock and circle the head for a bit before you wrap your lips around it and gently apply suction. You hear him huff a few times as you keep your attention focused there instead of taking him further into your mouth and you smile at his impatience.

He catches your look and shoots one right back at you. “Thought you were gonna take care of me, not torture me,” he smiles.

You let him drop from your lips and firmly tug as you look up, grinning. “I have a feeling when you're cumming all over me, you'll think it was worth the wait.”

He’s only able to gasp in response because as soon as the last word of your sentence leaves your mouth, you’re taking him as far down as you can. His hands are instantly in your hair, not quite pushing you down but gently applying pressure as you stay unmoving for a beat, holding him in your mouth, enjoying the heavy feeling of his cock on your tongue. You softly move your head back and forth, easing him further towards the back of your throat before you let yourself gag around him and pull off. You repeat this process a few more times, allowing more and more spit to fall from your mouth each time; knowing he loves when you get messy with it.

“Fuck, baby, always so fuckin’ good on your knees for me, always know just what I need” Ashton rambles, provoked at the sight of you pulling back to stroke him with a long, thick string of spit still connecting your mouth to his cock. You beam at his praise while he runs his hand over your face, somehow both tenderly and aggressively. “Gonna let me cum all over those gorgeous tits?”

You lean into his touch, mouthing at his hand a little. He takes the bait like you knew he would and pushes his thumb into your mouth, watching closely as you close your lips around it, swirling and sucking before scraping your teeth on it as he pulls it out.

"Is that what you want?" You ask, looking up at him with big eyes as you sit up higher on your knees. "I can also do you one better." You bite your lip in concentration as you guide him between your breasts, using your hands to trap his cock against your body and enclose him.

You've never heard anything quite like the sound he makes when you begin rubbing your tits up and down his shaft, a sound so throaty and new it makes you clench. You continue to massage his length against your breasts, your soft skin and the novelty of the act working in tandem to get him off.

You make eye contact as you spit on his cock and you feel it twitch on your chest as he moans. This fantasy has come up before, usually via sexting while he’s on tour but neither one of you had tried to follow through until now and judging by the noises he’s making, it’s living up to the expectation. You know he’s going to go wild when you breathily encourage, "Come on, babe, I think you should fuck 'em."

Ashton doesn't need to be told twice and immediately starts thrusting vigorously. He practically growls when you flick your tongue out to catch his tip on an upstroke, so you keep doing it.

"Jesus, baaaaby…" he groans, sounding positively undone, his pace unrelenting as he ruts against you. "So hot… fuck, so good…"

You grin at his incoherence, knowing he must be close. "Thought a special day deserved a special treat," you boast. "Ready to cum for me, babe?"

Ash acknowledges your words with a grunt, pulling away from your chest and putting his cock in your mouth again. You bob your head with intent to finish him and you know he's desperate when he gets a bit aggressive, pushing you to take him further down than last time. You've had him in your throat for less than a minute before he starts breathing heavy and pulls out just in time to shoot streams of cum all over your chest.

"Yes, baby… fuuuuuck… so fuckin’ good to me," he groans rhythmically in time with each spurt. You place the head of his cock on your tongue and milk out the remaining drops, revelling in his satisfied sounds.

He looks in adoration and disbelief at you, covered in his cum, clearly pleased with your work. He helps you off your knees and moves to kiss you when you press a finger to his lips, holding him off while you drag your other hand through the mess on your tits, delivering the substance to your mouth.

"God, I love you, baby," he sighs exhaustedly, kissing you passionately, groaning into your mouth as he tastes himself on your tongue. “This is so much more memorable than you sitting on the couch reading tweets with me.”

You cackle, pulling away to clean yourself off under the spray. "Well, I love you too," you coo. “Always happy to celebrate my man.”

Ashton grins and cradles you against him. “Good to know… I’ve got some ideas for how we can celebrate the second single coming out next week.”

You giggle and turn, wanting to see his face when you reply, “You plan that and I’ll take care of the celebration for your video premiere tonight?"

He pulls you closer and smirks, “Deal.”

————-

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[johnstibal]

Career advice for law students wanting to practice in international law

Hello,

I was recently asked by a law student for some career advice on how to get a job internationally, and particularly how they could get engaged in international (public and private) legal work.

While my legal background stems largely from doing multinational corporate work, particularly in the IT sector, here are my basic ideas outlining a few generic things to think about in terms of your career planning and some key approaches to pursuing these types of careers.

My background.  For the past several years, I have worked primarily in London, and secondarily in Paris, for a very large telecommunications company.  I was originally working for another one of this companies' affiliates in USA, and this enabled me to move internally to another one of their companies in the UK.  Making this move internally within a large company allowed me to move abroad far easier, especially in terms of sorting out work visas and professional qualifications, etc.

Three Career Principles to Never Forget.  In terms of general career advice, there are three principles which you must keep in mind to work in international law related field.  While I recognize the risk of sharing a 'firm grasp of the obvious' (and I can almost hear some cringing already) most law students do not receive this message framed in this sort of a utilitarian light.  So, here it goes:

The sole purpose of your first legal job is to enable you to get a better second legal job.

It is all about Brand.  Your CV / Resume is a personal marketing tool.  It is your personal ‘brand’.  The choice of your first job should strongly take into account the value which the ‘brand’ of your new employer will add to your CV, and your future ambitions.  This lasts for decades.

You cannot save the world if you cannot pay the bills.  Public international law has some of the most interesting legal work around.  Unfortunately, or fortunately, it also has a tendency to attract incredibly brilliant people who will work for a minimum salary.  If you are independently wealthy, then great, no problem.  If you have large education debts, please do not neglect the fact this will undoubtedly impact your choice of jobs in the short term, even if not necessarily in the longer term.

Your first Legal job.  Getting your first Legal job is always a nerve wracking experience at best, and especially if you want to take a track other than going directly into a large law firm.  Unfortunately, nearly all major law schools are set up to build a funnel for large firms.  For your interests, even if you do not wish to 'end up' in a law firm or major global corporation, it usually makes considerable sense for you to go out to find the best ‘brand’ firm which you can, either in the US, UK or elsewhere.  You will be able to extract the majority of the benefits during this time by working at a firm for exactly two years (or three years, if in New York City) doing whatever type of legal work - - of course, its even better if your firm or company has a public international law practice, but this is not required.  By the end of this time, you will have ‘checked the box’ on your CV, and you can happily move on to what you really want to do.  This is by far is the safest option for most, and also incidentally, completes one of the requirements enabling you to be admitted to practice in other common law countries (e.g. the UK).  I’m not certain whether this is as helpful in other civil law countries, but I suspect it would be.

There is no question that working at a law firm, and potentially billing in ‘6 minute’ increments gets very tiring.  Reviewing e.g. commercial leases is even less fun than watching paint dry.  But this said, you will probably be practicing law for a very long time off and on anyway.  Having a good initial first employer on your CV, who has ‘trained’ you is always a good investment for your CV even if not necessarily beneficial to you over the long term.

As a lawyer who has graduated from a US law school, you are able to come to Europe with a well respected professional background (speaking generally).  In terms of global perceptions, US lawyers are highly respected, maybe in a similar form of the admiration to being world-class in other professions e.g. French engineers, British accountants, or Indian mathematicians - - not to foster bad stereotypes…  But, needless to say, the USA legal professional qualification travels well around the world, particularly among global employers.

This being said, there is a particular area of confusion when you first come out of law school.  Legal training is not the same around the world, meaning in France, a jurist has may have only attended the equivalent of undergrad and not graduate school (in terms of USA style nomenclature, depending on their qualifications).  In the UK, while there are some permutations, most young associates at large law firms will attend around a year and a half or so of graduate school, followed by two years of a training contract to learn how to practice law.  In Germany, many associates hold an LLM, or a PHD, at minimum, staying in school much longer.  While you probably can research the differences in the number of years of schooling better than me, you should be particularly aware of this issue when you turn up to speak with a new potential employer in Europe.  There is a risk of being perceived as wanting to find only a training contract, which is not needed as a USA law school graduate.  After your first job, the timing issue goes away as you accumulate more PQE (Post Qualification Experience).  The same is true in France, as I understand it.

An alternative path in human rights / non-profit sector for law students.  This is an area where my knowledge is limited.  But, if I wanted to pursue a career in this field, I would adopt some of the following key approaches.

First, figure out who are the heavyweights thought leaders in your particular field of interest, either individuals or organizations - - and, do your best to somehow associate yourself with their organization or sphere of colleagues.  You want to try to figure out who these organizations interact with, and by extension, which of these organizations might hire you.  Linkedin is an extraordinarily powerful resource for this research.  To test your hypotheses, try calling up or meeting up with the General Counsel of any public interest foundation (if not possible to meet in person, then email / Skype also works  but is far less effective than in person).  Introduce yourself, and ask him or her for some general advice, in particular what ‘outside counsel’ their foundation typically uses - - make clear that you admire the work of their foundation, and look to gain relevant experience by doing similar work in the future.  Ask about their Legal department organizational structure (General Counsels - GCs) love talking about this stuff), and what skills they look for over the long term, but even if not necessarily immediately.  If it goes well, you might get some really good information, and maybe even a referral to a firm or sister organization.  Senior Executives are very used to people asking them for jobs on a daily basis.  But, they get asked for their advice far less often.  Use this to your advantage... but do not be a pest.

As an example coming from NGOs, from time to time, I have occasionally dealt with some of the affiliates of the United Nations as a supplier. There are probably 20 of these, e.g. World Bank, IMF, UNHCR, IATA, WIPO, Red Cross, Red Crescent, and Red Crystal.  Some of these organizations you are probably more familiar to you than others.  There are two consistent traits that I see when dealing with their personnel.  First, many of the staff are about to retire, and second, their staff have all consistently bounced around the world working in many different UN affiliates and national governments doing all sort of different roles, both legal and non-legal.  The first of these is a well known problem for the UN and its agencies, at least, at a macro level, which might be helpfully to you. While I’m not certain what formal hiring programs may exist in these orgs, you should check with them around world, and particularly in Geneva, Switzerland and New York.  Also, in terms of firms which advise this types of groups, you should also talk with McKinsey & Company.  They do some very impressive pro bono work consulting for non-profits, and like to hire people with diverse backgrounds often having law degrees.

To get the attention of any large organization, and not just the UN agencies, you will always want to first find a way to get through the door, even if you need to do the unsexy type of legal work.  Once you are inside, it is usually far easier to move internally.  For example, if you work for a big organization like the UN, they have a vast array of legal needs, ranging from the basic to the exotic.  It is undoubtedly the case that a large portion of the UN’s legal budget goes to HR and Procurement legal advice (e.g. doing commercial leases, procuring pencils and IT projects) (whether done in-house or by external firms.)  When a UN agency needs to lease a building in sub-Saharan Africa, some lawyer somewhere in the world needs to review and advise on the tender process (often in combination with other local lawyers).  Therefore, this is an opportunity to target.   Yes, this is not sexy work, but it gets you a pass into the ‘club’ to work on other more interesting projects in the future.

As a final thought.  Having outlined all of above, if you truly want to work in the non-profit / human rights space, it might be the case that being a ‘junior file clerk’ for Google.org or the Gates Foundation is equally beneficial (from a brand perspective to get your next job) as being a senior associate at Skadden Arps.

On the one hand, being at a big firm allows you to potentially develop a deep legal specialty, which might be later retooled for a good purpose.  For example, undoubtedly, at some point, a brilliant lawyer in some large law firm will figure out how to package up millions of ‘microfinance’ loans using mezzanine financing techniques (i.e. allowing Wall Street money to start funding billions of very small loans around the world) - - in so doing, they could indirectly create prosperity in Africa for a life time.

At the same time, NGOs have a potential to do great things too.  These are the people who are likely to generate the next generation of new legal concepts / quasi-regulatory regimes.  For example, a newer area which I am following lately relates to 'conservation services' and 'natural capital' (see Conservation International) (www.conservation.org).  These structures are, essentially, quasi-voluntary regulatory schemes to allow companies to share and manage ecological externalities (see Jennifer Morris's speech at Stanford).  For me, CI's approach is just a start of a major trend in this area: soon there will be ISO certificate schemes covering externality pricing, as well as voluntary business case weighting methodologies which hopefully over time will become a standard approach in global commercial activity - - yet, this said, few individuals in the world understand how these types of governance tools work in practice.  It simply cross too many intellectual domains, which so far has stymied adoption on a global level.  'Deep Greens' are not well suited to create these types of applied 'corporate' innovations around externalities, but maybe you are the one given your legal background.

Highly innovative organizations, such as the Gates Foundation, look great to onlookers because, in large part, by comparison, the other large global NGOs have tired ‘business’ models.  Often major NGOs have been doing the same exact thing for decades.  For me, I could see this as creating an opportunity.  It might be great fun to join one of these NGOs for the express purpose to reshape it, remake it, and help them to reinvent their bag of tricks as an NGO.  As a lawyer, you can have this level of influence within these types of organizations - - but, remember, always ask for forgiveness, never for permission when trying to affect major change within large organizations.

Keep in touch.  If you like this or have other items to add, please drop me a note.  I always enjoy hearing from people and what they think.  These are changing times!

Best of luck,

John

[hankwritten]

TFComics Rewrite

I am currently plotting an outline for a TFComics, and I want to get my thoughts about fixes to canon and possibly get feedback. Since this is a rewrite there’s really no *spoilers* or anything, so I’m willing to answer all questions about what I plan to do. Also some characters I’m not so sure about how I want to retool them, so if your have ideas for your fav let me know!

