#sorry i'm just so angry and upset

[beaft]

you ever train for years to be good at something and then as soon as you're qualified it's like nvm we have robots to do that now. have you considered becoming a toilet cleaner instead

[r0bbers02]

I can't understand people who love this show or books but hate any of the "main characters" (mostly anyone from the shows main 4 characters, Louis, lestat, Armand and Daniel)

like yeah all of the have flaws, but they also have qualities for redemption

honestly I think watching the show or reading the books with that hatred for any of the characters or the ships must be miserable and sad

seeing the constant discourse (mainly on Twitter) of whose better or worse according to arguments without any kind of nuance make me mad

like why don't you focus on what you like instead of what you don't

I also hate the mischaracterization of some of the characters in this fandom, especially the one on complex characters like Armand or Lestat

And especially why do you talk shit about the actors who have done nothing but give their whole souls and energy to this project, who really don't deserve your negativity and hate

[retr0scum]

"Oof" "rip" "bruh" yeah how about my fist in your face

[buildarocketboys]

Dear transmascs,

I love y'all, I appreciate your posts and find solidarity in your struggles. But please, PLEASE could you acknowledge that some (many) trans people who don't identify as transmasc share in the same struggles? Please could you acknowledge non-transmasc (afab) non-binary/genderqueer people in your posts that also affect them once in a while? Could you please NOT co-opt the death of a NON-BINARY trans person to talk about how transmascs are oppressed for being transmasculine? Like, yes, there are overlaps between transandrophobia and enbyphobia (and transmisogyny) and these are important to talk about but please realise that you can do this WITHOUT erasing non-binary people who do not identify as transmasc.

Idk maybe this seems like a non-issue to a lot of people but it's honestly deeply fucking upsetting to me, as an (afab) genderqueer person. I'm not saying you have to make all posts about transmasc people about non-binary people as well but please just. When something is ABOUT a non-binary person and that person doesn't explicitly identify as transmasc, please, please don't erase their identity and make it ONLY about the experience of being transmasc??

I'm so fucking tired.

Signed,

A genderqueer person

(btw if you come on this post being shitty about transmascs or talking about how transandrophobia isn't real or whatever, you're getting an instant block. This ain't about that, transandrophobia is real but so is enbyphobia/exorsexism.)

[choccorin]

what the fuck do you mean they didn't animate the panel of rinnie showing off his horrible posture and his chipmunk cheeks are you kidding me

[sainz100]

2024 Singapore GP | x

[botaniqueer]

Forward: This post isn't meant judgmentally, targeted at anyone in particular or as a gotcha and I write in entirely good faith.

A question I have for white folks in particular (but also abled people, cis people, etc, but also everyone in general who votes) when engaging with electoral politics is, are you taking measures to protect the rest of us from your candidates? There's no perfect candidate for sure, but that means people will be hurt, and as voters we have a responsibility to call out and prevent harm that our candidates do; if we aren't then we're directly complicit in that harm. Are you willing to put your bodies and minds on the line to protect those who aren't going to be protected by those candidates? Because of the nature of US politics, our own candidates need to be challenged just as fiercely as if someone else got elected.

Again, I'm not against voting at all! I literally vote blue every time and in every election. I think there's strategic value in it, but we have to actually strategize, which hasn't been getting done. Are we actually engaging with why people are hesitant to vote? People use the "you're damaging your own cause!" whenever people seen as "scary leftists" participate in their actions, but it's never applies to liberal and electoral politics even though the same can be said. Trying to harp on and guilt people into voting when without engaging with why that is just damages the cause and pushes them further away. Also note that the majority of people critical of the way electoral politics are done are BIPOC; this is important to think about.

The democrats are objectively better for more people than the republicans, but there are people who are destitute to the point where those two parties are the same. Palestinians for example! Democrats also fund police measure against homeless folks as we see in the PNW, which is strongly blue. Indigenous people here are another similar group– the way indigeneity is legislated here, they're literally programmed to eventually go extinct from a legal standpoint due to the colonial law of blood quantum. Not to mention that reservations are literally, in their words, concentration camps.

Are you going to make things better for yourself and leave others to fall through the cracks? Or are you going to use that to lift everyone else up? This traditionally hasn't been the case, so if you want BIPOC voters to trust you, you have to demonstrate that you won't get attached to you candidates and hold them on a pedestal.

