#this is literally so out of my usual style and comfort zone its wild. i still shouldve gone a lot harder tho

[bluejaybytes]

[LETS OUT AN AGONIZED WAIL] [MY WRISTS PHYSICALLY SNAP OFF MY BODY] [I CRUMBLE INTO DUST] art done : )

[path-of-my-childhood]

CABIN FEVER - Aaron Dessner: Producing folklore and evermore

Sound On Sound Magazine // March 2021 issue // By Tom Doyle

The pandemic gave Taylor Swift a chance to explore new musical paths, with two lockdown albums co-written and produced by the National's Aaron Dessner.

Few artists during the pandemic have been as prolific as Taylor Swift. In July 2020, she surprise-released folklore, a double-length album recorded entirely remotely and in isolation. It went on to become the biggest global seller of the year, with four million sales and counting. Then, in December, she repeated the trick with the 15-song evermore, which quickly became Swift's eighth consecutive US number one.

In contrast to her country-music roots and the shiny synth-pop that made her a superstar, both folklore and evermore showcased a very different Taylor Swift sound: one veering more towards atmospheric indie and folk. The former album was part-produced by Swift and her regular co-producer Jack Antonoff (St Vincent, Lana Del Rey), while the other half of the tracks were overseen by a new studio collaborator, Aaron Dessner of the National. For evermore, aside from one Antonoff-assisted song, Dessner took full control of production.

Good Timing

Although his band are hugely popular and even won a Grammy for their 2017 album Sleep Well Beast, Aaron Dessner admits that it initially felt strange for an indie-rock guitarist and keyboard player to be pulled into such a mainstream project. Swift had already declared herself a fan of the National, and first met the band back in 2014. Nonetheless, Dessner was still surprised when the singer sent him a text "out of the blue" last spring. "I mean, I didn't think it was a hoax," he laughs. "But it was very exciting and a moment where you think it's like serendipity or something, especially in the middle of the pandemic. When she asked if I would ever consider writing with her, I just happened to have a lot of music that I had worked really hard on. So, the timing was sort of lucky. It opened up this crazy period of collaboration. It was a pretty wild ride."

Since 2016, Aaron Dessner has been based at his self-built rural facility, Long Pond Studio, in the Hudson Valley, upstate New York. The only major change to the studio since SOS last spoke to Dessner in October 2017 has been the addition of a vintage WSW Siemens console built in 1965. "It had been refurbished by someone," he says, "and I think there's only three of them in the United States. I heard it was for sale from our friend [and the National producer/mixer] Peter Katis. That's a huge improvement here."

Although the National made Sleep Well Beast and its 2019 successor I Am Easy To Find at Long Pond, the band members are scattered around the US and Europe, meaning Dessner is no stranger to remote working and file sharing. This proved to be invaluable for his work with Swift. Dessner spent the first six weeks of lockdown writing music that he believed to be for Big Red Machine, his project with Bon Iver's Justin Vernon. Instead, many of these work-in-progress tracks would end up on folklore. Their first collaboration (and the album's first single), 'cardigan', for instance, emerged from an idea Dessner had been working on backstage during the National's European arena tour of Winter 2019.

"I sent her a folder and in the middle of the night she sent me that song," Dessner explains. "So, the next morning I was just listening to it, like, `Woah, OK, this is crazy."

On The Move

As work progressed, it quickly became apparent that Swift and Dessner were very much in tune as a songwriting and producing unit. There was very little Dessner had to do, he says, in terms of chopping vocals around to shape the top lines. "I think it's because I'm so used to structuring things like a song, with verses and choruses and bridges," he reckons. "In most cases, she sort of kept the form. If she had a different idea, she would tell me when she was writing and I would chop it up for her and send it to her. But, mostly, things kind of stayed in the form that we had."

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written 'the last great american dynasty' and it was waiting for him in his inbox. "That was a crazy moment," he laughs. "One of the astonishing things about Taylor is what a brilliant songwriter she is and the clarity of her ideas and, when she has a story to tell, the way she can tell it. I think she's just been doing it for so long, she has a facility that makes you feel like you could never do what she's capable of. But we were a good pair because I think the music was inspiring to her in such a way that the stories were coming."

Swift's contributions to folklore were recorded in a makeshift studio in her Los Angeles home. Laura Sisk engineered the sessions as the singer recorded her vocals, using a Neumann U47, in a neighbouring bedroom. Live contact between Swift, Sisk, Dessner and Long Pond engineer Jonathan Low was done through real-time online collaboration platform Audiomovers.

"We would listen in remotely and kind of go back and forth," says Dessner. "We used Audiomovers and then we would have Zoom as a backup. But mainly we were just using Audiomovers, so we could actually be in her headphones. It's powerful, it's great. I've used it a lot with people during this time. Then, later on, when we recorded evermore, a lot of the vocals were done here at the studio actually when Taylor was visiting when we did the [Disney+ documentary] Long Pond Sessions. But Taylor's vocals for folklore were all done remotely."

Keeping Secrets

Given the huge international interest in Swift, the team had to work with an elaborate file-sharing arrangement to ensure that the tracks didn't leak online. Understandably, Dessner won't be drawn on the specifics. "Yeah, I mean we had to be very careful, so everything was very secretive," he says. "There were passwords on both ends and we communicated in a specific way when sharing mixes and everything. There was a high level of confidentiality and data encryption. It was sort of a learning curve.

"I'm not used to that," he adds, "'cause usually we're just letting files kind of fly all over the Internet [laughs]. But I think with someone like her, there's just so many people that are paying attention to every move that she makes, which can be a little, I think, oppressive for her. We tried to make it as comfortable as possible and we got used to how to get things to her and back to us. It worked pretty well."

Drums & Guitars

For the generally minimalist beat programming on the records, Dessner would sometimes turn to his more expensive new analogue drum generators - Vermona's DRM1 and Dave Smith's Tempest - but more often used the Synthetic Bits iOS app FunkBox. "There's just a lot of great vintage drum machine sounds in there, and they sound pretty cool, especially if you overdrive it," he says. "Often I send that through an amplifier, or through effects into an amplifier. Then I have a [Roland) TR-8 and a TR-8S that I use a lot. I also use the drum machine in the [Teenage Engineering] OP-1. So, a song like 'willow', that's just me tapping the OP-1."

Elsewhere, Dessner's guitar work appears on the tracks, with the intricate melodic layering on 'the last great american dynasty' from folklore having been inspired by Radiohead's In Rainbows. "Almost all of the electric guitar on Taylor's records is played direct through a REDDI DI into the Siemens board," he says. "It's usually just my 1971 Telecaster played direct and it just sounds great. Oftentimes I just put a little spring reverb on it and sometimes I'll overdrive the board like it's an amplifier, 'cause it breaks up really beautifully.

"I have a 1965 [Gibson] Firebird that I play usually through this 1965 Fender Deluxe Reverb. So, if I am playing into an amp, that's what it is. But on 'the last great american dynasty', those little pointillistic guitars, that's just played direct with the Telecaster through the board."

Elsewhere, Aaron Dessner took Taylor Swift even further out of her sonic comfort zone. A key track on folklore, the Cocteau Twins-styled 'epiphany', features her voice amid a wash of ambient textures, created by Dessner slowing down and reversing various instrumental parts in Pro Tools. "I created a drone using the Mellotron [MD4000D] and the Prophet and the OP-1 and all kinds of synth pads," he says. "Then I duplicated all the tracks, and some of them I reversed and some of them I dropped an octave. All manner of using varispeed and Polyphonic Elastic Audio and changing where they were sitting. Just to create like this Icelandic glacier of sounds was my idea. Then I wrote the chord progression against that.

"The [Pro Tools] session was not happy," he adds with a chuckle. "It kept crashing. Eventually I had to print the drone but I printed it by myself and there was some crackle in it. It was distorting. And then I couldn't recreate it so Jon Low, who was helping me, was kind of mad at me 'cause he was like, 'You can't do that.' And I was like, 'Well, I was working quickly. I didn't know it'd become a song."

Orchestra Of Nowhere

Meanwhile, the orchestrations that appear on several of the tracks were scored by Aaron's twin brother and National bandmate, Bryce Dessner, who is located in France. "I would just make him chord charts of the songs and send them to him in France," Aaron says. "Then he would orchestrate things in Sibelius and send the parts to me. I would send the parts and the instrumental tracks to different players remotely and they would record them literally in their bedrooms or in their attics. None of it was done as a group, it was all done separately. But that's how we've always worked in the National so it's quite natural."

On folklore standout track 'exile', Justin Vernon of Bon Iver delivered his stirring vocal for the duet remotely from his home in Eaux Claires, Wisconsin. "He's renovating his studio, so he has a little home studio in his garage," says Dessner. "It was Taylor's idea to approach him. I sent him Taylor's voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

"I do a lot of work remotely with Justin also, so it was easy to send him tracks and he would track to it and send back his vocals. I was sending him stems, so usually it's just a vocal stem of Taylor and an instrumental stem and then if he wants something deeper, I'll give him more stems. But generally, he's just working with the vocal layers and an instrumental."

Vernon also provided the grainy beat that kicks off 'closure', one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. "It was this little loop that Justin had given me in this folder of 'Starters', he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it's not in 5/4. 'Closure' really opened everything up further. There were no real limits to where we were gonna try to write songs."

Given the number of remote players, Dessner says there were surprisingly few problems with the file swapping and that it was a fairly painless technical process. "It was pretty smooth, but there were issues," he admits. "Sometimes sample-rate issues, or if I happened to give someone an instrumental that was an MP3, that sometimes lines up differently than if you send them an actual WAV that's bounced on the grid. So, sometimes I'd have to kinda eyeball things.

"If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, 'cause we would try a lot of things, y'know. So, eventually the sessions got kinda crazy and you'd have to deactivate a lot of things and print things. But we got used to that."

Soft Piano

Aaron Dessner's characteristic dampened upright piano sound, familiar from the National's albums, is much in evidence throughout both folklore and evermore. "The upright is a Yamaha U1 that I've had for more than a decade. Usually, I play it with the soft pedal down and that's the sound of 'hoax' or 'seven' or 'cardigan', y'know, that felted sound. It kind of almost sounds like an electric piano.

"I always mic it the same way, just with two [AKG] 414s, and they're always the same distance off the wall. I had a studio in Brooklyn for 10 years and then when I moved here, I copied the same [wooden] pattern on the wall. And the reason I did that is 'cause of how much I love how this piano sounds bouncing off that wall. It just does something really special for the harmonics."

When on other folklore songs, such as 'exile' or 'the 1', where the piano was the main sonic feature of the track, Dessner played his Steinway grand. "A lot of times we use a pair of Coles [4038s] on the Steinway, just cause it's darker. But sometimes we'll have the 414s there as well and choose."

Keeping Warm

On both folklore and evermore, Taylor Swift's voice is very much front and center and high in the mix, and generally sounds fairly dry. "I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear," Dessner explains. "'Cause I think a lot of the more pop-oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it's very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like `seven'. If you carved out that mud, y'know, it wouldn't hit you the same way. Or, like, `cardigan', I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that's where a lot of emotion is."

Effects-wise, almost all of the treatments were done in the box. "There's no outboard reverbs printed," says Dessner. "The only things that we did print would be like an [Eventide] H3000 or sometimes the [WEM] CopiCat tape delay for just a really subtle slap. But generally, it's just different reverbs in the box that Jon was using. He uses the Valhalla stuff quite a bit and some other UAD reverbs, like the [Capitol] Chambers. I often just use Valhalla VintageVerb and the [Avid] Black Spring and simple things."

In some instances, the final mix ended up being the never-bettered rough mix, while other songs took far more work. "'cardigan' is basically the rough, as is `seven'. So, like the early, early mixes, when we didn't even know we were mixing, we never were able to make it better. Like if you make it sound 'good', it might not be as good 'cause it loses some of its weird magic, y'know. But songs like `the last great american dynasty' or 'mad woman', those songs were a little harder to create the dynamics the way you want them, and the pay-off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

"On evermore, I would say 'willow' was probably the hardest one to finish just because there were so many ways it could've gone. Eventually we settled back almost to the point where it began. So, there's a lot of stuff that was left out of 'willow', just because the simplicity of the idea I think was in a way the strongest."