Disclaimer:

This rewrite is intended to critique the content/choices made in the construction and telling of the Team Fortress 2 comic series. It is not a personal attack on the artists/writers/directors or any of the creatives that made contributions to this series, nor is it meant to substitute or replace the official release. This work is transformative in nature, and relies on an understanding of the source material to be understood. TF2 and its characters belong to Valve.

TFCR is working on the assumption that the audience has read the original comic, and as such will skip over scenes and plot points that are unchanged from the original. I don’t think it needs to be said, but this fanfiction will not make sense if you are not familiar with the source.

I also recognize that there are strengths within the comic’s writing and weaknesses within my own. Namely, that Valve writers are gods in the realm of comedy, and I’d rather not try to match them in the regard. As such, I will state up front that these will not be as funny as the TFComics. That is not to say there won’t be jokes (either ones transplanted from the source or some of my own) or that the tone of this will be terribly grimdark, only that my focus will be on improving story structure and character development as those are what appeal to me.

 The Broad Strokes

The goal of TFCR is to give a more engaging story for all the mercenaries we know and love, as--let’s face it--the TF2 mercs are side characters in their own damn story. These are some of the planned improvements.

There will be reason for each of the mercs to actually be there. As it stands, the motivations for almost every character besides Pauling and Saxton Hale are vague and unsatisfying. We’d usually say something along the lines of “money” for hired killers, but clearly Scout doesn’t even know if they’re getting paid, and some of the other characters are even worse. The hunt for the Australium is, therefore, boring. MacGuffins usually are, but at the very least the characters should care about the item even if the audience doesn’t. This work aims to give each of the nine mercs a motive and a reason to be in the story instead of just replaceable joke dispensers.

Explain what “Team Fortress” means, and how it relates to RED and BLU. Long and short: the nine mercenaries we see on the team are not from either RED or BLU but rotate between the two, and were the individuals selected to fight the robots. That means all things do happen to all characters. As Valve pretty much goes with “whatever is funniest at the time”, it’s very hard to make a cohesive theory about “where the hell is BLU team?”, but I’ll do my damndest. We’ll also examine Team Fortress’s relationship with the other capital T Teams, and why they’re considered the “rejects” of the bunch.

Comics 1 & 2 will be removed from the timeline as they serve no purpose, only taking what needs to be known about the plot’s setup and jumping straight to A Cold Day in Hell.

We will introduce the Classic Mercs right away so they can generate threat and play against the TF mercs when they do actually meet head to head.

We will not be killing off Gray Mann. (Not preemptively anyway.) In fact, there will be more focus on him and Olivia as villains facing off against the Admin, providing her foil as the TF2 and TFC mercs provide foils for each other.

I considered waiting until the final comic was out to begin working on this, but that may never happen. Jay Pinkerton said he may reveal what plot they had in store eventually, but considering it took Half Life over a decade to get the “I was once a Valve writer but my NDA has expired and now I can go buck wild” treatment, I’m not holding my breath. The main reason I wanted to do this is that the Administrator’s motivations are not interestingly foreshadowed, to the point where there aren’t even any good fan theories out there. That said, WritingDispenser and Riddle of the Sphinx helped come up with a pretty fun one, which was actually the inspiration for me to get off my butt and start plotting this.

There will be no queerbaiting. This refers both to HeavyMedic (which has been simultaneously used as wink wink nudge nudge joke many times and as encouragement for fans to play their stupid hat game) as well as lesbian Pauling (since femme lesbians are the preferred method for front facing LGBT representation across almost all media, but video games especially). If you need to understand why lesbian Pauling is an issue, Sarah Z coined the term “queercatching” in order to describe word of god confirmations on characters sexualities that are not followed up on in the text. I recommend the full video on it.

Due to the importance of immortality in the theming of the comics, respawn will not be a thing. Deaths we think should have happened previously will be explained as close calls, or that Medic can heal a short time after death. Medic and Scout’s deaths will be cut in the story itself, as after Sniper died and came back, them doing the same thing kinda lost their punch.

Scout

There will be no ScoutPauling hints. It doesn’t make sense to give screentime to this relationship because Valve obviously doesn’t think it’s going to go anywhere so why make Scout turn down advances from other hot women? I mean I get Expiration Date was a Thing but it feels like Scout’s whole motivation shouldn’t be reduced down to chasing a girl who doesn’t like him back.

He’s here because he lost his life’s savings in bad investments and needs the money. That’s it. Which is still somehow more than his canon motive which is question mark question mark question mark

He, Soldier, Spy, Demo, and Pyro all start the adventure with Miss Pauling.

Engages with Heavy on a genuine level when they go to collect him, Heavy doesn’t blow him off when he tries to level about dead dads.

There will be no DadSpy reveal. The way Spy treats Scout has never been “deadbeat dad feels bad about abandoning his kid” but more “this is someone I would kill without a second thought if I felt like it” which makes his reveal in comic 5 feel very disingenuous. I don’t think Valve even had this plotline in mind until comic 3, as #2 still has Spy seeming only to care about Scout’s Ma and not Scout himself. It also makes “seduce me!” retroactively weird.

Uhhh hooks up with Zhanna. This one isn’t critical I just think it’s funny.

Soldier

Soldier is going to be the Ur example of the Admin not treating her people well, as we’re going to lean into the whole “Soldier was only mildly messed up until the whole lead poisoning” thing.

He’s here because he’s blindingly loyal to the cause. He’s actually going to very little from canon because of this actually.

Might be the reason Team Fortress has a reputation of being the lower tiers of the Teams, but that doesn’t mean he’s damn good at his job. Fatal flaw is that he’s unstable, and even though the courthouse plotline won’t be in this fic, it should be noted that he actually does cause problems for the other protagonists due to his short temper. He’s a risky asset, but still essential.

There will be a minor explanation for the WAR! Comic, but I think that’s better saved for Demo’s analysis.

Pyro

Pyro is the character you could cut entirely from the comics and have the least change. Now, they’re going to be Pauling’s right hand. Let me explain.

Engineer and Pyro are implied to live together, and Pyro doesn’t have anything better to do than go with Engie after Team Fortress is disbanded. Rather than having a reveal, we will see some of what is going on with the Admin and friends early on, and see what leads up to her sending Miss P the note that kicks off the whole plot. However, while Engie needs to stay and look after her, Pyro’s skills aren’t useful here, and they are sent as a direct messenger to help Pauling.

They’re loyal, and unlike Soldier rarely mess up orders. They’re also partially mute, making them ideal for handling sensitive info. Pauling trusts them to handle the burning of “Elizabeth’s” paper trail.

Will be using they/them in the narrative voice, but other characters will refer to them as he/him. I considered going with it/its because that’s bubbled up in popularity again, but ultimately I decided against it.

We’ll get glimpses to their train of thought, but like the comics they will remain virtually silent.

Demo

Demo’s role in the cast is going to be very similar to Spy’s. The events of WAR! involved him nearly dying and Soldier taking the win, and he’s very bitter that after all those events *apparently* mercs can just be switched around teams willy nilly and don’t have to kill each other anymore. (As the audience, we know this is because the Admin found out the “make them so angry they won’t ask questions” wasn’t a long-term viable solution, and instead brought TFI forward as a neutral third party that was pretending to mediate the gravel wars.) But Demo’s suspicious, and is only along because he really has been miserable since he lost his job.

This conflict will eventually come to a head, more on that in the Sniper section.

Is fairly forgiving with his teammates. Doesn’t like Sniper but I’m willing to drop a little angst during that submarine scene. Is glad to see Medic actually. Here to be some glue to hold this merry band together.

The Eyelander will not be forgotten after 2 comics because I love this character concept and I think it was underutilized.

Drunk jokes will be kept to a minimum. What I liked about WAR! and Bombinomicon was that it took Demo and showed that they knew how to make him funny without making him one note, which they sort of did in the early TFComics but stopped in the later ones in favor of him….being asleep for the whole plot. I promise 100% awake Demo in my rewrite.

Demo likes Pauling on a personal level, but has trouble reconciling her with his feelings on TFI.

Doesn’t get knocked out by moonshine because. Seriously? Poisoning the Demoman with alcohol? In what world does that work.

Heavy

Not too much to change. Scout doesn’t accompany him when he goes to look for the secret Australium cache, and he engages with Mags and Saxton (which will be when the audience finds out what they’ve been up to) and actually cares about what’s going on with them. He thinks Darling is up to something. Which he is, he’s attempting to unseat both Gray and Helen due to long family history.

Will at least mention Medic. Their reunion falls a little flat since it mostly relies on Meet the Medic for context, as they don’t really interact in the comic. There can be a bit of a flashback to what it was like as all these mercs broke up.

I know uhhh Valve seems to think found family is really dumb, and that these murderers could ever like each other is silly or something, but the mercs do? Like each other? For the most part anyways. 

Bronislava and Yana come alone for adventures, not just Zhanna. Again, no real reason, but sometimes I get to have tacky fanfic stuff in my own fanfic because I Wanna.

Engineer

Engie ruminates on his family history of allowing all this bullshit to happen and just kind of shrugging. Basically Moss’s analysis of the Conagher themes.

Has put a lot of time, sweat, and tears into BLU and now TFI, isn’t willing to let it fall now, even if Admin is basically living on borrowed time. He’s doing this because of the ‘ole sunk cost fallacy.

Also we get to see more of Pauling and Admin’s relationship through his eyes.

Medic

Congrats on being the one merc with an actual arc, Medic! As a reward, you will not be changed much.

I’m actually going to use Medic’s section to say that the Classic mercs will be referred to by their first names in order to differentiate them, and we’ll get little previews of what they’re like from Medic’s perspective before we actually see them fight Team fortress. The battle at the submarine will be more of a fight in this sense, working it out so it seems like surrender is the only option after Sniper is killed.

Final fight with Cheavy will be...not blocked so awkwardly. I mean this is now a textual medium so my work is already halfway done, but still the pacing is so weird. Shudder.

Sniper

These are the big guns. Most changes, even more than Demo. He’s been actually hunting for New Zealand/the Australium cache on his own, and doesn’t want Pauling interfering, saying for a he knows she could have been the ones to kill his adoptive parents.

(She hasn’t, but the Admin did actually order them killed in an attempt to stop Sniper because she thought she could prevent the exact thing that is going on right now which is that Sniper is considering trying to get at it.)

Sniper doesn’t know this, but Pauling, Demo, and Spy eventually convince him to share his findings and help them get to New Zealand.

Spy

Similar to Demo but is less conflicted about it. He knows just because he likes someone doesn’t mean he won’t have to kill them later. 

Spy knows about who killed Sniper’s parents, and tells Demo, sort of as a test to see where his loyalties lie. He also knows that Pyro is Pauling’s confidant for certain things.

Demo questions him about what he’s doing here, whose side he’s really on. But you know. Spy is Spy and he was never really on anyone’s side but his own. When it comes down to it, it might be exactly as Scout thinks: that he’s ditched them all and run off when he had the opportunity. But, big damn hero, comes back in the end.

He’s here mainly to “keep an eye on things.” Also maybe because his gf asked him to keep an eye on her son :)

[littleeyesofpallas]

There's a Bleach rant ive been trying (and failing) to sort out in a nice orderly succinct post for a while now about how thru a mix of my usual rundown of the Arrancar Arc set up, my (also) usual metatextual reading, and then also slipping into some headacanon-y territory, I've convinced myself that the real endgame on the Arrancar Arc should've been a confrontation between the Visored as "surprise" villains and the Vastlord Arrancar as surprise good guys.

In part key to this being my already kind of established theory on this blog that the Fullbringers were basically a rehash of a dropped Visored plot that we never got to see fleshed out in the Arrancar Arc.  I'm pretty certain the Visored's goal (if they'd ever even gotten around to being given one...) would have been to obtain the Hougyoku to become human again(again this kind of banking on my other established theories including that the Visored weren't actually shinigami but human substitute shinigami like Ichigo) as their hollows were a curse. But then as a twist they'd really be out to further push their hybrid power as neither Shinigami nor Hollow.  Meaning they’d have been a ragtag group of 3rd party humans without rank, whom Ichigo turns to for guidance when the Shinigami and Urahara can’t help him, who appear initially hostile, end up friendly and kind of goofy, but ultimately were training Ichigo for their own benefit and not out of benevolence.

But then, opposite this, the Arrancar were clearly positioned to be an inversion of the Visored, not just in the basic outline of their powers but in their implicit alignment as well. Notably, the shinigami were already of questionable morality after the Soul Society Arc and it seemed like Kubo had every intention of following up on that.

Now, there’s a lot more to all of this than that... but that’s kind of where I keep tripping myself up in tangents, so let’s just kind of move along for now...

If we figure that the Visored were positioned to be villains masquerading as allies, and posit from there that the Arrancar might not all be as villainous as they seem we find that any potential evidence of this being set up hinges on the elusive nature of the Vastlord. We know they're human sized and stronger than a captain as hollows, that they are very few in number, and that Aizen is actively seeking them out in order to complete/perfect the Espada, and that he is quick to discard and replace weak Espada. (ala Grimmjow/Luppi and the Privaron.)