How are you going to assuage fears when people get anxious (and they will!) without also invalidating their fears (which is common under electoral politics votes). Can you do this without a lot of the manipulative tactics a lot of outlets use? (Blaming disaffected BIPOC for when things go wrong, using the "well the other guy is worse!" line.) Folks ask for 1000 step plans when talking about non-electoral political elements, but when engaging with electoral politics people treat it like magic, and if anyone falls through the cracks and complains, they're just being cantankerous. This is only a small percentage of the things that need to be considered.

Election season is also really retraumatizing for folks who have colonized backgrounds. Are you making sure we feel safe? Are we being thought about as real people, instead of just abstracts or as a resource to generate votes, but who are just being obstinate? (As opposed to again, real people with real motivations)

As a final note, people also comment on "Why abstain anyways when you know it's going to be bad either way?" for particularly marginalized people, and I think the answer (folks in those situations can correct me here) is that it's more cathartic to watch the people who let you slip through the cracks fall with you, than slipping through the cracks and watching those same people have brunch and pretend you and your problems don't exist. It's like being trapped in a room with only crumbs to eat while the people on the other side of the door throw a dinner party, and if you complain, yell at you saying that the other guys wouldn't even give you crumbs.

[steakout-05]

how i feel about TBYS causing a shockwave effect of everyone dogpiling on and harassing Illymation and spreading extremely easily disprovable and malicious misinformation about her and putting her in a lot of danger for literally no legitimate reason

[irondad-defensesquad]

// personal

"of course your dad loves you!" today i was feeling rlly sad and i had some terrible back pain, so much i nearly cried, and instead of asking me what was wrong, my dad just told me i could call a fucking uber, lol. and he was annoyed instead of showing any concern. just bc he was with his friends and he didn't want to deal with me.

fucking asshole.

[pynkhues]

https://www.tumblr.com/pynkhues/766748848331898880/growing-up-in-a-cattle-station-family-in-rural?source=share

This is kind of blowing my mind--I'm American and we are obviously a very big country, but I'm trying to imagine anyone having so much land (or just so much land being available anywhere) that they would have to drive four hours even to reach the edge of their own property

Yeah, I mean!! Australia's a big country, and - globally speaking - no one lives here, lol. I can't articulate to you how small some towns in rural/remote Australia are, despite the country's size, but mm, okay, I'll try, haha:

When I did that particular tour of rural Queensland [I live in Melbourne, Victoria, but 'm from Brisbane originally, which is the capital city of Queensland], it was a part of a creative project funded by the state archive to build a food memory of Q, and a part of that was taking celebrity chefs to remote parts of the state to help people write about passed-down family recipes. It was genuinely one of the most fun jobs I ever had, and I met so many interesting people, and I think about it all the time, haha.

In that, we flew into Mount Isa, which is a mining town, and then just - - drove! For hours! And the landscape just alternates between this:

And this:

(Both of these are literally just Mount Isa too)

It honestly is such a unique landscape, and when you're out in it truly, you don't feel like there's anyone else in the world. Like, God, half of Australia's entire population lives between Sydney and Melbourne! That's always crazy to me, especially given the breadth of the country. Jodie Foster filmed a movie here years ago and just said she couldn't believe how much of Australia was untouched, which is a lovely thing to say, but only partially true, of course.

But yeah, like, I also did a year-long freelance writing contract for the Q Department of Education about five years ago, and there are schools there which have literally six students per year level MAX. One school we were preparing child safety documents for was a prep-10 school (a lot of remote schools don't offer year 11 and 12) had eight students total in the entire school.

(Slightly off topic, but a lot of the resources I was writing there were just begging children to stop daring each other to eat kangaroo poo, because they kept getting Q Fever, so there's a little bit of trivia for you, haha).

It's why a lot of kids are still sent out to board in city schools - particularly if they intend to graduate - hence Sam going to school in Sydney doesn't surprise me at all. Again, I don't know if he was a boarder, but Cranbrook offers it and I know anecdotally farm kids tend to board (again, my mum did, and I know a lot of other people who did too), and I know Cranbrook caters to rich rural farming families.

Also just anecdotally, outside of schooling, my sister has been living regionally so when I say she's in family court, she's in a regional one, and one of the things that I hate to say surprised me given what I talk about above was that in the Readiness & Compliance Hearing where a group of us are all getting to hear each other's business, the average time to get to the closest court from remote Australia was 7 hours. So yeah.

Big country, and a very, very dispersed population.