The subject of this month's Inside Track article, 'willow' was the first song written for evermore, immediately following the release of folklore. "It almost felt like a dare or something," Dessner laughs. "We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn't really ever stop since April."

Rubber & Vinyl

Sometimes, Dessner and Swift drew inspiration from unlikely sources; `no body, no crime', for instance, started when he gave her a 'rubber bridge' guitar made by Reuben Cox of the Old Style Guitar Shop in LA. "He's my very old friend," says Dessner of Cox. "He buys undervalued vintage guitars. Stuff that was made in the '50s and '60s as sort of learner guitars, like old Silvertones and Kays and Harmonys. These kinds of guitars which now are quite special, but they're still not valued the same way that vintage Fenders or Gibsons are valued. Then, he customizes them.

"Recently he started retrofitting these guitars with a rubber bridge and flatwound strings. He'll take, like, an acoustic Silvertone from 1958 and put a bridge on it that's covered in this kind of rubber that deadens the strings, so it really has this kind of dead thrum to it. And he puts two pickups in there, one that's more distorted and one that's cleaner. They're just incredible guitars. I thought Taylor would enjoy having one 'cause she loves the sound. So, I had Reuben make one for her and she used it to write `no body, no crime'."

Another friend of Dessner's, Ryan Olsen, has developed a piece of software called the Allovers Hi-Hat Generator which helped create the unusual harmonic loops that feature on `marjorie'. "It's not available on the market," Dessner says of the software. "It's just something that he uses personally, but I think hopefully eventually it'll come out. I wouldn't say it's artificial intelligence software but there's something very intelligent about it [laughs]. It basically analyses audio information and is able to separate audio into identifiable samples and then put them into a database. You then can design parameters for it to spit out sequences that are incredibly musical.

"When Ryan comes here, he'll just take all kinds of things that I give him and run it through there and then it'll spit out, like, three hours of stuff. Then I go through it and find the layers that I love, then I loop them. You can hear it also on the song 'happiness', the drumming in the background. It's not actually played. That's drums that have been sampled and then re-analyzed and re-sequenced out of this Allovers Hi-Hat Generator."

The song `marjorie' is named after Swift's opera-singer grandmother and so, fittingly, her voice can be heard flitting in and out of the mix at the end of the track. "Taylor's family gave us a bunch of recordings of her grandmother," Dessner explains. "But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope's] RX and then I went in and I found some parts that I thought might work. I pitch-shifted them into the key and then placed them. It took a while to find the right ones, but it's really beautiful to be able to hear her. It's just an incredibly special thing, I think."

Meet At The Pond

Taylor Swift finally managed to get together with Aaron Dessner and Jack Antonoff in September 2020 for the filming of folklore: the long pond studio sessions, featuring the trio live-performing the album. It also provided an opportunity for Swift to add her vocals to some of the evermore tracks.

"It did allow us to have more fun, I think," says Dessner. "Y'know, drink more wine and just kinda be in the same place and have the feeling of blasting the music here and dancing around and just enjoying ourselves. She's really a lovely person to hang out with, so in that sense I'm glad that we had that chance to work together in person.

"We were using a [Telefunken] U47 to record Taylor here," he adds. "Either we were using one of the Siemens preamps on the board, which are amazing. Or I have Neve 1064s [preamps/EQs] and we use a Lisson Grove [AR-i] tube compressor generally."

One entirely new song, `tis the damn season', came out of this face-to-face approach, which Swift wrote in the middle of the night after the team had stayed up late drinking. "We had a bunch of wine actually," Dessner laughs, "and then everybody went to sleep, I thought. But I think she must have had this idea swimming around in her head, 'cause the next morning when she arrived, she sang 'Us the damn season' for me in my kitchen. It's maybe my favourite song we've written together. Then she sang it at dinner for me and my wife Stine and we were all crying. It’s just that kind of a song, so it was quite special.”

National Unity

One key track on evermore, 'coney island', features all of the members of the National and sees Swift duetting with their singer Matt Berninger. "My brother [Bryce] actually originated that song," says Aaron Dessner. "I sent him a reference at one point - I can't remember what it was - and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it.

"Taylor and William Bowery [the songwriting pseudonym of Swift's boyfriend, actor Joe Alwyn] wrote 'coney island' and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought, Taylor and myself and Bryce, like this was the closest to a National song."

Dessner then asked the brothers who make up the National's rhythm section, drummer Bryan and bassist Scott Devendorf, to play on 'coney island'. Matt Berninger, as he often does with the band's own tracks, recorded his vocal at home in Los Angeles. "It was never in the same place, it was done remotely," says Dessner, "except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor."

No Compromise

folklore and evermore have been both enormous critical and commercial successes for Taylor Swift. Aaron Dessner reckons that making these anti-pop records has freed the singer up for the future. "I think it was very liberating for her," he says. "I think that's the thing that's been probably the biggest change for her has just been being able to make songs without compromise and then release them without the promotional requirements that she's used to from the past. Obviously, it comes at this time when we're all in lockdown and nobody can tour or go on talk shows or anything. But I think for her probably it will impact what she does in the future.

"But I also think she can shapeshift again," he concludes. "Who knows where she'll go? She's had many celebrated albums from the past, but to release two albums of this quality in such a short time, it really did shine a light on her songwriting talent and her storytelling ability and also just her willingness to experiment and collaborate. Somehow, I ended up in the middle of all that and I'm very grateful."

INSIDE TRACK - Jonathan Low: Secrets of the Mix Engineers

Sound On Sound Magazine // March 2021 issue // By Paul Tingen

From sketches to final mixes, engineer Jonathan Low spent 2020 overseeing Taylor Swift’s hit lockdown albums folklore and evermore.

“I think the theme of a lot of my work nowadays, and especially with these two records, is that everything is getting mixed all the time. I always try to get the songs to sound as finalised as they can be. Obviously that’s hard when you’re not sure yet what all the elements will be. Tracks morph all the time, and yet everything is always moving forwards towards completion in some way. Everything should sound fun and inspiring to listen to all the time.”

Speaking is Jonathan Low, and the two records he refers to are, of course, Taylor Swift’s 2020 albums folklore and evermore, both of which reached number one in the UK and the US. Swift’s main producer and co‑writer on the two albums was the National’s Aaron Dessner, also interviewed in this issue. Low is the engineer, mixer and general right‑hand man at Long Pond Studios in upstate New York, where he and Dessner spent most of 2020 working on folklore and evermore, with Swift in Los Angeles for much of the time.

“In the beginning it did not feel real,” recalls Low. “There was this brand‑new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind‑blowing. There was constant elevation, inspiration and just wanting to continue the momentum.

“We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on‑a‑whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points.”

Pond Life

The making of the National’s 2017 album Sleep Well Beast and the setup at Long Pond were covered in SOS October 2017; today the studio remains pretty much the same, with the exception of a new desk. “The main space is really big, and the console sits in the middle,” says Low. “In 2019, I installed a 1965 WSW/Siemens, which has 24 line‑in and microphone channels and another 24 line channels. WSW is the Austrian branch of Siemens usually built for broadcast. It’s loaded with 811510B channels. The build quality is insane, the switches and pots feel like they were made yesterday. To me it hints at the warm haze of a Class‑A Neve channel but sits further forward in the speakers. The midrange band on the passive EQ is a huge part of its charm, it really does feel like you’re changing the tone of the actual source rather than the recording. Most microphones go through the desk on their way into Pro Tools, though we sometimes use outboard Neve 1064 mic pres. Occasionally I use the Siemens to sum a mix.

“We have a pair of ATC SCM45 monitors, which sound very clear in the large room. The ceiling is very high, and the front wall is about 25 feet behind the monitors. There are diffusers on the sidewalls and the back walls are absorbing, so there are very few reflections. Aaron and I will be listening in tons of different ways. I’ll listen in my home studio with similar ATC SCM20 monitors or on my ‘70s Marantz hi‑fi setup. Aaron is always checking things in his car, and if there’s something that is bugging him, I’ll join him in his car to find out what he hears.”

Low works at Long Pond and with Dessner most of the time, though he does find time to do other projects, among hem this last year the War On Drugs, Waxahatchee and Nap Eyes. When lockdown started in Spring 2020, Low tacked up on supplies and "had a bunch f mixes lined up". Meanwhile, on the Eest Coast, Swift had seen her Lover Fest our cancelled. With help from engineer aura Sisk, she set up a makeshift studio which she dubbed Kitty Committee in bedroom in her Los Angeles home, and began working with long-term producer nd co-writer Jack Antonoff. At the end of April, however, Swift also started working with Dessner, which took the project in different direction. The impressionistic, atmospheric, electro-folk instrumentals Dessner sent her were mostly composed nd recorded by him at Long Pond, assisted by Low.

Sketching Sessions

The instrumental sketches Aaron makes come into being in different ways," elaborates Low. "Sometimes they are more fleshed-out ideas, sometimes they are less formed. But normally Aaron will set himself up in the studio, surrounded by instruments and synths, and he'll construct a track. Once he feels it makes some kind of sense I'll come in and take a listen and then we together develop what's there.

"I don't call his sketches demos, because while many instruments are added and replaced later on, most of the original parts end up in the final version of the song. We end up in the final version of the song. We try to get the sketches to a place where they are already very engaging as instrumental are already very engaging as instrumental tracks. Aaron and I are always obsessively listening, because we constantly want to hear things that feel inspiring and musical, not just a bed of music in the background. It takes longer to create, but in this case also gave Taylor more to latch onto, both emotionally and in terms of musical inspiration. Hearing melodies woven in the music triggered new melodies."

Not long after Dessner and Low sent each sketch to Swift, they would receive her voice memos in return, and they'd load them into the Pro Tools session of the sketch in question. Dessner and Low then continued to develop the songs, in close collaboration with Swift. "Taylor's voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks."

Dessner supplied sketches for nine and produced 10 of folklore's 16 songs, playing many different types of guitars, keyboards and synths as well as percussion and programmed drums. Instruments that were added later include live strings, drums, trombone, accordion, clarinet, harpsichord and more, with his brother Bryce doing many of the orchestrations. Most overdubs by other musicians were done remotely as well. Throughout, Low was keeping an overview of everything that was going on and mixing the material, so it was as presentable and inspiring as possible.

Mixing folklore

Although Dessner has called folklore an "anti-pop album", the world's number-one pop mixer Serban Ghenea was drafted in to mix seven tracks, while Low did the remainder.

"It was exciting to have Serban involved," explains Low, "because he did things I'd never do or be able to do. The way the vocal sits always at the forefront, along with the clarity he gets in his mixes, is remarkable. A great example of this is on the song 'epiphany'. There is so much beautiful space and the vocal feels effortlessly placed. It was really interesting to hear where he took things, because we were so close to the entire process in every way. Hearing a totally new perspective was eye-opening and refreshing.

"Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over-mixing.

"We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, 'Is this going to compete sonically? Is this loud enough?' We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn't improve the song — 'cardigan' is an example of a song where we ended up choosing a very early mix."

The Low Down

"I'm originally from Philadelphia," says Jonathan Low, "and played piano, alto saxophone and guitar when growing up. My dad is an electrical engineer and audiophile hobbyist, and I learned a lot about circuit design and how to repair things. I then started building guitar pedals and guitar amps, and recorded bands at my high school using a minidisc player and some binaural microphones. After that I did a music industry programme at Drexel University, and spent a lot of time working at the recording facilities there.

"This led to me meeting Brian McTear, a producer and owner of Miner Street Studios, which became my home base from 2009 to 2014. I learned a lot from him, from developing an interest in creating sounds in untraditional ways, to how to see a record through to completion. The studio has a two-inch 16-track Ampex MM1200 tape machine and a beautiful MCI 400 console which very quickly shaped the way I think about routing and signal flow. I'm lucky to have learned this way, because a computer environment is like the Wild West: there are no rules in terms of how to get from point A to point B. This flexibility is incredible, but sometimes there are simply too many options.