The first and only real Vastlord we see is Wonderweiss, as we catch a single glimpse of him as a Hollow, but bound in bandages, just before he’s turned into an Arrancar by Aizen; the only time we actually see this process; He is clearly humanoid in shape and size in this scene, and given the context above all being freshly exposited at that point in the story, it’s a pretty clear inference.  This would mean that Wonderweiss is positioned to be one of Aizen’s new, perfect Espada ranks, soon to replace one of the existing ones. (although this is never followed through on.)

Of note, Wonderweiss shows up in the diversion party covering up Orihime’s abduction alongside other Espada, and takes Urahara offguard, strongly suggesting that he is in the very least stronger than Yammy, who struggled to keep up with Urahara previously.  Other than just a nebulously high power level, Wonderweiss stands out by his vacant/dimwitter and/or child-like demeanor.  Of note: Tousen refers to him as “Pure” although even he doesn’t seem to know what exactly that means.

But you know who else has a nebulous power level, ominously foreshadowed (before not being followed up on for a long time) and a generally innocent and child-like demeanor?  Nel.

When Nel is first introduced she actually drops a bit of info about how the Numeros are the ranked Arrancar of Aizen’s army, and how she isn’t one of them, implying that there are just other arrancar living out in Hueco Mundo.  Additionally there are a few peculiarities about her and her companions: For one her mask is not clearly broken nor actually missing much of itself at all, which seems to imply her mask wasn’t removed properly (something Kubo does happen to follow up on, but I’ll get to that later...) and although their brief discussion with Ichigo does identify all three of them as Arrancar, Dondochakka and Pesche don’t actually look like Arrancar at all.  Although it can be argued that Pesche’s mask is broken and hidden under the fabric bolted over one eye, Dondochakka’s mask appears fully intact, and he doesn’t even have a hollow hole...

So here’s another bit of where I get tripped up by my own meta headcanon...  Kubo seems to have a general habit of taking old ideas and reusing them, sometimes it’s character types or dynamics, sometimes its powers and themes, sometimes it’s certain panels or scenes.  And I feel like he does this most often when the first time he tried, he didn’t quite get everything he wanted out of it.  

I also believe that Kubo’s very traceable plans for the Arrancar Arc that he set up early on, were effectively ditched by around the time the Grimmjow fight happened.  And broadly speaking, I realize that that is a less substantiated theory than some of what I peddle.  And I can go into a lot of the kind of orbital evidence that I think suggests it, but it still only goes so far, and doesn’t amount anything irrefutably concrete, so I’m going to also fight the urge to go on that particular rant...

NOW, with that in mind, I think Nel’s dynamic with Nnoitra was originally part of something that Kubo was effectively at risk of losing when he shifted gears to wrap up the Hueco Mundo rescue mission faster.  And in his usual style, I think he quickly retooled key moments of that dynamic into what we wound up with in order to quickly shoehorn it into what remained of the Hueco Mundo phase of the arc while he still had the chance: Nnoitra taunting Ichigo for not knowing “what” Nel is; his inferiority complex; and a number of small scenes and exchanges, including the one where Nel waxes philosophical on what it means to have gone from Human to Hollow to Arrancar.  I believe that this accounts for a number of issues I see with Nel’s whole reveal and fight and backstory with Nnoitra not really fitting into the general flow of the story or the timeline we’d been given prior. (which is, you guessed it, another rant I’m not getting into here!)

A few additional weird notes that I don’t even know how to rectify personally...

in the Unmasked character book Ulquiorra gets his little flashback origin story, which I don’t really know if I’d place in the realm of building on Kubo’s final continuity for the arc, as something he salvaged from old ideas, or something he honestly just did more or less outside of continuity as bonus content just because it’s what he was vibing that week...  But it suggests Ulquiorra wasn’t actually made by Aizen but was a naturally occurring Arrancar who removed his own mask.  And in the bounds of this particular building theory that  actually puts him in a category similar to Nel, as a Vastlord who got his masked removed by means other the the Hougyoku.  And I don’t think I need to remind you about his whole character arc with Orihime and his fixation with finding out what Heart is and how he die a more sympathetic figure than most of the Arrancar.

Starrk’s awkward death flashback where he also appears to have not actually been made by the Hougyoku at all, but is in fact a naturally occurring Arrancar.  And his similar disposition to Ulquiorra, where they both seem possessed by a sense of longing for surprisingly human connections(and understanding of Heart, and companionship) and is actually rather adverse to fighting if he can help it.

And finally (I promise this is all going somewhere...) Zommari’s extremely peculiar death in which he berated Byakuya and shinigami for having arrogantly and self-righteously appointed themselves protectors of humans and executioners of Hollows, something he suggests is against a kind of natural order or sense of justice.  He dies praising Aizen, implicitly as someone who appears to have promised him and the other Arrancar an alternative to this system.  As a tiny tack on, Aisslinger also dies with similar praise for Aizen, saying that Hollows are born from fear and only someone fearless like Aizen has the right to lead the Arrancar.

SO...  Now that we’ve collected these kind of disparate bits of data I’m not even gonna waste your time with trying to suss out the difference between the inferred continuity, the meta-textual intent, or speculation(because that’s where I get lost in these drafts) I’m just gonna launch right into fullblown headcanon...

...in a part 2 post.... because otherwise this’ll be twice and long and nobody wants that...

[ficsandcatsandficsandcats]

Hi love! I'm back again! Hope you've been well! Could i request a plus size reader x jaskier where they are very close friends (and both pining obviously) and reader has to go home for some reason to see her family and her mother is not the greatest, she does the "trying to look out for you" thing while actually being quite rude. Reader has warned Jaskier about it but seeing it first hand drives him crazy and he stands up for her and confessions happen in the heat of the moment when her (1/?)

Mother makes a comment about how Jaksier would never want to be with someone like her, reader has said many times that they are just friends. Even though she wants more. And it strikes a cord and jaskier just sees that she's hurt and goes lovely feral!jaskier! Thanks so much as always love!!! Your writing continues to make my days better and brighter!!! 💙💚💙💚💙 (2/2)

Fandom: The Witcher Pairing: Jaskier x Reader Word Count: 1,273 Rating: T Taglist: @heroics-and-heartbreak​ @whatevermonkey​ @mycat-is-mylove @mynamesoundslikesherlock​ @kemmastan​ @magic-multicolored-miracle​ @writingstudent​ @mlleecrivaine​ @coffee-and-stories​ @amirahiddleston​ @ultracolorfulnerdcollection​ @astouract​ @your-not-invisible-to-me @daydreamer-in-training a/n: I hope this is what you were looking for! I’m glad I can make your days a bit better xo

“There’s still time to turn back,” you whispered to Jaskier. You stood before a wooden door, hand poised over the knocker. Jaskier rolled his eyes and knocked on the door with his fist.

“Don’t be silly, Y/N, I’m excited to meet your family,” he replied.

“Ok but remember what I – mum!” you stopped mid-warning as the door swung open and your mother stood in the threshold, a broad smile on her face.

“Baby!” she cried, holding her arms out for a hug which you offered a little hesitantly.

“Still well-fed I see,” she whispered into your arm, hands pinching at the excess she felt around your waist. Your face went warm with anger but you bit your tongue and pulled away.

“And this is your friend, the bard you’ve been telling me about?” she asked, gesturing to Jaskier. You nodded and he held out a hand to shake but her mother pulled him in for a hug that he returned.

“Ooh you keep well in shape,” she said appraisingly, “Come in, come in!”

Jaskier turned to you with a slightly confused smile on his face.

“A bit odd, but I like her!” he said. You gave a tight smile and entered the house. Jaskier cared less about your mother and more about seeing where you grew up. He loved to see the little signs of your life from the drawings you’d made with charcoal as a child to the portrait that had been painted of you as a young woman. He liked to imagine you growing up here, the warmth and love and laughter you were surrounded by. He knew your relationship with your mother was a little tense. The woman could be critical, as Jaskier knew mothers were wont to be, but it seemed she cared and she’d said he was fit which didn’t hurt things. By the time he entered the kitchen you were muttering something to your mother that she waved away.

“Jaskier agrees, don’t you?” she asked.

“Mother don’t,” you pleaded, mortification plain on your face as Jaskier moved closer.

“Agree with what?” he asked, a smile on his face as he prepared to hear some sweet, adorable embarrassing story from her childhood.

“It would serve her well to lose some weight,” the woman said. Jaskier’s smile froze and then fell away to a look of shock while you avoided his eyes, shaking your head dismissively.

“What?” he asked.

“Oh you don’t have to pretend you haven’t noticed, dear, she needs to hear it from people who care about her,” your mother said, patting his arm and moving to the table with the bowl of salad she’d prepared.

“Jaskier it’s fine,” you whispered as you moved past him to take your seat. He stammered incredulously and bit back a barrage of things he wished to say out of respect for your feelings. The three of you sat down and your mother offered prayers to Melitele before encouraging you all to eat. There was some general small talk and the tension eased until you reached for a roll.

“Are you sure you should be eating bread, dear?” your mother asked. You dropped the roll and pulled your arm back, repressing an angry sigh.

“Is she allergic?” Jaskier asked, his voice cool. You looked up to find him giving your mother a look that was equally cold though a flicker of anger brewed in them.

“Oh no but this goes back to what we were saying about her health,” your mother said, deftly twisting words that hadn’t been spoken to retool history. She was well-practiced at this, she’d been doing it your entire life.

“I have never said such a stupid thing in my entire life and I wonder that you could,” he answered quickly. Your mother blanched and you were torn between loyalty to your mother and deep gratitude over Jaskier’s words.

“You must understand I’m thinking of her future. She needs a husband to be secure and you can speak to it better than any of us that men do not want wives with her form,” your mother said, speaking slowly as though she were explaining plain arithmetic to a child.

“Forgive me, madame, I thought that the last thing you’d said was the stupidest I’d ever heard but it appears you constantly endeavor to outdo yourself,” Jaskier bit out, “Firstly may I say that your daughter does not need a husband. Your daughter does not need anyone. She is incredibly self-sufficient and you should be praising her ingenuity and independence instead of trying to saddle her with a husband and that brings me to my second point. Any man would be lucky and happy to be with her.”

“Jaskier-”

“Then why does the man she cares for not return her affections?” your mother charged.

“Mother don’t,” you pleaded though there was an angry edge to your voice now as well.

“What man?” Jaskier directed the question to you, shifting from rage to hurt in an instant.

“A bard she travels with who sees fit to woe all in his path except for her. Why do you suppose that is, Jaskier de Lettenhove?” your mother leveled the statement at him and crossed her hands over her chest as though she’d struck the winning blow in a duel. Jaskier’s eyes scanned your face, silently asking for confirmation of what she said. You shrugged and nodded vaguely, a little tearful and incredibly humiliated. Jaskier’s face lit up with delight and then creased into bitter anger as he looked to your mother again.

“This bard is a coward,” he answered simply, “It is not for want of love that he refrains from wooing her, it is the opposite. He is so deeply affected by his love for her that he cannot bear to face it so he tries to bury it in others though all they do is whet his appetite for her. He knows he is not worthy of her and he hates the idea of her settling for anything less, though he very much doubts there is a single person breathing on this earth who could ever be her equal.”

Your heart pounded in your chest at his words though you feared this was just a moving performance done in her honor to help her save face.

“Jaskier you don’t have to do this,” you said, “Just… don’t say anything that isn’t true.”

“It’s all true, Y/N,” he said, his face turning to yours once more, hands reaching across the table to clasp yours, “I’m so sorry I forced you to come here. I wanted to know more about the people who helped transform you into the woman I’ve grown to love so deeply but I see now that the woman you are has been developed in spite of them, not in thanks to them.”

He rose from the table suddenly, your eyes following his progress like a moth to the flame. He held out his hand to you and you slid yours into it, rising at his beckoning. He walked you to the threshold of the room and then glanced back at your dumbfounded mother.

“You only get one of her,” he said, gesturing to you, “If you do not love and appreciate all of her, you will lose the precious time you get. Your daughter is everything you could ever want and more. Don’t deprive yourself of the amazing woman she is will trying to shove her into some predetermined concept of what you thought she should be.”

He walked you out of the house, hand clutching yours tightly, and he didn’t let go the whole walk home.

[aion-rsa]

Van Helsing Returns For A Final Season And Adds Time Travel To Its Narrative Palette

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This Van Helsing article contains major spoilers for the season 5 premiere.

From the dynamically retooled opening title sequence to the Jack-centric Transylvania storyline, it takes only moments to recognize that Van Helsing’s fifth and final season promises to take fans on a wild ride as it brings to a close its delightfully circuitous tale of horror’s most iconic vampire hunting family. Season premiere “Past Tense” doesn’t represent the first time the Van Helsing family story finds itself in the past, but there seems to be a more concerted effort this time to employ traditional time travel elements as the unanswered questions mount.

It’s been sixteen months since the season four finale, but the head of the Van Helsing clan remains noticeably absent from the story even though her imprint is unmistakable. Fans of the series understand Kelly Overton’s (Vanessa Van Helsing) pregnancy last season limited her participation, and though she doesn’t appear in the season premiere, Nicole Muñoz (Jack) and Tricia Helfer (Olivia/The Dark One) deliver strong performances that skillfully carry the episode. Still, where’s Vanessa?

Before we address Vanessa’s whereabouts, however, it’s the stunning narrative redirect showrunner/writer Jonathan Lloyd Walker and director Jonathan Scarfe (Axel) throw at viewers that suggests a new approach to bringing the vampire apocalypse to an end. What appears to be a truth on Van Helsing doesn’t always play out the way we think it will, but when Jack leaves the Dark Realm and finds herself in renaissance Transylvania, there seems to be only one logical explanation – time travel. You have to love that Jack immediately recognizes the drastically changed landscape and sets out to take care of business. 