[hirazuki]

Okay, see, the thing about your story ending on a negative/dystopian/'despite everything that's happened nothing has changed in society' note and doing so successfully? It needs to have been set up for that in the first place, and it needs to be done in an intentional manner.

I have nothing against works that reinforce how cruel/meaningless/pointless/etc. the world is -- I enjoy a fair few! -- but the works themselves need to be some sort of commentary about it; the plot might be demonstrative of the futility of everything, but the story never should. It should take that and build on it and use it to make a statement, underscore a point, etc. to its readers. Having everything carry on business-as-usual without acknowledging it, especially in a genre that's generally meant to conclude on optimistic, uplifting, and hopeful notes, comes off as callous and in direct opposition with the values it extols.

Plus, the story itself should never be futile because, then, well, it never mattered as a work and it makes no difference if you've read it or not. Which... that's just a badly written story lmao.

[septembersghost]

"(and take a guess at who destroyed the professional affinity they built with him" is this the colonel? jfc I keep hating that man

who else? leiber and stoller initially didn't know who elvis was and had some preconceived judgment in place (which happened to him a lot), but then once they actually met with him, they were impressed and developed a rapport. elvis wanted them to be in the studio when he recorded. they had suggestions and encouragement for him, about songs, about his career, and parker didn't like that, was threatened by the idea of them getting in the middle, or worse, giving him ideas (this would repeat throughout his life, it's not dissimilar to what happened with steve binder). the colonel eventually destroyed the relationship they built by sending leiber and stoller a blank page and calling it a contract as an intentional slight. they told him exactly what they thought of that, and never worked with elvis again.

longer details from here

"Jerry Leiber and Mike Stoller were like the rap artists of the early '50s, pushing buttons, inviting scorn and testing the limits, as rock roared into being from its roots as blues and rhythm and blues. They were writing music for black artists, when one of their songs, Hound Dog, was heard by a young Elvis Presley. His adaptation turned it into a No. 1 hit and helped aim Leiber and Stoller toward the Rock and Roll Hall of Fame.

They wrote 20 songs for Elvis until the brash young songwriters had a falling out with Colonel Tom Parker, the Svengali they now remember as a 'bully' and a 'foul, greedy' man who helped destroy Elvis. But the estrangement didn't change their respect for Elvis.

'We feel that Elvis Presley was the high water mark of the 20th Century. He's legend. No, he's myth. He's in that celestial place for mythological figures. At the time, we just thought he was a white kid trying to make it as a singer', says Leiber, the man who supplied the words as lyricist of one of the worlds' best-known songwriting duos.

Leiber and Stoller originally met in 1950, sharing a love of the blues and boogie woogie. They were writing for black artists, their earliest songs recorded by Jimmy Witherspoon, Little Esther, Amos Milburn, Charles Brown, Little Willie Littlefield and, among others, Willie Mae 'Big Mama' Thornton.

It was for Big Mama Thornton that they wrote Hound Dog in 1952. Her version came out in 1953 and was adapted by several groups. Stoller had gone to Europe with royalties from some of those early songs and was on his way home aboard the Andrea Doria when it sank in 1956.

Rescued by a lifeboat, Stoller arrived in New York with Leiber yelling from the dock: 'We've got a smash hit'. 'I said, 'You mean Big Mama Thornton's record?' He said, 'No, some white kid named Elvis Presley'. Elvis had heard Hound Dog in a Vegas Lounge by a group called Freddie Bell and the Bellboys', says Stoller.

Elvis' recording of Hound Dog was released in July of 1956 and bounded up the charts, selling millions of copies. Released the same year as Heartbreak Hotel, it put Elvis on TV and turned him into a phenomenon.

After Elvis' great success with his version of Hound Dog, Paramount Studios and music publishers Hill and Range selected additional Leiber and Stoller songs for Elvis' 1957 film Loving You. It was on April 30, 1957 while working on the movie Jailhouse Rock that Elvis first met Leiber and Stoller. They were skeptical of meeting the newcomer, thinking he was a country bumpkin. However, they were very impressed when upon meeting and talking to Elvis that he was very knowledgeable of R&B music and could discuss its nuances in great detail. They went on to work closely with Elvis on the Jailhouse Rock soundtrack with Stoller appearing in the film playing the piano for Elvis' character. After an incident of pitching songs and movie ideas directly to Elvis and not going through the usual chain of command with Elvis' manager, Colonel Tom Parker, they had a falling out with Parker and essentially ended their collaboration with Elvis. Fast-forward to 1960, they did write a couple of songs that were in the running for inclusion in Elvis' first post-army movie, G.I. Blues, but, ultimately they were not used. Although the direct collaboration ended, Elvis did choose several additional Leiber and Stoller tunes to record over the years.