"l met Aaron [Dessned] because singer-songwriter Sharon van Etten recorded her second album, Epic [2010] at Miner Street, with Brian producing. Her third album, Tramp [2012] was produced by Aaron. They came to Philly to record drums and I ended up mixing a bunch of that record. After that I would occasionally go to work in Aaron's garage studio in Brooklyn, and this became more and more a regular collaboration. I then moved from Philly up to the Hudson Valley to help Aaron build Long Pond. We first used the studio in the spring of 2016, when beginning to record the National's album Sleep Well Beast."

Onward & Upward

folklore was finished and released in July 2020. In a normal world everyone might have gone on to do other things, but without the option of touring, they simply continued writing songs, with Low holding the fort. In September, many of the musicians who played on the album gathered at Long Pond for the shooting of a making-of documentary, folklore: the long pond studio sessions, which is streamed on Disney+.

The temporary presence of Swift at Long Pond changed the working methods somewhat, as she could work with Dessner in the room, and Low was able record her vocals. After Swift left again, sessions continued until December, when evermore was released, with Dessner producing or co-producing all tracks, apart from 'gold rush' which was co-written and co-produced by Swift and Antonoff. Low recorded many of Swift's vocals for evermore, and mixed the entire album. The lead single 'willow' became the biggest hit from the album, reaching number one in the US and number three in the UK.

"Before Taylor came to Long Pond," remembers Low, "she had always recorded her vocals for folklore remotely in Los Angeles or Nashville. When I recorded, I used a modern Telefunken U47, which is our go-to vocal mic — we record all the National stuff with that — going straight into the Siemens desk, and then into a Lisson Grove AR-1 tube compressor, and via a Burl A-D converter into Pro Tools. Taylor creates and lays down her vocal arrangements very quickly, and it sounds like a finished record in very few takes."

Devils In The Detail

In his mixes, Low wanted listeners to share his own initial response to these vocal performances. "The element that draws me in is always Taylor's vocals. The first time I received files with her properly recorded but premixed vocals I was just floored. They sounded great, even with minimal EQ and compression. They were not the way I'm used to hearing her voice in her pop songs, with the vocal soaring and sitting at the very front edge of the soundscape. In these raw performances, I heard so much more intimacy and interaction with the music. It was wonderful to hear her voice with tons of detail and nuances in place: her phrasing, her tonality, her pitch, all very deliberate. We wanted to maintain that. It's more emotional, and it sounds so much more personal to me. Then there was the music..."

The arrangements on evermore are even more 'chamber pop' than on folklore, with instruments like glockenspiel, crotales, flute, French horn, celeste and harmonium in evidence. "As listeners of the National may know, Aaron's and Bryce's arrangements can be quite dense. They love lush orchestration, all sorts of percussion, synths and other electronic sounds. The challenge was trying to get them to speak, without getting in the way of the vocals. I want a casual listener to be drawn in by the vocal, but sense that something special is happening in the music as well. At the same time, someone who really is digging in can fully immerse themselves and take in all the beauty deeper in the details of the sound and arrangement. Finding the balance between presenting all the musical elements that were happening in the arrangement and this really beautiful, upfront, real-sounding vocal was the ticket."

A particular challenge is that a lot of the detail that Aaron gravitates towards happens in the low mids, which is a very warm part of our hearing spectrum that can quickly become too muddy or too woolly. A lot of the tonal and musical information lives in the low mids, and then the vocal sits more in the midrange and high mids. There's not too much in the higher frequency range, except the top of the guitars, and some elements like a shaker and the higher buzzy parts of the synths. Maintaining clarity and separation in those often complex arrangements was a major challenge."

In & Out The Box

According to Low, the final mix stage for evermore was "very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There's a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you're really close to being done. Earlier on, those little adjustments don't really matter.

"I often try to mix at the console, with some outboard on the two-bus, but folklore was mixed all in the box, because we were working so fast, plus initially the plan was for the mixes to be done elsewhere. I ran a couple of mixes for evermore through the console, and `closure' was the only one that stuck. It was summed through the Siemens, with an API 2500 compressor and a Thermionic Culture Phoenix and then back into Pro Tools via the Burl A-D. I will use hardware when mixing in the box, though mainly just two units: the Eventide H3000, because I have not found any plug-ins that do the same thing, and the [Thermionic] Culture Vulture, for its very broad tone shaping and distortion properties.

"The writing and the production happened closely in conjunction with the engineering and mixing, and the arrangements were dense, making many of the sessions super hefty and actually quite messy. Sounds would constantly change roles in the arrangement and sometimes plug-ins would just stack up. So final mixing involved cleaning up the sessions and stemming large groups down."

Across The Rubber Bridge

The Pro Tools mix session of 'willow' has close to 100 tracks, though there's none of the elaborate bussing that's the hallmark of some modern sessions. At the top are six drum machine tracks in green from the Teenage Engineering OP-1, an instrument that was used extensively on the album. Below that are five live percussion tracks (blue), three bass tracks (pink), and an `AUX Drums' programming track. There's a 'rubber bridge' guitar folder and aux, OP-1 synth tracks, piano tracks, 'Dream Machine' (Josh Kaufman's guitar) and E-bow tracks, Yamaha, Sequential Prophet X, Moog and Roland Juno synth tracks, and Strings and Horns aux stem tracks.

"Most of the drum tracks were performed on the OP-1 by Aaron. These are not programmed tracks. Bryan Devendorf, drummer of the National, programmed some beats on a Roland TR-8S. I ran those though the Fender Rumble bass amp, which adds some woofiness, like an acoustic kit room mic. There's an acoustic shaker, and there's an OP-1 backbeat that's subtle in the beginning, and then gets stronger towards the end of the song. I grouped all the drum elements and the bass, and sent those out to a hardware insert with the Culture Vulture, for saturation, so it got louder and more and more harmonically rich. There is this subtle growing and crescendo of intensity of the rhythm section by the end.

"The 'rubber bridge' guitars were the main anchor in the instruments. These guitars have a wooden bridge wrapped in rubber, and sound a bit like a nylon-string guitar, or a light palm mute. They're very percussive and sound best when recorded on our Neumann U47 and a DI. On many of those DI tracks I have a [SPL] Transient Designer to lower the sustain and keep them punchy, especially in the low end. There's a folder with five takes of 'rubber bridge' guitar in this session, creating this wall of unique guitar sound.

"I treated the 'rubber bridge' guitars quite extensively. There's a FabFilter Pro-Q3 cutting some midrange frequencies and some air around 10kHz. These guitars can splash out in the high end and have a boominess that's in the same range as the low end of Taylor's vocal, so I had to keep these things under control. Then I used a SoundToys Tremolator, with a quarter-note tremolo that makes the accents in the playing a bit more apparent. I like to get the acoustic guitars a little bit out of the way for the less important beats, so I have the Massey CT5 compressor side-chained to the kick drum. I also used the UAD Precision K-Stereo to make the guitars a bit wider. The iZotope Ozone Exciter adds some high mids and high-end harmonic saturation sparkly stuff, and the SoundToys EchoBoy delay is automated, with it only coming on in the bridge, where I wanted more ambience."

Growing Pains

"Once we had figured out how to sit the 'rubber bridge' guitars in the mix, the next challenge was to work out the end of the song, after the bridge. Taylor actually goes down an octave with her voice in the last chorus, and at the same time the music continues to push and grow. That meant using a lot of automation and Clip Gain adjustment to make sure the vocal always stayed on top. There also are ambient pianos playing counter-melodies, and balancing the vocals, guitars and pianos was the main focus on this song. We spent a lot of time balancing this, particularly as the track grows towards the end.

"The vocal tracks share many of the same plug-ins and settings. On the main lead vocal track I added the UAD Pultec EQP-1A, with a little bit of a cut in the low end at 30Hz, and a boost at 8kHz, which adds some modern air. The second plug-in is the Oeksound Soothe, which is just touching the vocal, and it helps with any harsh resonance stuff in the high mids, and a little in the lower mids. Next is the UAD 1176AE, and then the FabFilter Pro-Q3, doing some notches at 200Hz, 1kHz, 4kHz and close to 10kHz. I tend to do subtractive EQ on the Q3, and use more analogue-sounding plug-ins, like the Pultec or the Maag, to boost. After that is the FabFilter Pro-DS [de-esser], taking off a couple of decibels, followed by the FabFilter Saturn 2 [saturation processor], on a warm tape setting.

"Below the vocal tracks are three aux effects tracks, for the vocals. 'Long Delay' has a stereo EchoBoy going into an Altiverb with a spring reverb, for effect throws in the choruses. 'Chamber' is the UAD Capitol Chamber, which gives the vocal a nice density and size, without it being a long reverb. The 'Plate' aux is the UAD EMT140, for the longer tail. These two reverbs work in conjunction, with the chamber for the upfront space, determining where the vocal sits in the mix, and the plate more for the depth behind that.

"At the bottom of the session is a two-bus aux, which mimics the way I do the two-bus on the desk. The plug-ins are the UAD Massive Passive EQ, UAD API 2500 compressor, and the UAD Ampex ATR102. Depending on the song, I will choose 15ips or 30ips. In this case it was set to 15ips, half-inch GP9. That has a nice, aggressive, midrange push, and the GP9 bottom end goes that little bit lower. There's also a PSP Vintage Warmer, a Sonnox Oxford Inflator, plus a FabFilter Pro-L2 [limiter]. None of these things are doing very much on their own, but in conjunction give me the interaction I expect from an analogue mix chain."

[theglguidetowebcomics]

Full review: Girly

What’s Pink, insane, NSFW, hilarious, and somehow heartwarming at points? This comic is a ride and a half, and I’m genuinely surprised more people haven’t heard of this one… I’ve been wanting to talk about this one for a WHILE. 

So let’s talk about the elephant in this room… Because I think it just ate someone’s couch. 

Slightly NSFW review with spoilers below.

Girly, by Jackie Lesnick was a webcomic that ran between 2003 and 2010, (and really has some of those early webcomic hallmarks). Its monochromatic pink, vertical, with a poppy early cartoon feel. It’s also listed as a romantic comedy, which is… correct, but cuts a whole lot of what makes this comic good, short. 

This review was always going to be one of the 4 I really struggled with. And not just because I lost it the first time without a back up in a code glitch, got distracted by a pandemic, then procrastinated my way to finally making a second version in my new backup folder… No, well also yes but no. This was a comic I read when I was younger (and should NOT have read  when I was younger), and have always had a soft spot for. I’ll admit as much as this comic has its flaws or weird moments or just weirdness in general, its one of the few comics I’ve found myself rereading in its entirety more than once. And no matter how much I know it's coming, find myself sobbing, uncontrollably, at the final panel. There’s surprisingly a lot of heart in this comic, and a whole lot of honesty in just the direction the author took this weird little thing. But, first let me take of those rose tinted glasses as much as I can… (actually that might not work too well with a pink comic seriously whats with all these early 2000s lesbian comics being PINK?). And give this old comic a look and a bit of a dust. but , first...

Sex.

Getting to the point - page 3 of “Girly”

Girly is a NSFW comic. It’s not shy about it either. It hits the audience (and the main character) over the head with it literally in the first pages. It has sex positive characters, a sex positive world, some characters with… sex powers almost, and Dildos, a whole lot of dildos. Some even with smiley faces on them. It’s a pretty unavoidable part of the comic that makes up a large core of it’s humour and is baked into its wacky world. So if that’s not your thing, and it’s not really skippable in this case, you won’t like this comic.

But, if you’re alright with that part of it this might just be a hidden gem. Moving on.

Art

Artwork is always interesting in webcomics. They’re usually one man shows, have a weird niche / strong influences, and or usually go on massive journeys as the art improves. Girly is no different here. 