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Vanessa apparently still resides in the Dark Realm, but it seems clear that she’s the catalyst for Jack’s temporal journey to Dracula’s city of origin.  Of course, Jack’s experience here could turn out to be similar to Vanessa’s meeting with her grandmother Lily in season three,  but for now, we have to consider conventional time travel as the most likely scenario. Needless to say, time travel in the hands of a less skilled writer can lead to a multitude of narrative pitfalls, but with Walker (Continuum) at the helm, the story is in more than competent hands. Still, we have to wonder how Vanessa’s role will play out since it seems reasonable to assume that if she can send Jack to the past, she can leave the Dark Realm at any point herself. So why does she stay?

Once we learn that Count Dalibor’s wife Olivia (Tricia Helfer) may, in fact, be the genesis of the Dark One, it’s only a matter of time before she and Jack come face to face. It doesn’t take long for viewers and Jack to face the quintessential time travel dilemma: if you could go back in time and kill baby Hitler, would you? Traveling to the past to prevent an apocalyptic future has become a science fiction staple, and Jack now faces the ultimate moral decision. “Now I know why my mother sent me here.” Understanding Vanessa’s motivation is one thing, whether she can carry out this gruesome task is quite another. 

While it might be simpler to have Jack kill Olivia and prevent the 21st century evil that plagues the American northwest, other options do exist. “What if you could stop what turns her dark?” Florian (Matúš Kvietik) asks a reticent Jack. Unfortunately, the Transylvanian problem is far more complex than simply eliminating new mother Olivia. Actions have consequences, and if time travel tales tell us anything, it’s that unintended consequences generally rear their ugly heads sooner rather than later. Whether it’s the Grandfather Paradox or the Butterfly Effect, things rarely turn out the way the protagonist thinks they will.

Not surprisingly, Helfer (Battlestar Galactica; Lucifer) seamlessly transitions from the dark, ultra evil creature at the heart of the vampire threat to a loving wife and new mother who unknowingly sells her soul to Michaela and the roots of the Sisterhood. Nonetheless, the plot thickens because killing Olivia and preventing her from becoming the Dark One only takes care of one problem. What about the Sisterhood? Jack and Ivory already killed Michaela in the present, but now Jack can prevent her from creating and expanding the Sisterhood and becoming the Dark One’s bride. Does Jack have it in her to commit what will seem like multiple atrocities to the innocent bystanders who possess no knowledge of the future from which she comes?

Olivia’s role in the coming apocalypse isn’t as cut and dried as it might seem, and when Florian shows Jack the portrait of the count and countess, it’s her last name that stimulates Jack and the fateful decision she ultimately makes. Dracula. Did Vanessa actually send Jack to this point in time with the intention that her daughter could operate in the role previously ascribed to her – mankind’s savior?

Nobody said saving the human race was going to be easy, and we most certainly didn’t expect the Van Helsing storyline to end up in the middle of a Renaissance street fair, but it’s a perfect vehicle for Olivia to meet another major player on the dark side.  “I see two futures diverging,” the fortune teller (Jesse Stanley) tells Olivia, and the woman who will eventually become the Oracle, informs her that two women wish to shape her fate. “Something dark awaits you.” And Jack’s kill list grows taller by the minute.

“I told you; vampires, and I’m the cure,” Jack explains to Florian, but the subtext here implies something quite different than her ability to return victims to the human state. Micheala (Heather Doerksen) wishes to resurrect someone and begins brewing a potion that seems to affect both Jack and Olivia and sets into motion an act which can’t be taken back. We’ve witnessed this watershed moment many times before, and too often the hero hesitates and allows evil to escape. Not this time, however. Jack plunges her dagger into Olivia’s throat. “I’m sorry; I had to.” This is not the first person Jack has killed, but it will be fascinating to watch the effect this murder has on her personality. Still, if she’s to prevent the dark future, there are at least two more deaths to consider. 

“Do not get enchanted by whispers of magic and monsters,” Dalibor (Kim Coates) tells Florian, laying the groundwork for Jack’s revelation that vampires are real and must be stopped. However, Jack’s in a difficult situation since the “I’m from the future,” explanation rarely yields positive results. It’s early, so we don’t know if Vanessa has an exit strategy planned for Jack, but for now, she’s on her own. Is Florian enamored enough of this stranger to overlook the murder of his beloved countess, or can Jack offer some kind of proof that everything she says is true? And how will Dalibor handle his wife’s brutal killing? No one ever said the Dark One has to be female.

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Over the course of five seasons, series creators and showrunners Simon Barry, Neil LaBute, and now Jonathan Lloyd Walker have managed to lure some of genre television’s finest actors for guest spots and recurring roles, and “Past Tense” continues this trend. Filming inside a real Slovakian castle takes the Van Helsing world building to another level which works brilliantly with Jack’s journey to the past, and though it’s likely only a brief paradigm shift, the intriguing introduction of time travel into the overall arc helps assuage the momentary loss we feel in the absence of the core characters. Vanessa will be back. The future’s not as clear for Violet, Doc, Axel, Ivory, and Julius who are still out there somewhere.

The post Van Helsing Returns For A Final Season And Adds Time Travel To Its Narrative Palette appeared first on Den of Geek.

from Den of Geek https://ift.tt/3mVvw2i

[x0401x]

Have you watched Tsurune, by an chance? If yes, what do you think about it?

Finally managed to write down a reply for this! (Told y’all I was gonna do it and I did not give up, lmao.)

So this ask caught me off-guard for two reasons: one is that I never see it coming when people send me Tsurune asks now that the anime is long over and the fandom is inactive, and the other is that nobody has ever asked me this question so straightforwardly. Whenever I got asks about Tsurune, people would question me about the differences between anime and novel, the anime versions versus the canon versions of the characters, fanservice and ship tease, alterations in character relationships and my opinions on specific episodes, chapters or scenes. As far as I remember, no one has ever asked me what I think of the anime (or the novel) in general.

I won’t go into the novel since this ask is just about the anime (I can do that in another one if you like), but I’ll end up mentioning it every now and then because it’s pretty impossible to discuss about an adaptation without talking about its source material. Still, I promise this review won’t be centered on that.

This is actually a very condensed version of my thoughts, because the real thing would be a bible. It’s still a lot, though. Here comes a long-ass ride.

I guess I should start by making clear that I usually follow the history of KyoAni’s productions very closely as I’m a big fan of the studio. This includes reading the novels and mangas they adapt into anime as well. I had read volume 1 by the time the Tsurune anime came out, so I already knew what the canon was like. I must add that I was also familiar with Japanese archery to some degree and I was reading Zen in the Art of Archery when the anime was airing (it’s referenced early in the novel, so I decided to give it a try).

With all of this being said, when it was announced that Tsurune would get an anime, my first reaction was to worry. This surprised even me, because I usually have high hopes for any KyoAni adaptation, even the ones I end up not liking. I mean, it’s a studio filled with brilliant stars and holds the golden standards of the whole industry, so even when the content isn’t good, the quality of the animation itself is enough to make their shows worth anyone’s time. But the choice of director had me very concerned.

Now, this is Kyoto Animation that we’re talking about. In no moment did I fear for the animation’s quality. Most of Tsurune’s staff members, if not all, already had previous experience working on Violet Evergarden. And we all know that even newcomers freshly graduated from KyoAni’s preparatory school can make a stunning visual masterpiece. Yes, I am talking about Kyoukai no Kanata. And yes, I said visual masterpiece, because we also know that what these productions normally lack is the most essential part: the content.

In those cases, the one who actually makes a difference is the director. I’m a firm believer that the more inexperienced the staff is, the more competent a director they should be placed under. If not a senior animator, at least let it be a rising talent with the best prospects possible. But the schedules usually don’t help with that, so these hatchlings ended up under Yamamura Takuya’s wings.

To elaborate a bit further on why I think brighter animators should be the ones leading new packs (no, it’s not discrimination against the less accomplished, because you gotta start from somewhere), it’s because they usually have this knack for bringing the most out of the stories they’re working on. When the story is great by itself, that’s a different thing, but when it doesn’t quite reach its full potential with just the text, then the one to give it life has to be a person with more vision.

Am I saying that Tsurune is one of those stories? Absolutely. Tsurune is about archery, which is an art that is best appreciated when observed. You can’t get everything out of it just with words, and there are many things in it that people who don’t know much or know nothing about Japanese archery wouldn’t understand without actually seeing them, so the series obviously needed an anime in order to reach its full potential. But other than that, I’ll be honest: I love the Tsurune novel for its cultural baggage, the handling of its characters and its fairly innovative views in the repetitive and boring scene that sports animanga are nowadays, but I don’t consider it a well-written novel. Because it isn’t.

This might seem controvesial coming from someone who defends the canon with claws and teeth, but I’m aware of its flaws. I think Ayano Kotoko has a lot of room for improvement, and she’s evolved remarkably from volume 1 to volume 2. But volume 1 is what the anime was based off, so there was a deep need for a clinical eye in that production. One that could measure the original work’s strengths and weaknesses and balance them out by powering one up and overcoming the other. And also a certain level of knowledge about Japanese archery. Sadly, Yamamura Takuya didn’t have any of it.

As much as I admire Yamamura as a key animator and in-betweener, I believe he has a long way to go before he can be considered a good director, and I certainly don’t think he was ready for his debut when he was put in charge of Tsurune. I would rather, and I mean this in a good way, have seen him work as anything else for the rest of his career. Being a series director was too much for him. I say this taking into consideration not only the fiasco that the Tsurune anime was in sales but also Yamamura’s history in the studio before becoming a director.

This might sound funny, but Yamamura had no idea how big Animation Do and KyoAni were before he decided to join. He also was never very skilled. His in-betweening was actually not approved at first when he was trying to enter the company. He even once admitted that his knowledge of animation was extremely limited at the time, and what a time that was, because the studio was busy up to the neck with the making of Lucky Star back then. He didn’t know left and right, basically, and he recalled in an interview from last year that he is still surprised the studio actually hired him.

Despite all of this, Yamamura joined the company with the intention of becoming a director. While he did manage the feat in the end, it took him +10 years and a few frustrated attempts. Animators usually start out at in-betweening and earn other positions through passing exams. Yamamura failed his first exam to be key animator, only managing to pass half a year later. He also failed his first exam to become a director. At his second attempt, one of their colleagues even suggested that maybe he should stay a bit longer as a key animator, and I couldn’t agree more. While he did pass the test, I can only bring myself to think that he did so with an average score.

Now, I did say that this info came from a 2019 interview, when the Tsurune anime was already over. But they weren’t really what shaped my opinion on Yamamura regarding his direction. It was the anime itself. But this interview served to confirm something I had already noticed from his tragectory to series direction: with him being in the studio for so long and having worked on so many titles, it was weird to me that he was rarely an episode director in comparison to key animation and in-betweening. Episode direction is a step that I consider crucial for one to become either series director, animation supervisor or series composer. I do know that quite a few directors take just as long as he did or even longer to debut and actually do thrive in the end, but observing Yamamura’s work always gave me the impression that he was better off following decisions made by someone else rather than making his own.

Yamamura also loses points with me in that he’s backed up within the company by Kawanami Eisaku, another director who doesn’t get rave reviews on his works. He’s the one who replaced Utsumi Hiroko after she migrated to Mappa, and ever since he took over the Free! franchise, its sales decreased to less than 1/3 of each of the first two seasons separately. I personally don’t like that he seems to look down on Utsumi despite his lack of success in inheriting her legacy, but leaving this aside and focusing only on his skills, I’m not fond of directors who opt for simplistic approaches in general. I think animation is a medium that should be used to amplify the appeal of the source material, not water it down. It also feels like these kinds of directors are always trying to play safe, which (they don’t seem to realize) goes against the audience’s expectations and kills the hype. It strikes me as cowardly, to be frank. I also don’t like when they ignore what the characters had been building up and simply retool them to their own tastes. I was praying that Yamamura would be different from this bad example, but turns out he was actually worse.

I got a really bad feeling when the anime PVs of Tsurune were released. My very first impression was that Yamamura was still too much of a beginner and he wouldn’t be able to make Tsurune into a successful anime. I know this might seem like an exaggeration, but here’s the thing: ever since KyoAni started making its own titles, I’d never seen lack of hype for their upcoming works. Ever.

Until Tsurune.

Every time a PV of a KyoAni show comes out, people go crazy. It’s not always a frenzy like it was with Free! in its heyday or Violet Evergarden when the novel commercials were the only pieces of animation we had of it, but there’s usually lots of debate and speculations going on. With Tsurune, almost no one cared. You’d see next to nobody talking about it save from a few people on Reddit. And honestly, why should they bother? It didn’t seem promising at all. Didn’t show much of the characters or the story’s premise, didn’t highlight any particularly interest aspect of the plot and didn’t leave any impression animation-wise. It was very bland, to say the least. Unfortunately, so was the anime series.

It might be blunt of me, but my overall evaluation of Tsurune is that it was a really boring show. Nearly all elements that made the story and characters interesting were either taken out or squeezed into a cookie cutter mold, cliche version of what they looked like they were going to be at first but turned out not to be in the novel. And I say this because one of the things that make Tsurune a good novel is how it turns stereotypes upside-down. It introduces the readers into what seems like is going to be a typical sports shounen and starts out describing the character archetypes in the most common ways possible and puts them in the most common situations possible, then it reverses them all. That’s what’s most charismatic about the books. It’s what incites actual character development and gives us different sides of each relationship, yet the anime makes no use of it.