'We were completely unconscious of what it might imply. We were just doing numbers', says Leiber. Stoller says those numbers were unfamiliar to white audiences because he and Leiber had written 'almost exclusively for black performers, so we wrote in a black idiom. People started thinking it was entirely new, but the base we started from was the blues and boogie woogie'.

Stoller says they didn't specifically tailor songs to that early Elvis persona but began by supplying songs they had already written, like Love Me, a ballad they had already recorded. 'Then we were asked to write for a movie, Loving You, with Elvis and Lizabeth Scott'. The next project, Jailhouse Rock, included four songs Leiber and Stoller wrote while held captive in a New York hotel.

They had been living in Los Angeles, and Stoller says they rented a New York hotel suite with a piano in the living area. 'We were given a script for the movie and kind of tossed it in the corner. We were having a ball in New York, going to jazz clubs, cabaret, going to the theater and hanging out. Finally, Jean Aberbach who ran Elvis Presley Music knocked on the door and said, 'Well boys, where are my songs?' I think Jerry said, 'Oh, Jean, you're going to get them'. Jean then pushed a big overstuffed chair in front of the door and said, 'I'm not leaving until I get my songs'.

They wrote four songs in five hours, including Jailhouse Rock, the movie's title song and Treat Me Nice, both major hits.

After that, Elvis 'wanted us in the studio with him whenever we recorded', says Stoller. It was part of Elvis' 'perfectionist' tendencies in the early stages of his career, says Jerry Schilling, a member of Elvis' Memphis Mafia. Leiber says Elvis 'was like an Olympic champion. He could do 40 to 50 takes. I never saw him happier than when he was on a microphone, performing'.

Both songwriters say that studio time was their primary contact with Elvis, who was kept at arm's length from them by Colonel Parker. Stoller says Elvis once asked, 'Mike, could you write me a real pretty ballad?' Over the weekend, they wrote the song Don't for him and handed it to him only to be berated by Parker.

'He was upset that I handed a song directly to Elvis. They didn't want anybody to have direct access to Elvis. It was like Elvis was kept kind of in a glass box and away from contact except for the Memphis Mafia. They were like paid companions'.

Like almost everyone else, they also had little contact with Parker himself. 'The longest I ever spent with him was a dinner at the Beverly Hills Hotel around 1956, after Hound Dog', says Stoller.

The breaking point for them came when Leiber was recovering from a bout with pneumonia about two years later, and Parker ordered them to California to write songs for a new movie project. Leiber explained that he had just been released from the hospital and was unable to travel. 'Parker said, 'You'd better get your ass out here'. He then sent a packet with a contract for them to sign. Leiber says he pulled the contract from the packet and found only a dark line across the middle of a blank page for his signature.

'I called and said, 'I think you made a mistake. There's no contract in here'. He said, 'Don't worry about that, boy. Just sign your name, and I'll fill it in later'."

"Jerry Leiber: I called and asked to speak to (Colonel) Tom. He got on the phone and said (Leiber imitates Parker) 'How you doin' boy?' I said, 'I'm OK. I had a real close call there. I had walking pneumonia and I just got out of the hospital.' He said he wanted me to pack right away and catch a plane. I told him I wasn't in any shape to catch a plane because I'd just gotten out of the hospital. He said, 'If they let you out, that means you're all right'. I told him I needed a day or two to get myself together, but he said the schedule was very tight and he needed me to come out right away.

Then he said, 'Did you see the contract yet?' I said, contract?' He said, 'I'm sure it's there by now. It's a contract covering the forthcoming movie and soundtrack album. You better take a look, sign it and send it back. So I hung up, took the contract out of one of the manila envelopes, and saw nothing but a blank page. Nothing was written on it except two lines at the bottom where Mike and I were supposed to sign our names.

I thought they had made a ridiculous blunder. I called Parker's secretary and said, 'There's been a mistake', she said, 'Let me get Tom.' Colonel Parker got on the phone and I told him, 'There's a piece of paper here with two places for signatures, but the contract is missing'. He said, 'There's no mistake - just sign it'. Then he said, 'Don't worry. We'll fill it in later'.