Girly starts out rough. Some poses are wonky and its a bit scratchy. Technically speaking it has a few issues, which is fine. Its a free webcomic, from the 2000s that didn't copy and paste faces. (Won’t name names, you know who you are). You can’t be too harsh on a free comic, though.

However, what the art style does, even early on is set the style and feel of the comic. Anime inspired faces, bold outlines, and blocky silhouettes that were really popular with 90’s and 2000s cartoons. It has a newspaper, manga comedy strip vertical style, too. It fits the style of story well as a poppy wacky story. It's the perfect art style it could take.

Its rough in the beginning, but moves on from its scratchy days, to loose pen brush, to finally a polished free hand poppy style. It gets more technically advanced as it goes along, but it keeps its core style throughout. It’s fun, a little unhinged, and just pares perfectly.

The one issue I have with the art is it comes off as a bit cramped. It certainly matches the energy of the story, but it also feels like it doesn't let the characters have any breathing room in the frame. It comes off as squashed, and can make some character poses hard to read. That’s the only complaint I can find though. The issue even fixes itself later in the story, but just very very close to the end. It looks great there, but the majority of the comic is a little cramped. Still that’s just a small complaint.

Nitpicking here but some panels need a lil more room

This a humour comic foremost. It's the biggest part of what makes Girly specifically Girly.

Humour

The humour is mostly wacky nonsense, playing off its insane characters, physics defying world, everything being dialed up to 11. It also works a lot like satire, poking at what influences it, and playing with cinematic expectations. The first page has Otra shooting someone into space on a rocket because they annoyed them, the first “adventure” the character’s go on is stealing everyone’s pants because they couldn’t find anything else to do. Then there’s the kidnapping adventures, knight trials, and slice of life shenanigans that happen. All of it as wacky as the last. I haven’t really found any other lesbian comics like it. Its not everyone’s tastes, but it is certainly unique.

If you’re into a willy wonka tunnel of over the top characters and plots, you’ll like Girly.

Characters

Girl is a LONG comic, it ran for 7 years. The art evolved, the story writing, jokes, and themes along with it. It was originally meant to run for only 50 strips... and it ended up with 764. 

so, there’s a lot to unpack.

Firstly, the premise of the story is somewhat simple. It focuses on Otra. The kinda straight man to the entire universe. She starts out almost depressed, out of place, and bored of the wacky inhabitants of her world. Until one of those wacky residents smacks her over the head with a giant dildo and won’t leave her alone for the next 7 years of run time. 

What follows is the sullen Otra being pulled around by the always cheery and zany nonsensical Winter as the sidekick for bizarre adventures. Otra’s depressive grounded view keeps the bizarreness funny, while Winter cuts through her negative attitude and causes a lot of the over the top plot. Leaving Otra to warm up to the world, and Winter to get less reckless as they balance eachother out. It’s a fun dynamic, and works as an emotional core of the story. No matter how weird the plot and rules of the world are, their relationship keeps the story somewhat focused and rewarding to see develop.

An example of bold wacky character designs from even early on

The comic isn’t just about them, though. As an ensemble comic there's plenty of side characters that go through arcs and beats as well. From el chubacabre, the man that woman find so irresistible that they sleep with him as soon as they see him; detective Clapjaw the street wise detective who is very bad at his job; Officer Hipbone and police guy from the cute P D; captain fist the ever popular bad at his job superhero who gets all the credit; the news reporter obsessed with captain fist; the woman with babies; Steak;  the elephants that just… appear and eat buildings; among many many others. A lot of whom also have nicely written character arcs and depth in later chapters. Many of the character however are simple and remain simple, which isn’t a bad thing. For such a large cast, having a diverse range of strange characters with strong identities and looks even if a bit simple stops it from getting bogged down. It strikes a good balance. Plus there’s plenty enough of characters with more depth later on. 

 All the character’s are insane, and over the top in a way that really sets up the world they live in and how it works... as dysfunctional as it is. There’s something very Cartoon Network about all the characters, but with some wider influences. something about  dumb characters, with very specific goals and quirks that work on their own physics to feed into the high energy insanity of the world. Its entertaining to read, and leads to a weirdly charming feel of the comic. 

Story and plot

For the bit people actually want to know about. What is it about?

Just a little bit of influences...

For the style itself the comic comes off as a mix between early 2000s slice of life-y anime, 2000s cartoon Network, and a dose of 2000s webcomic sarcastic action/adventure flare. It definitely has one of the most pronounced styles that I’ve seen, and even if it's very much a webcomic of it’s time it also goes a bit beyond that into something that feels personal to the author and honest. Its a batshit comic. But, it wears its influences on it’s sleeve and really plays with tropes and ideas the author found engaging at the time. It somehow comes off as refreshing in just how willing it is to go weird or niche for no other reason but because it wants to. It's what I appreciate most about the comic. It’s honest.

The overarching story of the comic is without a doubt about Otra and winter growing together as people. But with a comic that’s run for 7 years a little bit more happens in the journey, at least you hope it would. Girly runs on chapters, 15 in total (with 15 having sub chapters due to being the story’s climax), and each one of those chapters follows a different plot or adventure with Otra’s and Winter’s developing relationship gluing them together. 

The plots themselves are wild and vary a bit in quality. But for a long comic that’s understandable and expected. They go from solving elephant problems, super villains, body swapping, fantasy parodies, and all sorts of strange things. Sometimes a few plots drag and a few character arcs feel a bit bland. It still manages to be entertaining all the way through though. The plots themselves work to get the character’s to play off each other and explore the strange world it takes place in. Exploring evil teddy bears, or an entire town devoted to cheap gags. No matter what, all the plots work in fleshing out the world and pushing character’s out of their comfort zone or forcing them to change. There are some that are less fun than others, but none of them manage to be boring or useless. Which for a long comic such as this, is quite an achievement.

Conclusion

Girly is a hidden gem, Its an insane sex positive comic. A loose style and even looser physics. It’s bold and unabashedly itself. But, at its core it's about the love story of Winter, the wacky insane woman needing to slow down and open up, and Otra, a sullen woman who’s deemed herself only worthy of being on the outskirts of society. It’s two people growing together in a world that’s up to its ears in care bears, sentient dildos, earth shattering cloning, and jabs at 2000’s paste it comics. And somehow it all sticks together.

The characters resonated, at least with me, which may be the nostalgia talking. But by the end of the comic I can’t help but  think back on how long it took them to get there. The bits that made me laugh (a lot of them), the stupid parts, and the character’s arcs, as over the top they could be at times.  It may not everyone’s cup of tea. But it has a lot of heart at its core. (If you get past all the dildos). 

For all it’s flaws and weird bits. I still find myself going back to Girly. 

Maybe now, some more people will too.

[irageneveart]

hello! i was wondering what program&brush settings you use for your artwork? im new to digital art and i really like the way you colour! Especially those light effects they're so extra cool!

omg Anony you’re such a wonderful being, thank you for liking my art enough to ask me that!

now watch me failing trying to explain things to you lmao. I’m self taught and I’m in no way the best at this, so what I’m going to tell you might still be flawed but this is how I do things o/

hmm it’s gonna be long so I’ll put it under a cut!

1) I’m using Paint Tool Sai for everything in my art but if I still feel the need to, I’ll use Photoshop to correct colors and lighting. for example in this progress gif:

you can see where I decided “no, I don’t like this cold blue feeling” so I went to Photoshop (because it allows changes much easier than Sai when it comes to colors) and I changed it to a warmer purple! you can always play in Photoshop and try to see different versions of your art, different colors will give off different feelings

most of my artworks don’t look the way they do at the end because while drawing I tend to be focused on other things (line, where to place shades, lighting, etc) while when the picture is done I can focus on the feeling I initially wanted it to have!

2) My usual brushes are really basic. also ignore my ugly writing.

Sketch: I use this to sketch because it has a nice and easy flow, I can get messy lines that look good (the latest Brahms Heelshire drawing I did is entirely drawn with this one!)

you can always switch between your brushes depending on what feeling you want your art to have

Lineart: this one has nice, smooth and bold lines. I like to play around with it’s size. I believe it’s the basic one Sai has

little advice: if you’re not happy with your lineart try to alternate heavy lines with tiny ones. for example:

you can see how bold her hair is, but adding thinner lines to the glasses, the folds of her clothes, hair etc. it will create a better dynamic of your picture and will leave the eye of the viewer to run around it! I’m honestly awful at explaining stuff fdkjsnjkfds ofc this is a personal preference but my linework improved since I started to think like this

Base color: this is the color tool sai gives you, I changed my names so I can’t remember its default name. I like it to be bold because when I was little I used to color entire coloring books, so even now digitally I like to color every bit like I’m using crayons haha. time consuming and useless but shhh. basically I put down every base color with this one

Acrylic: now this one is tricky, when I got it the first time I wanted to use it to shade, but using it I discovered it’s much better for blending. after I put down the main colors and shades I just use this one to blend them together and I sometimes paint with it too

Blending: it’s literally the blur brush Sai provides you xDD

now keep in mind that using its settings (the things near the “Normal” option!) you can get different types of blur! always play around to see what looks good in your art. also remember that not every shadow has to be blurred or blended out, there are many ways shadows can look, using both blurred and heavy (cast) shadows in your art will definitely improve it. using real life references might help

Airbrush: the very brush Sai gives you. I’m using this one mainly for lighting. what I do is basically put down a hard light, like literally take a light color and place it where I see fit on the character, then I give it a bit of glow with the airbrush. one thing I noticed is that depending on the surface, the glow will change!

in this one you can clearly see the light on his cheekbone, but then there is a much weaker light on his face, that’s made with the airbrush and then blended into the structure of the face.the glow on the cheekbone and the ear is made with airbrush, using orange and playing around with the layer modes (overlay and luminosity, these are your best friends when it comes to lighting!)

lastly I want to present another best friend for us artists, the eraser

you can make highlights with the eraser too! you can cut the light in different shapes to give different feels and many other things, the eraser is definitely your best friend and not only in erasing mistakes. try to play around with it sometimes

Other things I learned:

try to use a different color for shading, using the exact color but darker will only make your art look dull, lifeless. the same goes for lighting! there are lots of tutorials on color theories and practices out there to help you with it

don’t be afraid to get wild, use oranges, reds, blues, purples in your skin and play around with the layer modes, you’ll see how much more alive it will feel. also don’t be afraid to try different styles, constancy is not the friend of a creative mind. experiment, try things, go out of your comfort zone. make it fun, make it personal. if you like drawing dogs then keep drawing dogs and enjoy it! don’t let labels and others to influence you and your spirit

ik this is obvious but never compare yourself with others. your journey is yours, you have a different hand, a different brain and a different being. this also goes to drawing things others did already! who cares there’s 0284e4895 other pictures with Kitbull already? draw yours, it will be unique and special because it has something from YOU in it, and no one can replicate that not even with tracing

watch people online! of course when you sit down to draw it will be completely different, but involuntarily you’ll learn and exercising you’ll find your own way of doing things. there might be much better ways for drawing lighting than I do, but this is how I feel good and I like to do it!

I know you hear this everywhere but really, practice, daily if you can! in October 2017 I tried to to the inktober challenge for the first time, I haven’t finished it and I was late anyway but I can tell you that trying to draw daily definitely improved my art. now I’m able to draw a picture per day with not much effort (yesterday I was able to draw three pictures with pretty good quality! o/ always start small and be proud of every step!!)

lastly, don’t be hard on yourself. every picture is a lesson, doesn’t matter how it came out. maybe the anatomy is wonky af, but you learned and your brain will remember what not to do next time. try and try and try and never say “my art sucks”, say “this pic doesn’t look how I wanted, but I still like it. I’ll do better next time!”. the moment you start to like your art you’ll see how much it will start to shine hehe

I might come out with more stuff but this is already really really long xD  just be yourself, love your art and enjoy it!! lots of luck for you Anony, I hope I didn’t bore you and this will be helpful for you and others! :D

[strange-destinations]

Dear Yuletide Writer 2019

(As usual, please ignore this if you don’t know what this is about!)