The anime also hardly makes any use of all the mystic, Zen and lowkey folklore-ish veils of the novel, which are supposed to add up to the archery elements. The Zen part is actually essential since Japanese archery is fundamentally a Zen form of art. Yes, art. Japanese archery is, in fact, not a sport. This is one of the aspects that elevate Tsurune above other works of the sports genre: it’s only categorized as such because it can’t fit anywhere else, but it’s not really a sports novel. That could have elevated the anime to the same status too, if only the studio hadn’t treated it like a sports one. But they made that mistake.

Still, I think the biggest sin in this adaptation was to try to cling to tropes that are considered successful and ignoring the characters’ personalities, which didn’t match these tropes at all, resulting in both characters and bonds being utterly destroyed and the flow of the story slowing down to a slug pace. By the second half of the anime, literally either nothing interesting happens or the things that were supposed to be interesting don’t hold the audience’s attention enough, which the animators attempt to cover up with queerbait. Everything is so tediously predictable that I’ve seen countless comments from the Japanese side of the fandom about how similar the Tsurune anime was to Free! and how “KyoAni only ever makes male characters like that, don’t they”. They were referring to Seiya and his weird jealousy, by the way. Even first-timers could tell that the characterization was a disaster.

The sad thing is, they were right. The Tsurune anime really did feel highkey like a Free! copycat in the characterization department. The main character is always getting swung about by everyone around him. The best friend is very clearly co-dependent. The deuteragonist is revealed to be bitter because of a deceased relative and is an asshole to the rest of the main cast for a good portion of the series. The rival from the other school is rude as hell for no reason and he’s got annoying groupies on his team who don’t exist outside of idolizing him. There are only four female characters and they have almost no screen time. And the list goes on.

As for the animation itself, I would like to say that it was perfect, but what really rang the alarm in my head was the many beginner mistakes so evident here and there, such as missing frames, the opening theme starting out of nowhere, the colors of the background often being too bland, lack of movement or scenes where the characters are too static, etc. I shit you not that when I saw the title splashing onto the screen all of a sudden in the initial ten seconds of episode one, the first thing I thought was, “This won’t sell well”. Sure enough, it didn’t.

So there you have it. I didn’t like the show. The only things I enjoyed were the archery scenes and the soundtrack. The rest simply didn’t do justice to the original work. I hope this summary has explained why, but if you want more info on it, maybe visit my Tsurune tag. You’ll find me elaborating more on particular topics in response to similar asks. Or you can send me other questions if you feel like.

That’s it!

[365days365movies]

April 8, 2021: Swiss Army Man (2016) (Recap: Part Two)

So...is Manny a Horcrux, or...

Look, I have only so much willpower, a Harry Potter joke HAD to get its way in here somewhere, OK? And to be clear, Radcliffe is too talented to be relegated to that as his career highlight in and of itself. He was great in it, sure, but the guy deserves more recognition. All of the Harry Potter cast do, for that matter! They’ve all had careers outside of those films, but it often feels like they’re only relegated to similar roles. 

Worst amongst those is Emma Watson. Like...really Disney? That was your choice for Belle? The most obvious possible choice EVER? Geez, guys, come on. Also, I hate to say it...but she was clearly the wrong choice for that role. Not just in terms of the autotune overload, but also in general. Sorry, but she wasn’t a great casting, and the reasons for the cast are so transparent, that it makes it even worse. Real talk, people have suggested Anna Kendrick for that role, and honestly...YEAH. THAT WOULD’VE BEEN A BETTER CHOICE, and she’s not even my favorite choice!

...Where was I? Oh, right, Swiss Army Man. I should probably get back to that before I start talking about the new Cruella movie, how Emma Stone is NOT a good casting choice, and how ALL of the DIsney remakes need SERIOUS retooling, and WHY THE FUCK IS QUEEN LATIFAH OR A DRAG QUEEN NOT PLAYING URSULA IN THE REMAKE OF THE LITTLE MERMAID SHE’S BASED ON FUCKING DIVINE

....Back to the movie. First part’s here.

Recap (2/2)

So, we’re back on the fake bus, where the two pantomime the interaction on the bus between Manny and the girl on the phone, with Hank narrating the situation, while also playing the girl, and while Manny sings the Jurassic Park theme song in the soundtrack (I LOVE THIS FUCKING SOUNDTRACK). Manny suddenly feels nervous about talking to this girl, and asks what Hank would do in this situation. But, of course, he’s been in this situation before, and never really said anything. Sorry, buddy.

However, living vicariously through Manny’s actions, he helps her talk to the mystery girl on the bus, whom Manny names “Sarah Johnson”. The two hold hands, and their interaction makes him smile, and once again brings him more to life. He also manifests the ability to make fire with his hands, and to propel objects far distances with his mouth. And yes, the soundtrack is BANGIN’. I mean, this is a montage in the film, and the song just shouts “MONTAAAAAGE” during the chorus, and also describes everything happening on screen. I fucking love this soundtrack, and this is now my montage music.

I should mention that, like the song says, they kill a raccoon and some fish, and also go on a fake (?) date between him and “Sarah Johnson”. They learn to use his arm with some karate chop action, have a fake party, take some fake pictures, it’s fucking nuts and its GREAT. What the hell, man?

Well, this soon leads to things getting a little...awkward between the two, and they nearly kiss after their night of reverie. Which, given the whole dead body thing, is definitely pretty goddamn weird. That continues throughout the day, and the emotional and literal tension ramps up as the two cross a rickety bridge of pipes, which collapses, leading to the two hanging high above a river, which legitimately scares Manny for the first time, mostly because he’s afraid of losing his connection with Hank.

The two fall into the river, and in order to save them both (I think), the two kiss beneath the water. I’m fairly certain that this was meant to blow into Manny so that he could propel them both out of the water...but that’s probably not the only reason for it. That will likely be revealed later on, of course. I’ll just wait and see.

They both get out of the river and the situation, and eventually settle down for the night. In the process, Hank shares more feelings about his father, and this includes how to two don’t really talk much. Manny definitely finds this weird, as he’s planning on telling the real Sarah Johnson how much he feels for her every day. I may have forgotten to mention this, but Manny’s impetus for getting them home (and for coming back to life) is to meet Sarah Johnson, whom he believes is from his past life.

However, upon learning that his farts would probably be discouraged in public, Manny wonders why they're returning, as society sounds restrictive. Hank agrees, and suggests that they stay where they are instead. This is a joke...I think...but that becomes moot, as the two are actually right next to a road, and Hank can get service. He goes onto a social media app, and looks at the profile of Sarah Johnson (Mary Elizabeth Winstead), which is...her real name. Huh. Also, she is married with kids. Oh. OH. Fuck.

Hank goes to Manny and finally reveals the truth about Sarah, which upsets Manny enough that he’s unable to use his abilities. Which sucks, because a bear is at their camp! The bear injures Hank, but the two escape when Hank accidentally light one of Manny’s farts, propelling them upwards and out of the dangerous situation like a goddamn rocket.

When they land in the treetops, the very saddened Manny begins to lament life, and to cry for the first time. However, doing so taps into another of his abilities: psychic manipulation and mental inception. Damn. This ability is far too powerful for Hank’s psyche, especially as Manny descends into straight-up depression, which Hank admits that he completely understands. And Hank falls out of the treetops as the two have a heart-to-heart about their shared depression, and the bear drags him away as they have a shared existential crisis. It’s kind of funny, kind of depressing,, weirdly sweet, and oddly poignant.

And weirdly enough, this is also when Manny discovers one last major ability: he learns to move on his own. He falls out of the tree, and stands up for the first time. He falls immediately after that, BUT, he still manages to get up afterwards. He also uses his fire-starting ability to scare away the bear, saving both of them. He also sets himself on fire for a hot sec, but whatever.

The next morning, roles have been reversed, as Manny is now carrying Hank on his back through the woods. And also right to Sarah’s house, oh FUCK. Hank protests this, understandably, and points out that he doesn’t think himself good enough to even talk to Sarah, revealing his own self-hatred. But after he calls himself an “ugly, useless sack of shit”, Manny counters that by basically saying that nobody’s perfect, but there’s still somebody for everyone. Which is quite sweet, despite how exactly he says it.

And that’s when they meet Sarah’s daughter, Crissie (Antonia Ribero), dear Lord. Weirdly enough, she can hear Manny, meaning that...wait, he’s REAL?!? MANNY IS AN ACTUAL TALKING BODY?!? Not that it matters, since he scares Crissie, which gets Sarah’s attention. However, having scared Crissie, Manny’s sadness causes him to once again become completely inanimate.

Sarah calls the authorities, and they come to patch Hank up and take Manny away at the same time. They discover the pictures of Sarah on her phone, which makes them understandably suspicious. Hank’s father (Richard Gross) also arrives, under the mistaken impression that Hank is the dead body. He completely breaks down, revealing his true emotions for his son, which Hank appreciates. However, things come to a head when Hank realizes that Manny will likely go unrecognized and unremembered. So, he does the logical thing.

He steals Manny’s body and runs away.

I mean, to be fair, they’re BOTH screwed. Sarah’s questioning why the hell pictures of her are on Hank’s phone, and Manny’s gonna get completely forgotten. Not to mention that, as the police and Sarah Johnson pursue him as he takes off with Manny, they discover the camp that Hank and Manny had built while stranded in the woods, which includes some unfortunate effigies of Sarah. Which, yeah, is scary as FUCK.

With Hank now seeming pretty obviously insane (which to be fair, he totally might be), and Sarah, the cops, and Hank’s father absolutely horrified, Hank is taken away just before he tells Manny that they have to SHOW them exactly what happened. And he attempts to make amends with Manny by doing something he’d refused to do in front of him previously: he farts. Hank farts. Loudly and proudly.

But Manny’s still inanimate, and led away by the cops...and suddenly...Many farts. And it’s gloriously stupid. A news cameraman films this, and they all watch on, as Manny’s farts propel him across the ocean, with everyone watching. Sarah rightfully says “What the fuck?”. Manny grins back at Hank. And Hank grins back.

That was Swiss Army Man, by far the weirdest movie I’ve see this month...and it’s weirdly kinda great? I’ll elaborate in the Review (I owe you guys a few of those, by the way; THEY’RE COMIN’). See you there!

[popscenery]

Passion Pit, »Take a Walk«

by Jessica Doyle

In the summer of 2010, when I took a leave of absence from my PhD program, my dissertation was a helpless non-thing without a subject. In December 2018, I officially got my PhD, because my dissertation was done: written, revised, defended, revised again, approved, copied, formatted, distributed, carefully archived, accepted as an actual work of scholarship. It is arguably my most important professional accomplishment of the decade, and also arguably entirely inconsequential. The claim that 90 percent of academic papers go uncited is mostly untrue, but it is true for my dissertation, and I have the gaping void of a Google Scholar search return to prove it.

Trust me: as bitter and self-deprecating post-graduate students might be about their research (see previous paragraph), none of us start out planning to write something inconsequential. Certainly the subject of my dissertation was not inconsequential at all. “Take a Walk” is not my favorite song of the past decade, but it is the song that kept reminding me that the topic was worth writing about.

My dissertation examined what makes starting and maintaining a business easier or harder for Latino entrepreneurs in different American cities. Take Miami as an example, where 47% of all businesses are Latino-owned. That’s much higher than the national average (12 percent) and higher than the percentage in other cities with large Latino populations: New York, Los Angeles, Houston. So what’s so special about Miami? Is it because the Cuban population that arrived in the 1960s were often landowners or merchants fleeing Castro, and made wealth-building a priority in their new city? Is it the geographic proximity to Latin America and the Caribbean? Is starting a business in Miami easier than elsewhere? Is it something about Miami’s economy in general, or Florida’s? Finally (and more to the point), if policy-makers in another city wanted to put in policies that would help local Latino entrepreneurs flourish, what would Miami’s example offer as guidance?

To make a 295-page story short: it is much easier to turn immigrants into successful business owners if they come to the country with business experience and/or capital already at hand; and if the local immigrant population doesn’t start with those advantages, then policy-makers should focus on providing business education and access to financing, especially the latter. Latino immigrants in the United States who want to start businesses are more likely than native-born white entrepreneurs to use their own cash (which takes a while to accumulate), credit cards (which charge higher interest rates than do bank loans), or loans from family or friends (which means that loved ones, rather than banks with larger cushions, bear the risks). I’d say read the whole dissertation, but in all frankness you’d be better off checking out the research being published by the Stanford Latino Entrepreneurship Initiative, including this report. (It’s more concise and their data is more robust than mine was.)

This all assumes, of course, that you want to encourage Latinos, or other immigrants, or anyone at all, to start their own business. A lot of us--including me; including Michael Angelakos, the artist behind Passion Pit--have immigrant entrepreneurs in our family lineage. In interviews to promote the album Gossamer, Angelakos described “Take a Walk,” the lead single, as about different members of his family. The first verse’s portrait is a classic rags-to-riches, grateful-to-be-in-America immigrant story: I love this country dearly / I can feel the ladder clearly. But in the second verse, the story shifts to a new narrator, and so does the tone: I watch my little children / Play some board game in the kitchen / And I sit and pray they never feel my strife. The final narrator is eventually undone...