I got off the phone with Parker and immediately called Mike. I told him, 'Breaking up with the Presley outfit is like throwing away a license to print money. After all this work, I really hate to do it, but I am really offended' (When I was on the phone with Parker, I almost told him that I wasn't one of his 'okie dokies'). I told Mike I didn't want to work with this jerk anymore.

I asked Mike, 'How do you feel about this?' Now Mike is a very measured and modest with very good manners. He paused for a moment, and then he said, Jer ....tell him to f**k himself!'

So I called Colonel Parker back and said, 'Tom, I thought about what you told me'. He said, 'Good! What time are you gonna get here?' I said, 'Tom, I spoke to Mike about the contract, and he told me to tell you to go f**k yourself'.

I hung up, and I never spoke to him again."

"Like many others, [Leiber] wondered about Parker's hold on Elvis. 'I think he (Elvis) had a very weak father and didn't get a sense of what a father was like. Parker came along, and his attitude was, 'Do this, do that, and I'll take care of everything'. Parker became his surrogate family'."

"Leiber: Of course, the Colonel wasn't really a colonel. He was Thomas A. Parker, whose former job as a carnival barker defined his personality. He had a definite shtick ('Pick a number from one to ten'). He told dozens of canned jokes. I can't remember any of them except that they weren't funny. But it didn't matter that we didn't laugh, because the Colonel wasn't really conscious of us. Of course, he knew we were the songwriters of 'Hound Dog' and the new songs for Jailhouse Rock. He knew more hit songs for Elvis meant more money for him. Beyond that, though, he was more interested in putting on his own show than getting to know us.

He had his long cigar and his confected Southern accent. He was a nonstop talker whose ego was always on parade. He told us in great detail all he had done for Elvis - and all he intended to do.

'Elvis' he said, 'is going to be bigger than the president, bigger than the pope'.

Naturally we agreed.

Stoller: The Colonel had the kind of energy that sucked all the air out of the room, even the dining room at the Beverly Hills Hotel. I had little interest in the man. Elvis was the guy we were eager to meet.

The session was due to start later that week.

Leiber: My heterosexual credits have long been established, so I can comfortably say that the first thing that hit me when I walked into the recording studio and found myself standing next to Elvis Presley was his physical beauty. Far more than his pictures, his actual presence was riveting.

He had a shy smile and quiet manner that were disarming."

"Stoller: It's important to remember that on the day we met Elvis, he was twenty-two and we were twenty-four. We were contemporaries. Remember, too, that Jerry and I shared the uppity view that he and I were among the few white guys who knew about the blues.

In the first five minutes of conversation with Elvis, we learned we were dead wrong.

Elvis knew the blues. He was a Ray Charles fanatic and even knew that Ray had sung our song 'The Snow Is Falling'. In fact, he knew virtually all of our songs. There wasn't any R&B he didn't know. He could quote from Arthur 'Big Boy' Crudup, B.B. King, and Big Bill Broonzy.

Leiber: When it came to the blues, Elvis knew his stuff. He may not have been conversant about politics or world history, but his blues knowledge was almost encyclopedic. Mike and I were blown away. In fact, the conversation got so enthusiastic that Mike and Elvis sat down at the piano and started playing four-handed blues. He definitely felt our passion for the real roots material and shared that passion with all his heart.

Just like that, we fell in love with the guy."

"'Whenever I record' he said, 'I want you guys in the studio. You're the guys who make the magic'."

"When Elvis returned (after a studio break), his head was down and his demeanor totally changed.

'I'm really sorry, Mike', he said, 'but you're gonna have to leave. The Colonel came in and he doesn't want anyone here but me and the guys'. 'Okay' I said, not wanting to make any more trouble. And with that, I left. The next day at the shoot I mentioned the incident to one of Elvis' Memphis buddies. 'Don't take it personally, Mike,' he said, 'It's just that the Colonel doesn't want Elvis to develop a friendship with anyone but us'."

[habits-white-rabbit]

The kind of people Babish's new video has attracted. Jesus fucking Christ.

[wiredalienvampire]

< be me

< check the dhmis tag to see how the fandom is doing

< see a post stating the dhmis pilot that you have been waiting for nearly 6 years for is being shown again at Sundance

< continue scrolling down the tag

< turns out it was a mistake and they were actually showing the dhmis short "creative" at Sundance

>kill me

[bandzboy]

it just truly saddens me that no matter how many performances, great music, great visuals, amazing production and etc that idols put out some people will NEVER consider them to be artists and don't treat them as such

[katandsquad]

.