Hello, and thank you so much for writing something for me!! I adore seeing what people come up with for Yuletide and I am super excited for what you end up producing. I want this to be a good and enjoyable experience for you as a writer, so don’t try to second-guess yourself too much - just have fun making whatever it is!

Squicks/DNWS - no sex, please! (And it also follows that I’d rather like to avoid any noncon, kinky stuff even if it’s nonsexual, any other sort of sexual content, etc - that’s just not my sort of thing, really.) Romance is all right, if that’s the way that you want to take things, but I much prefer close friendships and family dynamics. However!! I am pretty much completely fine with body horror/violence, hurt/comfort, etc. 

I love good dialogue, character interaction, twist endings, and imaginative plots - and worldbuilding! Happy endings are preferred but not necessary if it just isn’t working for you.

In general - if you’re thinking about making something gay/trans/queer/ace in any way, you should probably absolutely go for it, because I’m wild for that sort of thing.

AUs are… fine and good, as far as I can think of! (Obv no A/B/O or sex-related stuff please, but) canon divergence, fantasy, high school, etc seem all good to me! Especially if there’s a whole lot of clever nods to original canon in there. 

In addition, I'm always welcome to receiving stuff in interesting and unusual mediums/styles. This includes stuff like Interactive Fiction (additional info here) and multimedia stuff.

Anyway, fandom time. Let's do this, y'all!

->

Fandom: Ruby Redfort series - Lauren Child

Available:  I managed to acquire a copy of the full series online via my local library - and the physical copies were at my local library too. I don’t have a link to them, I’m afraid.

Tvtropes page: https://tvtropes.org/pmwiki/pmwiki.php/Literature/RubyRedfort

Characters: *** Any from *** Ruby Redfort, Hitch, Blacker, Clancy Crew 

About the fandom: I just love it a lot.  I dragged its fandom out of the depths of Tumblr singlehandedly a few years ago and have been doggedly creating content for it ever since. There's just something really compelling about 'bright young kid gets accidentally adopted by spy agency' (yes i know that's not EXACLY what happens but I can dream, right?)

Prompts/suggestions:

Like I said above, I really like the idea of Ruby being essentially adopted by the whole Spectrum team.

I’d love to see some casefic! Blacker and Ruby working together to solve a puzzle or problem - either serious or mundane - or Hitch and Ruby on a stakeout of some sort. Or both!

Some general stuff I like - heists, murder mysteries, rescue missions, characters playing games (e.g. Travelling Lemon, word games, throwing increasingly ridiculous hypotheticals at each other) because they're bored or similar,

Spectrum office shenanigans - stuff that happens between books, when Ruby and everybody else aren’t in mortal danger and that LB will most likely glare disapprovingly at.

On the angstier side of things, if you want to stick Ruby in even more mortal danger than usual I am ALL RIGHT WITH THAT. Rescue missions hell yeah.

AUs??? AUs!!! Modern!AU with Ruby doing extreme sports vlogs and occasionally failing to hide the fact that she's part of a secret spy agency. Is Blacker a hacker? Or a fantasy/medieval AU? Or Ruby Redfort, in space!

I feel like I’ll be delighted with whatever you create, tbh. I can’t think of many ways you could go wrong with it.

->

Fandom: Bernice Summerfield (Big Finish Audio)

Available:  Via the Big Finish website, and all of the boxsets from Epoch to New Frontiers are available for free on Spotify! Just look up Bernice Summerfield there.

Tvtropes page: https://tvtropes.org/pmwiki/pmwiki.php/Franchise/BerniceSummerfield

Characters: *** Any from *** Bernice Summerfield, Third Doctor (Warner)

About the fandom: It’s like if Indiana Jones was shorter, actually did his job, and was a kickass woman who was also the Doctor’s companion at one point! Several points. And also she has a considerably larger family than Indiana Jones. Her spinoff kind of transcends a lot of forms of media - she’s in comics, print, animations, audio dramas, and one really hilariously terrible sort-of-fanfilm made by Lisa Bowerman and Sylvester McCoy when they were on some kind of cruise together. And it more or less transcends genre too. There’s been musical episodes right alongside the episode where someone very dear to her manipulates someone else very dear to her into killing (you guessed it) someone who is also very dear to her. It’s a wild ride. Anyway.

Prompts/suggestions:

The Warner!Doctor and Benny era of this series particularly delights me, because Benny and the Doctor just have such a lovely dynamic. There's a bit in the writer's guide for this era that mentions that the Warner!Doctor 'seems to be a grouch' but is actually 'a playful spirit who loves to have fun', and... I just love that? And there is literally no fic with them! Which is an absolute travesty.

I particularly like: heists, murder mysteries, rescue missions, adventures, playing around with genre and style.

It's Doctor Who/Bernice Summerfield!! Which means there's an infinite wealth of planets and times and worlds to explore, if you choose to set it in the regular universe. If, on the other hand, you choose to place it in the Unbound universe, slowly collapsing in on itself, there's probably a lot you can do with this too

The found family dynamic between them!! It's clear that, despite all the snarking and sniping, they really do adore each other quite a bit. If you'd lean into that, I'd be forever grateful.

Apologies for no real specific suggestions - mostly, I just would really like to see these two having fun together and being buds. But also? The angst is good too. Make me laugh/smile or make me hurt, I don't care which.

 ->

Fandom: Beanworld - Larry Marder

Available:  ...I have literally no idea where you can pick this up. I first read it at my local library. I think you can get copies at various book retailers?

Tvtropes page: Non-existent. I should rectify that.

Characters: *** Any from *** Professor Garbanzo, Mr Spook, Beanish, Heyoka (but honestly please throw in everybody in there. I love them all so much)

About the fandom: It's a weird, brilliant, complete unique experience of a comic book set in a world where the rules are very different to ours!

Prompts/suggestions:

I know that pretty much the entire point of Beanworld is that the characters are not human in the least, But I can't help but wonder what a human AU would be like!! Beanish as a struggling art student, the Hoi'Polloi as the local street gang with an unfortunate gambling habit, Heyoka as the weird chaotic neutral genderqueer acrobat who babysits occasionally and is always standing on their head. Or any other direction you want to take it in!! I adore seeing familiar characters in settings that they couldn't possibly find themselves in, in canon.

Bean shenanigans!! What sort of things do they get up to on their Goof-Off Days that we don't see on-screen?

Explore some of the friendships/relationships between the characters! I love some of those good good Bean interactions. For example (but not at all limited to):

Professor Garbanzo and Mr Spook - the ultimate BroTP. I particularly love how well they get along even when you wouldn’t expect them too - how Mr Spook isn’t really a scientific sort of guy but is really encouraging and helpful to her endeavors. It’s good and soft.

Mr Spook and the Chow Sol’jers! A dedicated fighting team that work together and protect each other every day. I’m now wondering what the Chow Sol’jer in-jokes are. They’ve gotta have some, right?

Beanish and Dreamishness - the greatest love story ever told! (If you do end up including this relationship in particular, I’d prefer it if it wasn’t the focus.) Additionally, I’d really love it if you could play around with the idea of love in the Big•Big•Picture being different to how we see it/perceive it in our world! I know it’s kind of vague, and it’s definitely not necessary, but I figured I might as well put it out there.

Heyoka and... everyone. Literally everyone. I love how she interacts with the Beans - how they’re kind of confused as to how she works, but accept her as one of them anyway - and how she interacts with people outside of the Beanworld. The sequence when she’s falling upwards and through the Inspiration Constellation, and how the Constellation is so pleasantly amused by and encouraging of her - it’s really nice. And her as the teacher to the Pod’ll’pool babies!! She’s such a cool character.

Other AUs or canon divergences! Can't think of anything specific off the top of my head, but I'm sure there's some stuff out there.

Literally anything that takes stuff from canon and extends upon it! Especially if you’re playing into the amazingly bizarre and extensive world of the Big•Big•Picture. Because the rules there are definitely not at all the same as they are for our world, and that delights me to no end. I have so many questions about it that I’m nearly certain aren’t going to be answered anytime soon. Like, where does the Thin Lake/Four Realities/Hoi-Polloi zone end?? There’s gotta be an end to it somewhere. Are there other islands like the Beanworld? 

->

Fandom: Rainbow Magic series - Daisy Meadows

Available: on your younger sister's bookshelf or at pretty much any library, bookstore or garage sale you'd care to visit.

Tvtropes page: 

Characters: *** Any from *** Rachel Walker, Kirsty Tate, Titania, Oberon (but feel free to throw in any of the million-plus other fairies that exist at your discretion)

About the fandom: Oh, jeez. What to say about this? It's such a bizarre interest of mine. The series has suffered from intense seasonal rot, with literally every book following the same formula. And there are hundreds of books. But it's such a large part of my childhood that it's hard to not feel some sort of affection for it. Plus, there's so many interesting things to explore!

Prompts/suggestions:

Feel free to throw some Kirsty/Rachel shipping in there, because we all know those two were lesbian as all hell. I'd prefer it not to be the focus, though!

Any exploration of the fact that the girls have been doing this for far longer than is strictly reasonable with no complaints, questions, or problems. They've been through like ten Christmas specials and don't appear to have aged a day since the beginning of the series. What's up with that, huh?

To that end - there's plenty of myths and legends about the rules that fae traditionally have. What about applying some of these to the RM fairies? Are Titania and Oberon the leaders of the Seelie Court, with Jack Frost as the Unseelie leader? Do they do the whole Changeling thing? Are Kirsty and Rachel Changelings?

(And bear with me for a second while I point you at a specific line from the very first book, because I think it's very good inspiration for the whole 'giving a fairy your name' thing:)

Kirsty wanted to ask the fairy so many things. But she didn't know where to start.

"Tell me your names, quickly," said the fairy. She fluttered up into the air again. "There's so much to be done, and we must get started right away."

Rachel wondered what the fairy meant. "I'm Rachel," she said.

"And I'm Kirsty," said Kirsty. "But who are you?"

"I'm the Red Rainbow Fairy - but you can call me Ruby," the fairy replied.

Very suspicious.

A Discord server I'm on has been throwing around the idea of the fairies (yes. All of them.) ending up as humans in the human world abruptly, and having to adjust to living life without magic - and dealing with the fact that somehow, their magical domains are functioning perfectly without them. Which is a very compelling idea. How do Rachel and Kirsty deal with their now-possibly-permanent, no-longer-magical neighbours? How are Titania and Oberon coping, now that they no longer have to rule a whole kingdom? What sort of the things do the fairies get up to? Where do they stay?

Aged-up Kirsty and Rachel get called upon to deal with new adult problems that are blooming in the fairy world. (Tiara The Tax Evasion Fairy, anyone?)

...or anything else.

->

Again, thank you for writing for me, and I hope you get something awesome in return from your own writer! Good luck!

[datingdaily360-blog]

What Will My First Kiss Feel Like? 10 Things to Expect

What Will My First Kiss Feel Like? 10 Things to Expect

What Will My First Kiss Feel Like? I love writing about relationships, love, romance, and flirting. I hope you find the advice in my articles useful.

Are playful moments with the guy or girl you like making you believe that you could experience your first kiss very soon? Find out what and what not to expect. | Source

What Does a First Kiss Feel Like?

First kisses are often magical. This is a moment when emotions run wild, the eye contact between two people communicates desire, and the intimate experience about to unfold is one full of feeling, as if time is standing still in the moment . . . or not! All first kisses are different. They can be romantic, silly, sweet, goofy, you name it. If you are in a long-term relationship with your boyfriend or girlfriend, maybe the time has come for your first kiss! You may be wondering: What will my first kiss feel like?How long will my first kiss last?What if he/she does not reciprocate?Will my first kiss be just like the movies?Will he/she use his or her tongue or 'french kiss' me?Will my first kiss be just like kissing the back of my hand? We will talk about it all. After reading this article, you will know all about the first-kiss experience and what to expect when you kiss for the first time. We will talk about kissing styles, the types or kinds of kisses, and how to relax enough to enjoy such a passionate, special moment!