I think I borrowed just too much We had taxes, we had bills We had a lifestyle to front

...yet still insists on his participation in the American dream:

Tomorrow you'll cook dinner For the neighbors and their kids We can rip apart those socialists And all their damn taxes You see, I am no criminal I'm down on both bad knees I'm just too much a coward To admit when I'm in need

Apparently at one point a Fox News reporter failed to hear the irony, and asked Angelakos if the song was anti-socialist. But Angelakos told MTV News, “It's about very specific family members, the male hierarchy, and how the men in my family have always dealt with money.... All these men were very conservative; socially very liberal but for some reason, they all came here for capitalism, and they all ended up kind of being prey to capitalism.” He told a different interviewer, “These are all true stories; this is my grandfather and so on.”

Angelakos’s ambivalence is understandable. (Several of the pieces that greeted “Take a Walk” identified it as a direct reponse to the 2008 financial crisis, an interpretation he rejected.) The idea that anyone can come to the United States, start a business, and work their way to financial security and political freedom is an old one--the history of immigrants employing at higher rates than native-born Americans goes as far back as the Census Bureau has been keeping track of such things. But even for the successful it has its costs. The narrators of “Take a Walk” are estranged from their families, anxious about their ability to keep wealth. The theme of risk runs through the song. No one worries about getting fired; they have market investments, business partners, endless complaints about taxes (as one might if one has to pay both ends of the Social Security and Medicare taxes single-handedly.) The risk allows the narrators to make comfortable lives for themselves and their family, and yet Angelakos isn’t convinced, looking back, that they were better off.

Historically, if you were running for any sort of higher political office in the United States and were from a major party, you made sure to say nice things about small businesses and entrepreneurship, especially the immigrant kind. To some degree this is still true: Elizabeth Warren’s campaign platform includes a Small Business Equity Fund that would give grants to minority entrepreneurs. That said, I’m not sure the current dominant political energy on either the American left or right favors small businesses, who tend to hate tariffs. If you read the Green New Deal resolution, though it calls for a more equitable distribution of available financing to such smaller-scale lenders as community banks and credit unions, a lot of what it wants it can only get at a certain scale. It’s easier for a larger company to retool its supply chains to lower environmental costs than it is for ten small businesses to do the same. It’s easier for a firm with a thousand employees to absorb the cost of any one employee needing a higher wage to make rent, or a longer maternity leave, or extended absences due to illness, than it is for a firm with five.

And Music Tumblr in particular can be forgiven for not thinking highly of entrepreneurship. Most creative people--artists, musicians, writers--end up as entrepreneurs simply because decent-paying employment in those fields has never been easy to find. (In 2017, Angelakos spoke of dealing with venture capitalists and deciding to run his mental-health-focused initiative, Wishart, as a combination of for-profit and non-profit.) But no loan officer with a nickel’s worth of sense would approve a loan to enter a market so saturated that marginal revenue is typically zero or close enough, or where thousands if not millions of people seem thoroughly committed to proving themselves, in Samuel Johnson’s eyes, blockheads. Upon hearing, “You can do what you love, but the market won’t reward you,” a lot of people will reply, “To hell with markets, then.”

It all comes down to how you feel about risk. For a long time the dominant American thinking was that higher risk was the price entrepreneurs paid to have the chance to succeed on their own terms. (There’s an ongoing debate in the immigrant-entrepreneurship academic literature about whether any one particular group of entrepreneurs is “pushed” into entrepreneurship--as in, they only start businesses as the best of a bad set of money-making options--or “pulled,” starting businesses because they want to.) More recently has emerged the critique that not all experiences of risk are created equal, and that in championing immigrant or minority entrepreneurship we offload risk onto those people with smaller financial or even emotional cushions. The heightened experience of risk, and its attendant anxiety and feeling of constant scarcity, may be what Angelakos meant when he described his relatives as “kind of being prey to capitalism.”

I personally agree with that critique, and would throw in that the general perception of Latino immigrants as not-entrepreneurial denies them a road to acceptance (or bourgeois respectability, if you prefer) that their Swedish, German, Jewish, Italian, and more recently Korean predecessors have been able to walk. That was why I wanted to write about Latino entrepreneurship in the first place, and why I ended up writing about North Carolina’s Latino Community Credit Union and associated initiatives as a promising case study. But I would caution against crossing the line from wanting to reduce risk for vulnerable minorities to regarding asking them to bear any kind of risk as imperialist and offensive. Risk can’t be eliminated altogether, and there are costs to scaling risk to higher levels of human activity and trying to diffuse it. A small business committed to a bad idea does a lot less damage than a government policy committed to a bad idea, even if the latter is more equitable in the range and number of people it effects.

Writing a dissertation is a humbling process. I’ve never written and recorded a song, but I imagine that process humbles too. (When “Take a Walk” came out Angelakos was not shy about disliking it, though he seems to have grown fonder of it as time goes on: “I like that it’s so uncharacteristic of me,” he said in 2017.) You work and work and work, all the while knowing you have no control over how your audience will hear your message, or if there will even be an audience. You can never be sure that you read enough, or chose the right method of analysis, or treated your subjects with sufficient respect. You’ll never know if you’re actually on the side of the angels. If the “angels” are metaphorical--if you don’t actually believe in a god, or God, whose love is greater than your human tendency to error and self-deception and treachery--then the risk is even higher. And yet, without that risk, how would you ever be able to say anything worth saying?

[tomasorban]

To Find a Better Solution, Ask a Better Question: Questions are the answer.

Trace the origin story of any creative breakthrough and it is possible to find the point where someone changed the question. I have seen this as a longtime student of innovation; the stories in that realm abound.

For example, consider the origins of the snapshot. Photography had been invented well before 1854, when Kodak founder George Eastman was born, and he took an interest in it as a young man. But as he prepared to take an international trip at age 24, Eastman found it was too much of an undertaking to pack along the elaborate and expensive equipment. The technology for capturing photographic images had steadily improved over the years in terms of speed and quality, but the assumption remained that this was a process for professionals, or at least for serious and well-heeled enthusiasts. Eastman wondered: Could photography be made less cumbersome and easier for the average person to enjoy?

It was a promising enough question to motivate Eastman to dive into research mode, and exciting enough that he could recruit others to help. By age 26, he had launched a company, and eight years later, in 1888, the first Kodak camera came to market. Not only did it replace wet emulsion plates with new dry film technology, but it also featured what managers today call a “business model innovation.” There was no longer an expectation that customers would acquire the skills and the setup for developing the film. Instead, after shooting a whole roll of 100 pictures, they would send the compact camera back to the company for developing.

The Kodak was a smash hit, but Eastman’s question lived on. By 1900, he and his colleagues launched the Brownie, a $1 camera simple enough for a child to operate and durable enough for soldiers to take into the field.

Today, as I sit in the midst of MIT’s buzzing hive of innovators, I see plenty of people arriving at and articulating questions with the same power to excite the imagination and engage other clever people’s efforts. For the moment, I’ll name one: Jeff Karp. He’s a bioengineer in charge of a lab devoted to biomimicry. If that term is unfamiliar to you, let me suggest that the best way to understand it is with a question: How does nature solve this problem? Say the problem in question is the need for a bandage that will stay stuck to a wet spot, such as a heart, bladder, or lung that has just been operated on. In that case, what could be learned from slugs, snails, and sandcastle worms?

Sometimes the outcome of asking a different question is an immediate insight — a novel solution that has people slapping their foreheads at how obvious it should have been.

Perhaps it is not surprising that this particular question had never been posed — but once it was, scientists in Karp’s lab made rapid progress toward a product used widely today. As Karp puts it, nature offers an “encyclopedia of solutions” for those who think to consult it. “By exploring nature for new ideas,” he explains, “you uncover insights you would have otherwise missed by simply staying in the lab.”

Sometimes the outcome of asking a different question is an immediate insight — a novel solution that has people slapping their foreheads at how obvious it should have been. (I can imagine someone in the early days of magazines asking, “Why don’t we charge the subscribers next to nothing and take on advertising?” Or someone in a more recent decade asking, “Would we accomplish more if we stopped condemning alcoholism as a moral failing and instead treated it like a disease?”) It’s as though the new answer is so embedded in a question that you effectively unlock the answer as soon as you ask the question.

More often, discovering an answer takes time, but framing the question makes the pursuit possible. As with Eastman’s or Karp’s question, catalytic inquiry—a line of questioning that challenges past assumptions—opens up space for new lines of thinking; it recruits help, often from people trained in other disciplines; and it generates new appetite for the work.

It’s also important to note that while I tend to accentuate the positive as I talk about the power of questions — their ability to reveal opportunities and yield breakthrough ideas — they are just as powerful in helping people tackle negative threats.

One way to think about what a great question can do is to acknowledge the inherent danger in what “you don’t know you don’t know.” Imagine a simple diagram: a two-by-two matrix describing the state of your knowledge of a situation. One axis presents two possibilities: There are things that are important to your success that you know all about, and there are other things unknown to you. The other axis reflects how cognizant you are of those knowledge assets and gaps; that is, you may or may not be aware that there is a piece of information somewhere that you need to solve your problem. Thus, there are things you know you don’t know.

For example, if you are an army general, you might know that the enemy has a weapons cache, but you’re unsure about where it is. You know that you don’t know that. Far more troubling, though, are the things you don’t know you don’t know. These are things that have not even crossed your mind to ask. Donald Rumsfeld invoked this framework in a famous discussion of the Bush administration’s suspicion of weapons development in Iraq when he pointed out that the “unknown unknowns” often turn out to be one’s downfall.

Business strategists also recognize this as the realm from which business-destroying disruptions usually emerge. We can return to Kodak for a classic example. After a century of success, the company was decimated by something it didn’t know it didn’t know: how fast it would need to retool and reorganize in response to a sudden, large-scale consumer shift to digital photography.

Or, more recently, think of the taxicab industry, whose “unknown unknown” was the impact of thousands of ordinary car owners turning into ride providers through services like Uber and Lyft. Was this question even raised in a Yellow Cab management meeting as recently as five years ago? If so, it was not taken to heart. (The company, San Francisco’s largest traditional taxi firm, filed for bankruptcy protection in January 2016.)

You might say that such developments should have been foreseeable — and who could argue with that? After all, they were foreseen by the disruptive innovators who triggered the radical change. But for the people who were busy going about their business in the old mode, gaining the same insights would have required venturing into uncomfortable territory — beyond the usual realms of work where they knew they didn’t have all the answers to realms where they weren’t even asking the right questions.

In the face of positive opportunities, then, and also negative threats, my claim is that by revisiting the questions they are asking, and asking better ones, people arrive at dramatically better answers. In fact, I would push this to a bolder declaration that no dramatically better solution is possible without a better question. Without changing your questions, you cannot get beyond incremental progress along the same path you’ve been pursuing.

[5questions]

Joselia Hughes

Joselia "Jo" Hughes is a Black 1.5-generation Cuban-Jamaican-Guyanese-American writer and artist from the Bronx. She lives with Sickle Cell Disease (HBSC) and ADHD.

Where did you find the 3rd grade poem? How did you decide to include it? What other collage or found art/poetry do you like?

The 3rd grade poem was from a collection of student works, Witch’s Brew, released by my grammar school, Horace Mann. I have two issues from 2nd and 3rd grades. Both of my works were quartered in the “Fantasy” section. There was another section called “Feelings” and, I think, The Sky more accurately suggests a feeling. Scratch that: it explicitly discusses a feeling. This misidentification by academic administration/curatorial staff (which doubles as a political demonstration) is telling. I think it explains a lot about the root confusion between what I have felt/feel to know as Experientially True versus what I’m told to know as The Truth. When considering the emotional and material lives of Black femmes, we must remember Black femmes have been historically disallowed, disavowed and dispossessed of creative virtuosity. Too often, we are strapped in the monolith of stereotyped caricature dictated by the manifested destiny written into commandments/constitution of misogynoir. Black femme virtuosity is reappropriated, regesticulated and worn like some earned bloody body wisdom by the Opps (Oppressive Forces). While I didn’t have those terms as a child, I experienced the consequences of misogynoir in conjunction with dis/ableism and classism, which aren’t separate entities but necessary vices that amplify asphyxiation. Is disabled Black femme loneliness only permissible when classified as fantasy? That shit don’t sit right in my spirit. I also used the poem because the title is Witch’s Brew and my zine, Heartbeats But No Air (HBNA), is a kind of exorcism. A few years ago, I pieced together that my maternal grandmother was a covertly practicing Bruja. With the widening reclamation of ancestral wisdom by BIPOC, in an effort to decolonize our existences, I was tapping into that tender tendon of wisdom.

Understanding my grandmother’s practice reminded me that she wanted to name me Darthula Verbena (daughter of God, enchanting and medicinal). I started referring to myself as DV, my pre-name, and inspected my childhood. That’s been a remarkable endeavor. I had to teach myself to play again. Through play, I learned how to feel. Learning feeling meant learning the qualitative and quantitative nature of the labyrinth of my thoughts. Once I learned some of the turns of the labyrinth, I could feel to know how to navigate the terrain without fear and engage in the rigorous study that’s always characterized my central self. Play is a code switch. I often think of code switching as a means to subvert/refigure power differentials. To hide in plain sight by retooling “seeing” to perception/sensing. How much are we perceiving/sensing? How often do we mean perception/sensing yet default to “sight”? Perception/Sensing adds dimensionality that isn’t always articulated with and through “sight” and “seeing”. Ralph Ellison’s identification of “lower frequencies” and J. Halberstam’s configurations of Low Theory do this work. I toy with these multiplicities in the zine. I work low to the ground which means I work close to my heartbeat, my central drum. I work meta; I go beyond. I like to sprinkle codes, tickle clues, tuck in questions, sew in wisdoms so I know what I’m doing, why I’m doing it, who I’m doing it for and to always remember the fun of FLiP (Feeling, Learning, iPlaying).