Kissing Feels Like . . .

A first kiss feels like you are frozen in a moment in time. It's as if you can feel and hear the other person's heart beating. It's a bridge of energy being shared between two people.

Are you ready for your first kiss? | Source

1. The First Kiss Could Be Totally Spontaneous

You may have been planning for the picture-perfect moment when you kiss your boyfriend or girlfriend for the first time at a certain place and time. However, chances are that it may not happen exactly the way you expected it to or thought it would. Your first kiss could happen at your place, in a backyard, at a party, in the bus, at his place when his parents are not around, on a chilly winter date, at a friend's place, or at the most random of places. It could be as spontaneous as a lightning strike, so don't expect the precious moment to happen exactly at the time you want it to.

2. You Will Feel Nervous When You Kiss for the First Time

Regardless of how much you have thought out your first kiss over and over again in your head, it may be that you will still feel nervous when you lock lips for the first time. If you really have deep feelings for the guy or girl who shares your first kiss, your mind is likely to go blank. Along with butterflies in your stomach, you may experience a pang of nervousness just before you lean in to your boyfriend, girlfriend or crush.

3. Your Girlfriend or Boyfriend May Not Reciprocate Instantly

If you take charge and decide to make the first move, your guy or girl may be taken aback and left dazed. If this happens, he/she may not reciprocate instantly. Don't look at this as a sign of denial—it's natural for first-time kissers. Continue leaning in towards your partner. Sense the situation, and if you think that your boyfriend or girlfriend has been left stunned out of surprise, just plant a tender kiss and go with the flow.

4. Both of You Could Tilt Your Heads the Same Way

Unless either the guy or the girl has kissed before and knows how to take charge, both could amusingly tilt their heads the same way and fumble up the kiss in the beginning. This comic fumble is cute and the both of you are likely to giggle it off as you proceed to kiss each other for the first time.

A first kiss will likely be spontaneous. | Source

5. You Could Bump Noses, Foreheads, or Faces

Don't feel bad if you bump noses with the guy or girl you lean in to kiss for the first time. It could be possible that either one of you comes in too fast or too slow, leading to a romantic nose bump or a funny forehead or face bump with each other. Nose bumps can happen when both partners tilt their heads the same way. A forehead bump could be in the cards if both the guy and the girl approach each other with downward-looking faces. Either way, treat it as something funny that just made your first kiss even more playful.

6. Expect Your First-Kiss Experience to be Soft and Tender

First kisses are generally not as intense as the ones partners usually share as their relationship progresses inside the bedroom. Expect your first kiss to be tender and soft. Both of you are likely to be in exploring mode—that leaves little room for a bumpy ride. If this is your first kiss, it is totally normal to kiss with your mouth closed and give a peck. 'French kissing' with an open mouth is generally reserved for more experienced kissers—for men or women in long-term relationships. So, take the pressure off your first time and enjoy the passionate moment without the high expectations on performance.

7. Don't Expect Lip Biting When You Kiss for the First Time

Kissing for the first time is a discovery for both the guy and the girl. Unless your partner is an expert kisser, both of you are likely to stay away from any kind of lip biting or nibbling. Don't be afraid and don't speculate about whether it will hurt if he/she bites, because the chances of that happening are slim. Not to mention, biting is another way of referring to a gentle nibble when kissing . . .

8. Your First Kiss Could Be Over Very Quickly

Unless there is tongue action, which is unlikely, your first kiss could be over quicker than you expected it to be. But even if it lasts only a couple of seconds, it will be etched in your memory as the longest most passionate few seconds ever. Slow-motion, romantic kissing scenes in the movies seem to last for eternity, but in real life, a short but tender lip-lock could be all you get for the first time. Don't be disheartened, and if you think that your first kiss was over too soon and went too fast, lean in for another go.

9. You Could Giggle and Laugh Afterwards

The first-kiss experience is a jolting concoction of emotions, racing heart beats, nervousness, fumbles and happiness. The exciting moment may leave you giggling with a jolt of romantic happiness up your spine or butterflies in your stomach.

10. First Kisses Could Be Sloppy If There Is Tongue Involved

Generally, there is not much of tongue action involved in the first kiss. But if your first kiss transforms into a romantic make-out session, expect the tongue to venture out, depending on your appetite for intimacy. Licking may be the natural thing to do after both of you have explored and felt a tender touch on the lips. This style of kissing is also often referred to as 'french kissing' or 'making out.' Unlike seasoned kissers, you and your guy/girl are likely to lick all over each other's lips, inside and out. And as tongues find their way deeper into each others' mouths, your first kiss will go from dry to sloppy to wet (yes, be prepared for saliva on the face!).

Video: Practice Kissing Your Hand

How to Initiate a Kiss

Whereas every first kiss is different, understand what it takes to initiate a kiss so that it is a great first experience: Spend some quality time together away from other distractions (friends, noise, etc.)Get physically close—brushing shoulders, hugging, dancing, etc.Calm your heart beat. You may be nervous, but focus on your breath and relaxing.Wet your lips or mouth. Drink something or apply neutral-smelling chapstick. Avoid dry lips or a dry mouth.Keep it passionate. A first kiss does not have to be sexual or seductive in any way. It can be tender and thoughtful.Enjoy the moment and the person! Enjoy your partner's scent, the warmth of your closeness and the synchronicity of your breathing. Men and women base some of their compatibility on natural scent.Keep the kiss sacred. Think about how you felt when someone told a personal fact or secret about you to others without your permission—as much as you want to gush about the moment, try to keep it private until both of you feel comfortable sharing the details with friends.While making out is its own 'thing', it's not something to aim for during a first kiss. A good first kiss doesn't have to be hot and steamy or of the advanced kind of kissing, like a french kiss.

The Types of Kisses and Their Meaning

Kiss TypeMeaningForehead KissBlossoming romanceKiss on the HandDemonstrates deep caringFrench KissRomance and passionCheek KissGood for beginnersAir KissFriendly gesture between two consenting people or friendsNeck KissSeductiveBiting KissFlirty, playfulSlow KissSensual and passionateMaking OutThe gateway kiss

Does Every Culture Kiss?

According to an article, DR SHOSTER by the British Council, 'Approximately 90 per cent of cultures kiss, making a strong case for the act being a basic human instinct'. Whereas the remaining 10% of people in various cultures engage in other intimate behaviors like rubbing noses or touch in other ways, kissing plays an important roll in human behavior. We simply enjoy it! Oxytocin: Those 'After Kissing' Feelings The body has certain regions or arousal areas called erogenous zones, and the lips or mouth is one such location where our senses are heightened. That means our brain receives a chemical elixir of all sorts of good hormones, which includes dopamine, oxytocin, and serotonin. Of these hormones, oxytocin is know as the 'love' hormone, and helps us to develop feelings of security and attachment. Oxytocin is also a powerful anti-stress hormone. It literally lowers the stress hormone, cortisol, in the blood! RECOMMENDED TO YOU(CLICK) :advantages of kissing scientifically - RESEARCH

Remove the Expectations: Your First Kiss Can Be Nothing Like You Expect

Regardless of how many times you have practiced the moves you are going to pull off when you lean in to kiss your boyfriend or girlfriend for the first time, a first kiss seldom goes according to plan. As with any form of first-time intimacy, the magical moment will take its own turns. Don't drown yourself in a sea of expectations from the very moment you start thinking about kissing a guy or a girl for the first time. Your life is not a movie set. Feel free to share your first kiss with someone who you think is worth feeling happy and sad for. Forget the expectations, and embrace your kiss the way it turns out to be.

COMMENTS

Marleen 40 hours agoI've always wanted love for myself. I'm in high school and I see these cute couples all the time and I always wonder why it's so hard for me to get that for myself. It almost feels like no one likes me for who I really am. Anyways, I do kind of like two people. It's crazy but one's a boy and the other is a girl. I'm straight but there's something about this girl that I love so much. Both of them are in my Spanish class and both of them are awesome, sweet, funny, nice, handsome and beautiful, and they both seem like my type. Idk but I really want to be asked out on a date by either of them and I really want either one to be my first kiss. It's frickin complicated.uhh 5 days agoi’m so nervous, my bf asked me if he could give me my first kiss but it will be at school. I don’t have any experience, tips?zoo we mama 2 weeks agoi had my first kiss 2 days ago at my school after hours and it was magical???? 4 weeks agoIt happened Today this morning at 5 am! Me and my boyfriend were at a skating rink at a all night which is from 7pm to 7am and we had previously texted me about it before but we were laying on the ground cuddling and he asked me if im sure im down with it because i said id be down with it in our texts. And i mumbled yes. He told me to scoot foward and he just leaned in and so did I!!!. It surpassed all my expectations. My stomach was in knots while we were leaning in and right before we kissed i got a pang of nervousness but then after we just laughed and it was like true heaven. Then he gave me a sweet goodbye kiss and thats how my first kiss went.A Wizard 4 weeks agooh man... i am 24 years old and never kissed anyone, in fact i have even been rejected by my whole grade one time they were playing the bottle game. I guess it just never happens to some people :(I really like like him u3u 5 weeks agoWell, 15 and I have never kissed a guy or a girl yet. I haven't even dated someone yet. It kinda feels like no-one likes me. It's just sad. I kinda just wish I could just be in a wholesome relationship. Ah, what does it matter? This guy I like doesn't like me back, He has eyes for my best friend. Ouch, right? I've told him I liked him and he had the most nonchalant reaction ever. Honestly. Most of the time I get over crushes as soon as it's not reciprocated. Nah. Not with this guy. He just... He means the world to me. Ohmygod and he has the most astonishing blue eyes. I wish I could just stare into them forever. And his hair? It always looks so soft and fluffy. I really want to hug him too. He just makes my life that much better by being in it. Honestly. I never ever think of other people or have thought of other people the way I think of him. So what he's unintentionally upset me 5 times this year alone. I would do anything for him. Even if that meant getting over him. F*** this was such a sob story.sofia 6 weeks agoMy first kiss they asked me if they could kiss me, I told them they could so they went for it. I ended up turned away at the last second because it didn't feel right at that moment. Later that night the moment was just perfect, and we just kissed.Me 8 weeks agoI got rejected.Kaleeb 2 months agoMy first kiss was so surprising I was about to leave her house and she leaned in and kissed me with some tongue action it’s kind of fuzzy tbh but amazing she caught me off guard and I cannot stop thinking of herMe 2 months agoI really like this nice funny beautiful girl and we have only known each other for 3 days but I think she likes me and I am going to ask her her number tomorrow and I really hope she is my first kiss.Me 2 months agoI meet this really nice funny beautiful girl and I really like her but we have only known each other for 3 days but I think she likes me and I hope she will be my first kiss.Elfreda 2 months agoJust 2 days after reading this I had my first kissJenna 3 months agoThe day after reading this I had my first kiss with the guy I've been crushing on and it was soooo perfect!!Amelia 3 months agoI’m gonna regret posting this when one of my friends comes across it like I know will happen, knowing my lot. I haven’t had my first kiss yet. I’ve been dating this guy for nearly 4 months, it feels immature to go around saying it when I’m not even officially in the seventh grade, but I’m pretty darn sure I’m in love. Hate me if you may, I don’t care, he’s AMAZING.But that’s not the point,Thing is, we’re really affectionate, but haven’t actually kissed on the lips. I’m not complaining, what I’m trying to say is, it’s likely about to go down this weekend. We haven’t seen each other in about a month and a half, longest we’ve been apart, Miss each other a ton, etc. We’ve got a date, or at least, have arranged to meet up, at a bowling alley this weekend. There’s no way it’s not gonna happen. No. Way.I’m pretty confident about it, I just don’t know what I’m doing.Kinsly Ausborn 3 months agosooooo.....im 13 and I just had my first kiss! It was with the guy i have had a crush on since the 6th grade. Im an 8th grader now. but it all happened so...i dont know. like, cute-ly. if you know what i mean. So it was 10 at night so its dark. Im home alone and i hear this nock on my door. ITS HIM!!! So i rush to the door and my neighbor is their with him. He says, "Do you want to come to a fire with me and *neighbor* so i go to the fire and we hang out. Then he said, "we should go to the park. I look at him and my neighbor and he says," that sounds like a good idea." so we ride our bike there and im swinging. Then he happens to sit next to me and swings. Then he gets up and goes to my neighbor and whispers something in his ear. My neighbor comes up to me and said," Hey "Jeff" wants to kiss you" I didnt wanna leave him hanging so i went over there and did it. It was awkward and silly, defiantly not something you would totally expect...but it was..amazing and unique in its own kinda sorta way.Lola 3 months agook so im 12 and I've had my first kiss with my boyfriend I was really excited for it but when I saw him I was scared so he tried to kiss me but I moved my head. Then we finally did kiss it wasn't actually that bad considering that neither one of us had kissed before so now we kiss all the time....Rosie 4 months agoKayT: I sure hope not. For both of our sakes! It makes every truth or dare awkward, doesn't it? Like, "Who was your first kiss?" Uh, nobody. "Have you ever kissed anyone?" "No." "Oh..." *awkward laugh* "Well, you're an innocent little kid, then!"Ugh. -_-Bell 4 months agoI have a HUUGGGGGGEEEEEEE!!on someone in my class named jack i still havent admitted but he is so nice!I am pretty sure he likes me back but im not sure HELLLLPPNina 4 months agoi had ny first kiss yesterday. It was so amazing i thought about it all day today.A depressed burrito 4 months agoI am seeing 12 year olds having their first kiss when they have been dating for like 5 weeks. . . While I am over here 6months and nothing but tbh I could care less I am to nervous and happy the way things arekrizz 5 months agotoday is day. a guys today is our first kiss and it was amazingKayT 5 months agoI'm 15 and I've never had my first kiss, is that bad?Levi 5 months agook so lets get this strait... i don't even know if this counts as a first kiss but like i was playing truth or dare with my sister and a few of my friends, so guess what i have to do, i have to kiss the girl next to me ( not my sister ) and the weird thing was is that i have a girlfriend ( still do ). But i have not have the gut to ask her if we can kiss or not. I mean we have only been dating for 1 month but she is really cute and even though im only 11 and shes 12 ive heard we make a cute couple. But this guide was actually really helpful so as you said, i will not set expectations. lolSav 6 months agoJust had my first kiss today lol. He just so happened to be my neighbor and he was like yo you wanna do this? We just met up and kissed. Literally. (Ngl it felt like a soft raisin lmfaoo idkk)Yadi 7 months agoi had my first kiss today...on valentines day...and me and my bf's one month...im in 7th grade...and okay so story time.....So basically i walked in to the band room with him, his bestfriend, his bestfriend's girlfriend, and another one of his friends. So his bestfriend and his girlfriend pop kissed but they have been together a long looooooong time and um my boyfriend looked at me and i wrapped my arms around his neck and he lifted me up and i wrapped my legs around him and i was shaking so bad so he let me down...then i was like okay im ready and i put my arms around his neck again and i felt lifted into the air, and i felt his arms on my back, and i wrapped my legs around him again and he leaned forward so then i leaned forward to and he pressed his lips on mine and omg his lips were so soooooooooft and then um it was a pop kiss sooo it was really short then he put me down and we walked out of the band room......and thats how my first kiss went ♡C 8 months agoI like this girl a lot but im really shy... she's "popular" and im that guy everyone knows... im in 8th grade and ive never been to a dance... i think im gonna diemargorot 10 months agocute I wish I could have my first kiss now . Well I wonder when you have your first kiss is that will it feel ashamed . I cant wait until my very first kiss :).Harlee 11 months agoI AM expecting my first kiss tomorrowjani 11 months agoand our 1-month anniversary is tomorrow so it was even more perfectjani 11 months agoit happened and it was amazing. thanks for the advice. it was just a soft kiss on the lips, but we ended up gently making out. i felt like i was in heavenjani 11 months agoi'm excited for my first kiss. my boyfriend and i have talked about it and he made sure i was ready. tomorrow is the first middle school dance of the year (i'm in 7th) and i think that's when it's gonna happen??? 12 months agoI never kiss someoneT 13 months agoI'm 18 and I've never been kissed yet, because I don't like guys it's way harder for meWhined c 13 months agoI was absolutely hammered my first kiss lolhmm 13 months agoi really wish that my ex-crush gave me a kiss.. he was too shy though.i can see why. we were only in 6th grade too!Hi 13 months agoMy first kiss was bad, I cringe every time I think of it. I was just not ready at all but the guy was super persistent to be physical and I thought I liked him... moral of the story NEVER EVER let someone pressure you at ALL.Rosie 13 months agohaven't even been in a relationship but want mine its really annoying but i'm going to wait until i know the times rightNarai Esparza 15 months agoI am 18 and I just had my first kiss with my first boyfriend ever, yesterday. It was so not what I expected but it felt nice. I’m seeing all these comments here about people saying that they are 16 and have never kissed anyone and they think it’s bad, but it’s not! Everyone has a different “right time”Kaminari 15 months agoI was and still am curious how it is like to kiss a girl. I made a deal with a girl to try it but when we were talking about where its gonna be i changed my mind and thought it will better to kiss a girl i love.It was 3 years ago and still didnt kiss anyone lolMakayla 16 months agoI Had My First Kiss with this boy Tavion I can't get him out of my head and I still have deep feelings for him is there something wrong with me??f 16 months agoi wish i had a boyfriend. not just to kiss, but to just have to cuddle, hug, and hang with.Sparkle 17 months agoIts not always just a guy and a girl.A 18 months agoI have never been hugged or kissed by a guy. I'm 16 is that bad.B 18 months agomy first kiss wasn't awkward and I didn't felt nervous at all. It just happened. the kiss was soft and lasted seconds. After that we just giggle.eunice 19 months agoall of this was all right my first kiss was slopeAdoniz 19 months agoI would really like to know how it feels and I cant wait!Holly 20 months agoMy first kiss happened yesterday at a party he saw me he touched my waist and told me to meet him at 7 by the hidden areas and it actually happened he took charge but luckily he sensed the effect he had on me cause I was all wobbly so he picked me up which i thought would never happenNatalie 20 months agoTrust me on this, my first kiss happened yesterday and it was not what I was expecting. It was more of a peck than an actual kiss.Can a do-over first kiss exist? It wasn't a bad first kiss, but it really was NOT what I was expecting from him.Shriman 21 months agoYet to receive mine .... Hopefully it will be greataaron 21 months agojust had mine . talk about heaven on earth, almost lost my legs on exit . . . ahhh sublimeSophia 21 months agoMy dad is not going to like me making out with my boyfriendChris 22 months agoTrey and 12 year old girl I have to agree with both of you guys like what trey said I am to shy to ask out a girl but like what 12 year old girl said if I was in a steady relationship I would step up to do it12 year old girl 23 months agoI'm scared but ima do it anyway ima be brave bc i think i love him we've been dating for 5 weeks now...Trey 23 months agoI will never use this in reality as I am way too nervous to ask out a girla person 23 months agoO_O I'm seeing my bf idk if the first kiss will happen or not but I want to be preparedBeau Khongjaeng 24 months agoThank for sharing that with me!I have no idea what to expect from the first kiss at all. I've never kiss anyone before and I would like to know how would it feel to kiss someone for the first time, (just if I have a boyfriend!, LOL). Ahhh!, I can't wait!SPHINDILE 2 years agoI had a problem with my boyfriend we don't even talk any more thing are get worse.i need a advice .Gage Gaynor 2 years agoWhat upMorgana 2 years agoThanks for writing this article.. It was educational and well written. I like how you left it on a positive note:"Your life is not a movie set – Feel free and share your first kiss with someone who you think is worth feeling happy and sad for. Forget the expectations and embrace your kiss, the way it turns out to be."I love how you wrote it so much, I may share it with someone else!Jenna 2 years agoI wish my boyfriend would step up and kiss meMegan 4 years agoI wish I could let a guy kiss me.Eiddwen 6 years ago from WalesA great hub;original and useful I am sure.Enjoy your weekend.Eddy. MAVEN Read the full article

[guitarpanda8]

A Week of Eating with Haile Thomas, the Teen Vegan Sensation and Founder of HAPPY

Meet Haile Thomas, the 18-year-old health activist, vegan food & lifestyle influencer, and the founder/CEO of the nonprofit HAPPY (aka, Healthy Active Positive Purposeful Youth). Michelle Obama has said that “Haile is an example for all of you, what your little powerful voices can do to change the world.”

Read on to see what the teen vegan powerhouse eats in a typical week. 

MONDAY

Starting Monday off on the right foot is always my #1 priority, because we all know how easy it is to fall into the “I miss the weekend!!” trap. In the morning, I’ll usually have some kind of warm drink since it’s typically pretty chilly (I’m talking 30 degrees or lower) during this time of year. I like to alternate between the biggest hug, a mug of super rich and creamy coconut matcha, golden milk, and lemon ginger or peppermint tea.

During my teatime, I really enjoy being away from my phone and doing some gratitude/intention journaling or just gazing out the window indulging in my obsession with clouds! That always starts my day on such a peaceful and positive note, and I can move onto emails or project planning with a clear and ready mind. Mondays are often my day just to catch up and get back into the groove of anything I was working on the week before. I almost never schedule meetings on this day because I want to ensure I can be fully dedicated to getting back into work mode.

Monday lunches are all about replenishing the energy I’ve used up in the morning and continuing the momentum. And because I’m an entrepreneur who works from home, I have the absolute joy of just getting up and heading over to my kitchen to make anything I’d like! Lunchtime also provides a much-needed mental break from any of the work I was focused on, which is so great. My go-to is a quick lively bowl with some greens, roasted veggies, quinoa, and either a tahini- or cashew-based dressing. These kinds of lunches leave me dancing, happy and rejuvenated! I’ll usually photograph what I eat to post on Instagram later in the week.

TUESDAY

Tuesdays are normally the start of meetings, interviews or recipe testing for the week. When I’m really busy and have video shoots, or I’m working on content for some of the awesome brands I get to work with, I try to make my meals ridiculously easy. I start the morning off with some homemade granola (Golden Milk Granola is my fave!), a little bit of oat milk and fresh fruit. It takes me like 5 seconds to put everything together in a bowl and head to my desk to start working for the day.

On busy days like this, I tend to rely on snacks more than anything as I don’t want to interrupt my concentration or schedule too much — sunflower seed pesto with fresh veggies, or avocado toast loaded with mushrooms, pickled onions and some tangy artisan vegan cheese are definitely go-tos.

My mom, sister and I tend to alternate the responsibility of cooking dinner throughout the week. If I’m still working around 4:30/5pm, my mom will start making one of her classics, like Jamaican Escovitch Tofu or Oyster Mushroom Curry with coconut rice. There’s literally nothing better than the sizzle of a skillet and the smell of rich, cultural spices wafting through the air. And when it’s time to eat? Her food is literally the definition of comfort, filling up my belly and spirit. Any day my mom cooks is my favorite day.

WEDNESDAY

When it’s super cold out or snowing and you live in a small town in upstate New York, heading to a yoga class or the gym isn’t really an option. Instead, I love using apps to get some movement in at home. I try to do this at least four times a week, because when I do, I can really feel the difference in my energy and mood! Getting my heart pumping always leaves me feeling physically, but even more so, mentally refreshed.

I have a bit more pep in my step as I start the day. My refuel varies from veggie tofu scrambles with lots of cheesy nutritional yeast to really fun and creative oats. Both are super customizable so it is never really the same experience each time I eat them. For the tofu scramble, I like adding shiitake mushrooms, colorful heirloom cherry tomatoes, onions and parsley, with my one true love, avocado, on top! For my oats, I really go wild with the combos because I believe oatmeal should never be boring…so you can catch pumpkin, sweet potato, almond butter, berries, candied pecans, orange zest, and more in my oatmeal.