Some of the works/folks who’ve helped me FLiP are Dana Robinson’s meditative and piercing collages; Zulie’s mind bending, heart wrenching, time suspending zines; Nikki Wallschlaeger’s I HATE TELLING YOU HOW I REALLY FEEL; Seth Graham’s tattoo practice/paintings/unbounded love of outer space (they’ve done 3/4 of my tattoos); Amanda Glassman’s razor sharp poetry and encyclopedic curiosity;  L’Rain's music has literally helped me scale the side of a mountain and carried me through hospitalizations; KT PE Benito’s multidisciplinary liberation praxis and collaborative friendship; Zoraida Ingles' holistic creative prowess (a conversation with her is why Heartbeats But No Air, as a title, exists); and Marcus Scott Williams’ writings/video/sculpture work that readily embraces the persistence of ephemera. This isn’t an exhaustive list—I have a solid library of books and papers and zines and tunes at my crib—but, genuinely, I’m inspired by everyone I’ve had the honor to encounter.

There are themes of love and race and beauty and culture and self-transformation in this book. Paired randomly, some pieces may not make as much common sense together, but as a whole, it feels powerful and cohesive. What was the structuring process like for this chapbook? Each zine is different, right?

It is one zine. I find it cool that you consider HBNA a chapbook made up of many zines. The word chapbook had never crossed my mind. I walked into the process with DIY zine logic and HBNA was printed using office photocopiers. I think the feeling of cohesion you mention is what happens when you witness a lot of parts of one person. In this case, you’re witnessing a lot of different parts of me, my thoughts, my actual labor. Whole is the goal ‘cuz people are whole. I am whole. I consider HBNA a single revolution of myself— one big twirl around a fire, a sun. I was in a very strange place. I’d alleviated, with the help of acupuncture and CBD products, a significant amount of the chronic pain I’d been experiencing since August 2014. I fell around love with someone and rose in love to myself (thanks Ms. Morrison and Ms. Stanford!). I was in an unfamiliar painless trance. I created and tinkered with all of those pieces during a very short period of time from Summer 2017 to Summer 2018. HBNA was originally named Girl Pickney (the prose pieces were written under that moniker) and before that NggrGrl (a nod to Dick Gregory). I wrote the poetry in an even shorter period of time—March to July 2018—and the poems are actually part of a full length collection that I wrote in those four months. I didn’t decide on the layout of the zine until I was with two friends formatting it for printing two days before I was going to read at The Strand and sell it. I kept all the pages, the puzzle pieces, in a folder. A lot of book structuring, for me, is based on emotional knowing—when to slap, when to pound, when to breathe, when to confuse, when to stun, when to anger, when to tell, when to soothe. All of my structuring decisions are fly about to get swatted dead but fast enuf to fly away first intuitive. If I’m channeling that intuition, I know I’m in running in the proper heat and lane.

You were in an MFA program at one point. How does this chapbook contrast with your style from before that program and during that program? Did that program have an effect on your writing? This doesn’t feel like the most MFA-y writing, which is why I ask, and which I mean as a compliment.

I’ve attended a few schools. I’ve completed fewer than I’ve attended. Until my late 20s, I was shy and desperate for people, those noun-verbs, to stay. This desire for people to stay meant I spent an inordinate about of time and energy relegating the difficult parts of myself to the margins of the margins and continually stepped into social/academic shoes that did not fit. HBNA was the first fitting of the bespoke shoes I can now emotionally afford to make. The first copies I sold had typos! I misspelled my own pre-name and that’s exactly what I needed to happen. It needed it to happen because I’m full of mistakes and yet! I try! I understand HBNA as a radical refutation of embarrassment. Depending on when you purchased a copy, you’ll see I used white-out to make a few corrections. No two zines are the same; only 80 copies exist. I’m printing 12 more copies (they’ve already been claimed) and then on to new pastures! The zine was printed in three different places (two offices I don’t work in and a local printing shop) and I was lugging around 800 individual sheets of paper that I stapled, numbered, indexed and decorated with stickers by myself…standing barefoot on the carpet of Staples in Co-Op City, listening to Ryo Fukui’s Early Summer on repeat until I finished and then I jetted to the Strand to read. HBNA was how I knew to embody my physical, emotional, intellectual, and spiritual labor. I’m a goofball with zany ideas, an indifference to external definitions of relevancy, sickled cells and a lot of chaotically grounding love. I write for myself first. Of the school lessons I did receive and learn, there weren’t many I didn’t later disassemble to rebuild, freak unfamiliar or completely misunderstand. J. Halberstam calls this “failing”. Rejigging failure has been such a gift to me. How wonderful! A failure AND still happening? Fuck yeah! I was a wildly uneven student whose knees buckled at mere thought of rigid academic authority. After years of shame and refusal, I can finally admit I am an autodidact. I intentionally get lost and navigate in and to the direction of my own senses. School didn’t teach me to write for myself and that’s who I always have to write for. If that’s selfish, so be it. I am my first audience. If I’m sus of me, then me and myself got foundational problems. I know my writing is non-institutional and that lack of institutional alignment and support, while scary as shit, pushes me to make and take risks to believe beyond the immediate demands/plans/remands of whatever external force I am facing. My writing is constantly colliding into A New I can’t predict. I’m fully committed to unfolding, unraveling, for curiosity’s sake.

What’s a typical day like for you?

My day to day life is as predictable as it is unpredictable. I am formally unemployed and have been for awhile. I live on very little cash and am kept afloat because my mom is a gem and hasn’t kicked me out. My days are 100% influenced by the weather and I spend a good portion of my time negotiating how to minimize the occurrence of vaso-occlusive crises and other complications from the disease I have, Sickle Cell. Between January 2018 and January 2019, I was hospitalized three times. Each hospitalization was about a week long and recovery took significantly longer.

Here’s a sketch of what I call a really great day: I wake up before 10. If the night’s sleep was especially restorative, I can comfortably rise at 8. Depending on how my body feels, depending on how much pain I’m enduring, how much fatigue is shrouding/clouding my faculties, I decide if I have the energy to take a shower. I do the bathroom routine, get a cup of orange juice and take my medications (Endari, sometimes Adderall, Folic Acid). I use the first hours of wakefulness to connect with loved ones via text-phonecalls-DMs and browse the internet for headlines-news-updates-new smiles. I wear my fits comfortable. I call comfort my uniform—upend normcore to body sensible—sweatpants/leggings, pullover, one earring (although I’m leaning to pairs again), handy dandy baseball cap and sneakers. I keep it simple. If the weather is aight—if it isn’t too cold or too hot and if precipitation is mostly at bay and air quality isn’t extremely poor—I go outside and get some living exercise. When able, I take extremely long walks. Once I walked over 50 miles in a week! It’s my preferred form of meditation. Walking/body movement grounds my ADHD symptoms more effectively than stimulants, strengthens my body for potential Sickle Cell episodes and satiates my unyielding need to feel connected to other people. I’m at my best when outside and happening. Illness can create an inescapable interiority. Inside reminds me of the hospital and my relationship with the hospital is, at best, fraught. Walking allows me to follow myself. I engage in peek-a-boo with babies, witness accidents, smile at strangers, duck the eyes of leering people and learn how to love differently too. I go to playgrounds and swing. I take photos and notes. If I’ve got a lil cash, I ride the subway for fun. I poke into shops, admire graffiti and other street signs. I have one woman dance parties on sidewalks. I rest on park benches and read. I pick up grub from hole in the wall spots—you know—I live my life and embrace as much as I can while centering kindness and gentle flow. The walks are my favorite part of my job, which I do not have. When I return home, I rest then get to crafting which I sometimes call spelling. Crafting/Spelling can be anything from adding to my I-Box, spitting verses from the abstract (poetry), spinning short stories, detailing journal entries, doodling, painting, knitting, researching & studying,  dancing & stretching, bugging out on Twitter or reading. My bedroom is my studio so I work small yet widely. I intentionally provide myself with many targets so I can a) keep my thoughts and feelings flowing b) find the connections between all of my actions and c) mitigate the stress that sits in the heart of a lone project. I am a multifaceted, multifauceted being. Why not turn on all the taps?

The more long form prose pieces in here have the feel of nice punch-y flash fiction. Are you writing a fiction collection without poems and collage in it? I want to read that, too :)

Hahaha! You’re onto me! Yeah, I am writing another book of poems, a manifesto zine and a collection of fiction. I’ve been writing a collection of fiction since 2012. I had a lot of the difficultly writing the fiction because I was too attached to the title, the characters I conceived needed to grow up with me, and I experienced many years of unremitting and improperly managed mental and physical illness. I was holding onto and telling lies. The shame woven into those lies kept me silent and scared. All of that shit needed to get integrated or dropped. I couldn’t enter the prose/fiction I’m currently writing without learning how to survive myself and the world and bottom-belly-believe in survival too. I’m getting there— healing with primary, secondary and tertiary intentions. Won’t say much about the fiction pieces of than: ~15 stories, lyrically speculative fiction, capital B Black, disabled, and queerfemme parables of creation and destruction and maintenance. My website is in flux but I do readings and performances. Hit me up on Instagram , Twitter or email me at joseliawrites@gmail.com. Might take a minute for me to respond because I’m thoughtful yet questionably organized. Now go play, ya’ll!

Unintentionally wrote a poem in the interview. I call it A.B.B in Lieu of A.B.C

beyond

fly, about to get swatted dead but fast enuf to fly away first,

always believe beyond

[nsomniacsdream]

I work in the materials department of a small hospital system in rural Oregon. This hospital has spent the last 3 years or so promoting patient experience and employee engagement, there is a committee solely for that purpose, so that employees can hear directly from the ceo and other admins. I was placed on this committee in December after it was retooled to be an internal process instead of run by an outside agency. This is all just background info.

I have had a lot of bad jobs, I've worked for really bad bosses, we all have. But today is the first time a job made me feel small. Like I didn't matter, and that the work I did had no value.

It's a running joke in our department that admin forgets about us unless they have a reason to yell at us, but its just a general discontent. Yesterday in our meeting, the ceo of our organization took a moment to recognize the unsung heroes who help us all keep the hospital going, and she listed our dietary department, environmental services, facilities... and that was it. Didn't mention materials. And I kind of rolled with it because THEY DO THAT EVERYTIME. I don't think it even registers to them. So I was kind of whatever. Go in this morning, and my boss was like "wanna see something funny? They sent out the employee list for the valentines day thing they're doing AND WE ARENT EVEN ON IT." This was after the woman who sent it out had sent me a page long email about what the expectations were for the committee members. They were time stamped about ten minutes apart. Which means she forgot I existed within 10 minutes of writing out a whole email to me.

I will be the first to admit that my job is not hard on the level of surgery. Almost anyone can do a competent job of it. But it's hard to be GOOD at it. And I am very good at it. We have a three person team that are all very good at it. And this hospital doesn't realize how blessed they are to have a team like ours because most places don't. And right now, with covid and shipping bottle necks and did you know we are in the middle of a paper and plastic shortage in the US? We are basically making miracles happen. We have not had a supply related shut down at any point. Last month, I drove 8 hours through the mountains in a blizzard to pick something up at another hospital or else our entire surgical department would have had to shut down. I ended up being on the clock for 16 hours that day. I almost slid off a cliff. I didn't even get a thank you.

No one in our admin team knows or cares about what we do. How we have every department full every day, how quickly we deliver supplies when they're ordered. They aren't the ones calling fifteen different companies trying to find someone who still has stock they can send us. They aren't the ones holding this hospital together by trading favors with other materials departments who can only help us out because they know exactly what we are going through. They just complain about how long it takes for things to arrive.

And after the meeting yesterday, I felt like I didn't understand what exactly we were doing in the employee engagement committee so I wrote 2 sentences to the committee chair. "Can I ask a question? What the full responsibilities and duties of a person on this committee?"

She wrote out a whole email about what I'm supposed to be doing and I can't do the meetings remote anymore because she wants me more engaged, she talked to my boss, even scheduled a meeting with her today to talk about how engaged I need to be. And somehow in the middle of all that, she forgot my department even existed. I am so unimportant to these people I can stand in front of them and they won't remember my department exists. I dont matter at all to them. And I've learned my lesson, I won't ask questions anymore.

I love what I do, I've spent over a decade doing it. But I fucking despise the place I work.

[monsterjenn]

California's most in-demand jobs amid pandemic

IN MISSRECENTLY THE CALIFORNIA

EMPLOYMENT DEVELOPMENT

DEPARTMENT SHARED A REPORT

SHOWCASING THE TOPN I DEMAND

OCCUPATIONS.

>> AT THE TOP OF THAT LIST,

REGISTEDER NURSES AND GENERAL

AND OPERATIONS MANAGERS, BUT HOW

DO TSEHE POSTINGS STACK UP TO

THOSE WHO ARE LOOKING FOR JOB.

>> PROFESSOR OF FINANCE, DAN,

WELCOME.

IT SOUNDS LIKE RIGHT NOW WE HAVE

A BALANCE THAT GREATLY FAVORSER,

OR MAY NOT GREATLY, BUT AT LEAST

FAVORS THOSE THAT ARE LOOKING

FOR A JOB?

>> I THINK YOU'RE RIGHT, WE CAN

USE THE WORD GREAY, JIM,

18.5 MILLION JOBS.

THERE'S AN INCREDIBLE GAP

BETWEEN THE NUMBER OF JOBS

DOLLAR POSTED AND THE NUMBERF O

FOLKS THAT ARE THEORETICALLY

ACTIVELY LOOKG.IN

IT'S QUITE UNUSUAL AS WE GO

THROUGH THIS, THERE'S A COUPLE

OF DIFFERENT REASONS WHY WE

CAN'T MATCH THESE THNINGS UP.

>> LET'S TALK ABOUT WHY THAT'S

NOT MATCHING UP, I MEAN WE'RE IN

A PANDEMIC, AND WHEN YOU LOOK AT

THE JOBS, THE CATEGORIES ARE

JOBS THAT WERE HIT HARD BY THE

PANDEMIC.

WHAT ARE YOU SEEING IN TERMSF O

SKILL LEVEL AND CAN'T SEEM TO

GET THE PEOPLE WHO NEED A JOB TO

A JOB POSTING.

>> YOU CAN'T GO FROMMING BEING

WAITER OR WAITRESS BEFORE THE

PANDEMIC TO A NURSE AFTER THE

PANDEMIC.

IT TAKES SEOM TIME TO RETOOL,

REEQUIP OUR LAP FORCE, LABOR FO.

AS YOU SAID, VIRGINIA, THE

PANDEMIC STILL LINGERS, THERE'S

A NUMBER OF PEOPLE WHO ARE STILL

RELUCK

RELUCTANT TO GO INTO THE

PHYSICAL WORKFORCE, FOR SAFETY

REASONS WHICH ARE PROBABLY VERY

VALID.

AND WE CAN'T DISCOUNTHE T FACT

THAT UP UNTIL RECENTLY, THE

UNEMPLOYMENT BENEFITS NATIONALLY

HAVE BEEN VERY GENEROUS,

PARTICULLYAR WHEN YOU AD TD IN E

ADDITIONAL FEDERAL BENEFIT

THAT -- THOSE THINGS COMBINED

ARE SOME OF THE REASONS WHY WE

SEE THIS MISMATCH BETWEEN

EMPLOYERS WHO ARE SCREAMING FOR

HELP AND SAY, WE CAN'T GET

ENOUGH APPLICANTS IN THE DOOR.

NURSING IN PARTICULAR, IS IT >>

JUST PARTLY THAT MANY OF THEM,

WE HAVE DONE SO MANY STORIES

ABOUT IT, ARE BURNED OUT?

>> YES, YOU GUYS ARE DOING A

GREAT B ON THIS TOPIC AND I

LOVE THE REPORTING.

IF YOU TALK TO NURSES, FRONT

LINE NURSES, THEY WILL TELL YOU,

WE ARE BURNED OUT.

AND MANY HAVE ACTUALLY LEFT

THEIR JOBS, I JUST CAN'T DO IT

ANYMORE.

AND IT'S UNDERSTANDABLE, THESE

ARE FRONT LINE WORKS THAT FOR

THE PAST 18 MONTHS HAVE REAYLL

BOURNE THE BRUNT OF THE PANDEMIC

CRISIS.

>> WHAT'S YOUR ADVICE, WE'RE IN

KIND OF AN UNUSUAL SITUATION

WITH JOBS, TRUCK DRIVERS, ONE OF

THE JOBS THAT'S IN DEMAND, DO

YOU SUGGEST PEOPLE TRY TO GET

SKILLS TO FILL THESE?

BECAUSE IN A NORMAL YEAR, THESE

ARE NOT NECESSARILYHE T IN

DEMAND JOBS, A LOT OF TIMES IT'S

TECH SECTOR, OR DO PEOPLE MOVE

AHEAD AND TRY TO GET SOMETHING

DOWN THE LINE.

>> IF YOU CAN SWING A HAMMER

RIGHT NOW, ANYBODY WHO'S TRIED

TO HIRE A CONTRACTOR LATELY OR A

PAINTER, IT'S VTUIRALLY

IMPOSSIBLE.

I LIKE THE WAY YOU FRAMED IT,

VIRGINIA, IST' ALL ABOUT SKILLS,

WHETHER YOU'RE IN COLLEGE OR

TRADE SCHOOL OR HIGH SCHOOL AND

YOU'RE ALREADY THROUGH AFHALV--

TO KEEP THAT SKILL SET FRESH,

AND KEEP ADDING TO OUR SILICET,

WHETHER IT'S GETTING A

COMMERCIAL DRIVER'S LICENSE OR

LEARNING HOW TO BECOME A NURSE.

AND THAT'S THE BEAUTY OF IN

ECONOMY, WE HAVEHE T ABILITY

THAT MOST ECONOMIES DON'T, THAT

WE CAN REINVENT OURLVSEES OVER

AND OVER AGAIN, IT'S A RYVE

FLEXIBLE WORKFORCE.

>> IF YOU'RE IN THE MARKET FOR A

JOB, THE DEMAND IS LOWER THAN

YOU MIGHT THINK.

[corey-musick]

musical web - 7-27-2021

“Maple Leaf Rag” performed by Scott Joplin

Original listening log: "Maple Leaf Rag" is a very exciting piece of ragtime music. While Joplin's left hand maintains a steady meter, his right hand is playing a syncopated melody. He makes good use of dissonant chords, creating points of tension. It almost feels a little bit like being at a carnival or something, with the tense moments being similar to being pulled up a roller coaster before cascading down as the music resolves or begins to be more consonant. Another part that amde the song exciting was how freeform it was. There were certainly moments of repetition, but Joplin consistently introduced new melodies to the song, keeping listeners on their toes as he plays.

The very first listening log I completed for the class was for Scott Joplin’s classic “Maple Leaf Rag,” written in 1899. Going back and listening to it again after all I’ve learned in this class, I can see how Joplin took aspects of music before him (such as African musical syncopated rhythms and “dance music”) and used them in a brand-new way that would last for decades after he first composed the song. The way he uses rhythm and melody - setting a steady rhythm with his left hand while playing a syncopated melody with his right - can be found in a ton of popular music that followed (and some that came before) and set the standard for ragtime music of the early 20th century such as “Hello, Ma Baby.” Joplin helped to create a new type of music that felt, to many, uniquely American. 

“Cotton Eyed Joe” performed by Bob Wills and His Texas Playboys

Original listening log: As someone who has been to my fair share of middle and high school dances, I am definitely familiar with Rednex's version of "Cotton Eye Joe." This was, however, my first time hearing Bob Wills' version and I had no idea the song had such a long history. The predominant instruments I hear are the fiddle and the piano. The former is referenced in the lyrics themselves ("Hewn my fiddle and rosin my bow / Gonna make music everywhere I go / Gonna play a tune they call Cotton Eyed Joe"). It's a bit paradoxical to say you are going to play a tune called "Cotton Eyed Joe" on your fiddle in the future whenever you are doing just that in the present, but I think it adds to the fun that permeates this song. Whenever Wills is singing, the instrumentation is pretty unintrusive. The lyrics are pretty simple with a ABBCDD form where the Bs are the same and the Ds are the same. Again, I feel that this song is meant to be a fun dance song. While the lyrics are almost a little tragic (the man wasn't able to get married because of this elusive Cotton Eyed Joe), they're really not meant to be taken to seriously. Instead, the simple form and energetic, jaunty piano and fiddle accompaniment just makes me want to dance!

Wills’ version of “Cotton Eyed Joe” combines American popular swing music with folk/country tunes. Like “Maple Leaf Rag,” “Cotton Eyed Joe” is also dancing music, and it even has the same steady beat underscoring a syncopated melody that Joplin’s “Rag” has. Another interesting connection is the rhyme scheme Wills uses, one that is ABBCDD where the Bs and Ds are repeating lyrics. It calls to mind the AAB rhyme scheme blues uses where the As are repeating lyrics. As the song has its roots in big-band swing/jazz, this makes sense, but it is not a connection I have made until this moment. Even the lyrical content kind of fits in with this comparison to the blues - the lyrics are kind of sad! The man was never able to get married because of Cotton Eyed Joe and he is lamenting that in the song, albeit over a jaunty dance tune. 

“Countin’ the Blues” performed by Ma Rainey

Original listening log:  I really enjoyed this piece. Having never listened to Ma Rainey, I would say this was a terrific introduction. This song is what I think of when I hear someone mention the blues. Ma Rainey's rich, sorrowful vocals really show how badly she has the blues. It almost sounds like she's groaning and struggling under the weight of her melancholy, trying to express her feelings and say what she needs to say. The lyrics themselves follow an AAB form characteristic of classic 12-bar blues. I am particularly interested in how she namedrops a couple of different blues songs in the second verse including "Beale Street Blues," "Bama Bound Blues," and "Stingaree." She is quite literally counting different blues songs by doing so. It reminds of how when some people get sad, they want to listen to sad music to help process or cope with their emotions. The instrumentation of the song perfectly communicates the melancholy tone of the song, with the cornet, clarinet, and trombone players seeming to (for lack of a better term) really take their time to play the music. Coupled with Ma Rainey's slow, steady, sad vocals, the entire song has a melancholic tone that is incredibly effective in communicating the message of the lyrics - the singer is sad from getting bad news ("mama's just now got bad news") and is expressing how she feelings.

Moving on to some actual blues, we come to the iconic Gertrude “Ma” Rainey. Much like how “Maple Leaf Rag” is classic ragtime, “Countin’ the Blues” is textbook blues music. It contains a call-and-response form when Ma Rainey sings and is “responded to” by the instrumentation, something that can be found in other blues music like Robert Johnson’s “Preachin’ Blues”. It also features an instrumental introduction, something characteristic of ragtime music. “Countin’ the Blues” and blues music in general is popular music that has its roots in African spirituals and, generally, the early African American experience. 

“He Got Better Things for You” performed by Bessie Johnson’s Memphis Sanctified Singers

Original listening log:  I loved this piece! Bessie Johnson's raspy, passionate delivery really communicates how she feels about the subject matter she is singing about. There is simple guitar accompaniment, but the focus really does remain on the vocals and, by extension, the lyrics. This is a great storytelling/moralizing song. I like how Johnson draws the listener in with sweet, clear vocals in the first three lines, saying how she wants to share a message with us, her "kind friends" whose souls she loves. I admit I was a little jarred when her gruff vocals began on "but half ain't never been told," but as the song went on, it made sense. She shares stories of Saint Mary and a man named Cornelius (if this is a Biblical reference, I'm Jewish and it totally went over my head), two people who listened to the word of the Christian God and now wait in heaven among the better things. Johnson wants to share her message so that all of the listeners can get to those better things.

Johnson’s “He Got Better Things for You” is the first and only explicitly religious piece of popular music I have included on this list, but the influence of Black religious music on later genres like jazz and the blues cannot be understated. The textbook points out that Johnson’s emotive, gravelly voice feels similar to the brash trumpets jazz musicians use in their songs, but I would say that is where a lot of the similarity ends. The guitar music and vocal melody are quite simple and easy to understand, which makes sense when one considers the genre. Its accessibility and sweet religious content feels similar to songs like “Simple Gifts,” spiritual hymns meant to be sung by a community of like-minded individuals. 

Henry Cowell’s “The Banshee” performed by Sonya Kumiko Lee

Original listening log:  "The Banshee" is a really neat piece of music. It begins very quiet and eerie as Cowell gently drags his hand across the piano strings, making it seem like something is coming and building up tension. He also occasionally plucks a few specific strings that sound like spooky windchimes or something. This and the quiet dragging of his across the strings helps connect the piece of the Irish folklore being of the banshee - the eerie, single notes give a magical feeling to the song while the quiet scraping builds tension like something (death, in this case) is coming. Whenever Cowell harshly scrapes the strings, it makes the listener jump and ultimately release a bit of the tension. Overall, while the song is purely instrumental, it is highly effective at invoking the spirit of the banshee.

Cowell’s song is a masterpiece in nonverbal storytelling, comparable to Bernard Herrmann’s “The Murder,” another song that, even without words, clearly tells the story it intends to tell. While “The Banshee” has its roots in classical music, it is bravely experimental, choosing instead to use the inside of the piano rather than the keys. Much like “Maple Leaf Rag” or “Cotton Eyed Joe,” “The Banshee” is a genre-defining song. It takes inspiration from classic forms, but it turns them into something entirely new and very exciting. 

This sense of innovation found in everything from “The Banshee” to “Maple Leaf Rag” is really creatively inspiring, and I think that draws the course together well. New genres and songs are created whenever the old way of doing things just won’t cut it. Ma Rainey and other blues singers drew from African spirituals and field hollers, but retooled it in a new way to express the pain and joys of living as a Black person in America. Henry Cowell took the piano, a mainstay of many different genres, and used it in an entirely new way to tell the story of a traditional piece of Irish folklore. 

Music has the power to communicate things in a way that simply speaking it will not do. By drawing influence from musical styles of the past, people are able to retain a connection to those that came before them, those who shaped their culture into what it is today. By turning that influence into something brand new, however, it puts the power in the hands of the living to influence their lives in the present-day.