Because it’s the middle of the week, I love spicing up my schedule to re-energize.  If I’m not already traveling or working on a cool project, I like to go on cute mini adventures during lunch. Some of my favorite things to do include: visiting a u-pick farm or a new vegan restaurant for inspiration, going for a stroll and taking photos at an art park like Storm King, or heading to open skate at our local rink. It just adds a nice break in the part of my work that can be heavily screen based.

THURSDAY

If you can’t tell by now, diversity within my week is super important to me…or else I’ll go a little crazy! It keeps me inspired and energized. Thursdays start with some reading. I’m doing a 50-book challenge this year and aim to get in an hour or two of reading before I start the day! It’s so peaceful and fun for me to dive into a whole other world or a really interesting topic for a few hours before I dive into mine.

A little later, I start filming some videos for a course I’m working on for my nonprofit, HAPPY. This takes up most of my time during the day because there’s limited daylight, but it’s a lot of fun working on planning and production and then finally putting everything together when I shoot!

Dinner is a lovely, spicy, incredibly flavorful vindaloo using Beyond Meat’s sausage as a protein. With its incredible texture and flavor, this sausage is one of my favorite vegan products to experiment with from time to time.

FRIDAY

Fridays are my day for planning content for the week ahead. I make a list of all the recipes I’d like to share and photos I want to take for my Instagram. Then I double check my fridge and pantry for ingredients and map out what I’ll need to do for lifestyle shots. And because I am currently working on a book (!!!), I majorly prioritize writing at the end of the week and usually split my time pretty evenly between both activities. I like Friday to be just a really chill and reflective day, so I don’t usually schedule any meetings either. As I’m in the zone planning and writing, I love having something hearty to power me through — like roasted purple potato wedges with mashed avocado to dip in!

In the evening, I wind down work a little early and watch a documentary (I’m also doing a 100-documentary challenge this year!) or read some more with the fireplace crackling, some lo-fi music playing softly in the background, and my whole body wrapped like a burrito in the coziest fluffy blanket. This is the best time for hot cocoa and coconut whip!

SATURDAY

Saturday breakfasts are always kind of fancy — and I love it. My family and I go all out, making crepes, pancakes, tofu Benedict, or whatever we’re really craving at the moment. It’s so much fun spending time with each other in the kitchen, laughing, talking about anything, and combining our creative powers to make the best breakfast. We’ll set the table, bust out the apple juice from our local farm, and dig in — all smiles style.

The rest of the day is mainly spent working on the content I planned on Friday, so most of our weekend lunches and dinners end up being Instagram recipes!

Saturday nights are my favorite. This is when I really get to indulge in some self-care. I’ll throw on a face mask, deep condition my hair, take a magnesium soak, and binge watch Nailed It! or Worst Cooks in America. It’s honestly the best.

SUNDAY

Sundays are my day for more R&R but also for preparing for the week ahead. I’ll start the day off by setting intentions and goals for the new week. When Monday comes around, I’m more focused and work with a clearer sense of purpose. Then it’s time to head to the farmers’ market! Whenever I’m in town, I try my best to make it there. Then I can shop locally for everything I need for the next few days or any special recipes I’m developing.

The farmers’ market is always an adventure. Often I’ll find really amazing ingredients, such as Hen of the Woods mushrooms, sea beans or watermelon radishes, that aren’t normally available at my regular grocery store. There’s a lovely Indian food vendor who makes the best chickpea yellow curry with idli, so I always grab a container of their food for lunch before heading back home with my veggies and other fun stuff from the market!

The rest of the day I spend with family. We watch movies, do DIY projects, and have a pretty fun and sometimes pretty intense game night at our house that I always look forward to. It’s these moments that make the weekend so sweet.

Source: https://blog.williams-sonoma.com/a-week-of-eating-with-haile-thomas-the-teen-vegan-sensation-and-founder-of-happy/

[morshtalon]

My Top 5 Video Game Intros

Since I haven't posted in a while and since I don't have any ideas for full-fledged reviews, let's do something different today and talk about my 5 favorite intros to video games I enjoyed in the past. Please note that this is a very personal, opinionated list; I have somewhat deliberately avoided really obvious picks (consider Metal Gear Solid 3's and Final Fantasy VI's openings, among others, to be hovering around in spirit somewhere around here). Furthermore, I'm not limiting myself exclusively to that very first, usually pre-rendered opening scene of a game (like, the attract mode before you even press start), because most of the time those are kind of devoid of any meaning and without context, I'd just be judging them by coolness or whatever, which isn't very interesting or inducive to commentary. Anyway, without further ado, here are my top 5 video game intros:

#5: Wild Arms 3's evolving opening https://www.youtube.com/watch?v=SvoueEiVyWE

At first, Wild Arms 3's opening is just a standard anime thing. It's fairly animated and stuff, and that's fine as far as that goes, but there are two things I find quite special with this opening; one that was always there from the start and one that was a product of the localization. First off, there are actually four versions of the opening. You see, the game is separated into 4 chapters, each with a different main villain which is somewhat related to the last, with varying levels of directness. In that way, as has been said before, it feels like seasons of an anime, and I think the game struck a good balance of making itself both a cohesive experience and a sort of episodic narrative simultaneously. To reflect that, the opening "evolves" as you progress through the game, changing key scenes to reflect the current "season" villain. I find that to be pretty awesome and an idea I haven't really seen repeated anymore; I believe mostly due to the fact that WA3 has this sort of unique story direction that lent itself to the evolving intro. Still, more games should adopt this style. They might have, I dunno, this is the coolest example out of the games I've played anyway. The second thing that impresses me is how well the localization performer fared singing the english version of the opening theme, Advanced Wind. I think it's actually better than the original. There's a certain sweetness and determination in her voice that is so fitting with the game's main character, I could almost trick myself into thinking it was actually Virginia hollering those lyrics. Pretty good opening, not higher on the list because it -is- just a pre-title opening I guess, but still. Also, Wild Arms 3 itself is alright, check it out if you're a fan of this kind of stuff.

#4: Cave Story's first taste of gameplay

What makes Cave Story's introduction interesting is that it... sort of doesn't exist. You're just dropped straight into the action with no real clue what's going on besides a brief interaction between two characters that makes completely no sense at that point. Every plot detail is up to you to find out in an immersive manner that doesn't barrage the player with endless backstories and setups and information you don't really need. Even Dark Souls, one of my favorite games and the one I perceive to be closest to the ideal of gameplay and story integration, feels the need to weigh down your mind with stuff before you start. Don't get me wrong, I understand why Dark Souls and many other games need it, but the fact that Cave Story -doesn't- is rather admirable, in my opinion. I love games where you start out without knowing what's going on, solving challenges just based on the fact you're playing a game and need to go forward, to only then start piecing together the great scheme of things from in-game data collection. What's even better about Cave Story is that there's no limitation at the start: you're dropped into full gameplay conditions, without bumbling around a peaceful area while the backstory is exposed to you by an NPC or anything "cinematic" like that. You're just left to figure everything out on your own. Pretty cool.

#3: Dragon Warrior II's extended prologue https://www.youtube.com/watch?v=0OlHofpQ7LA

Dragon Quest 2's original Famicom version started out pretty shitty. It was basically only a slight alteration to the previous installment's intro: you're in a throne room (this time you're actually the prince, sitting on the queen's throne for some reason), some guard from the faraway kingdom of Moonbrooke comes along and warns the king of impending doom before collapsing from his wounds, the king gives you some brief words of encouragement and sets you off on an adventure with minimal financial backup and a crap sword (admittedly, a better deal than in DQ1). For the international version, by some divine intervention causing a brief miracle shining in the face of Nintendo's then-oppressive censorship, an extensive prologue scene was added depicting the events that befell Moonbrooke prior to that guard setting off on his journey. What makes this scene special, however, is how brilliantly it expands on the tropes established by the localization of the previous title. Dragon Warrior 1 had this faux-Elizabethan translation for some reason, which was pretty charming but otherwise just a strange quirk they added for the overseas release. The extended prologue added here actually runs with that theme and frames the story as some kind of fairy tale; a narrator intercepts the dialog message boxes to preface each character's next line, there is some opening text that feels as if some elderly gent from Shakespeare times was weaving a tale in front of his audience's eyes, and it even goes somewhat into detail pretty much leaving no room for the player to doubt that the people of Moonbrooke flat out died. Also, the guard that makes the voyage to your kingdom is given a tiny little bit of characterization, just enough to wrap up the scene pretty much as best as they could have. Overall, this makes Dragon Warrior II have the most engaging start of the original trilogy; it was something they didn't have to do at all, but they did it and actually made the game better for it. At least until you get to Rhone and it starts its genocide of the player's happiness, soul, and reasons to live.

#2: Suikoden II - Reminiscence https://www.youtube.com/watch?v=7WLyjRex0ac

Suikoden II's emotional storyline and comparatively grounded narrative offer a nice contrast to the PSX's library of jRPGs concerned with elevating their epicness to ridiculous degrees. The game really cements this approach on the introductory flashback scene that functions as the opening credits. To me, the reminiscence scene is pivotal, serving a variety of functions that cause ripple effects lasting even beyond one's playthrough of the game. The setup is simple: The main character and his best friend run afoul of a ploy to abruptly terminate a cease-fire between two nations; they are pursued by some knights and cornered at a cliff above a river. You and your friend, then, etch a marking on a spot in the cliff wall and jump into the river below, planning to return to the etched spot should he and you get separated. While you are being carried by the currents, the scene itself begins. It's simply a flashback montage showcasing glimpses of the life you and your friend led leading up to your enrollments in the army and departure for the sabotaged expedition, accompanied by a relatively simple piano piece. However, it's a scene that is central to the themes of the entire game. It provides, first and foremost, a contrast between a perceived bright future with an everlasting bond of friendship and the tragedies that will soon occur in these characters' lives. It's a window into the will and emotions of the main character himself in his comfort zone; the life that he will so clamor to return to as the game progresses and things get increasingly more unwieldy for everyone. It sets up everything you need to know about the relationship between you, your best friend, and your sister on a 2-minute scene with no dialog; conveying all it needs only on its fantastic sprite work and score. It lets you know that this is, first and foremost, a game about feelings and about interpersonal relationships, using the war that you expect to happen from having played Suikoden 1 more as a backdrop to explore introspective consequences and how it affects people's visions. Most importantly, however, is that it serves as a reminder of what it was like for you, the player, when you come back from having completed the game. I literally cannot watch this scene anymore without shedding a tear or two. It happens every time. I actually prefer the normal version with the sepia filter, but I couldn't find it on its own like that, so here's the full-color version of it that you get from doing some ludicrous stunt before you jump into the river or whatever. Either one's fine, really. By the way, get the bad ending. The good one completely ruins the message and weight of the entire story, almost making the game meaningless.

#1: Vagrant Story - Climax of the Graylands Incident https://www.youtube.com/watch?v=M4m42OmAczo

Vagrant Story is an odd game in many aspects. Its gameplay is a crossbreed of roguelikes and rhythm games, it has yet another strange Shakespearean localization, the characters are dressed all weird and BDSM-y and showing a lot of skin... Anyway, one of the game's odd quirks is that it has tons of stuff that you can miss by pressing start at an inopportune moment. One of them is the simply amazing opening; an epic 11-minute in-engine "cutscene" (with occasional gameplay sections that transition very smoothly because it's all done with in-game models and graphics) jampacked with plot detailing the events leading up to the game's start, with even the music trying its best to synchronize itself with the cutscene's many shifts in mood and intensity. You can easily miss all this because it starts with a long wall of text that most players would read faster than the time it takes for it to disappear and press "start" because they think they're done with it and there's nothing left to see. A shame, really, because to me this one part of the game almost manages to outshine the entire rest of it. There's just such a density of things happening here; this urban gray rainy moody setting is more fitting to the localization's flowery prose than the things that happen in Léa Monde, and it's all just done so well with the PSX's limitations. While pretty much every other game ever opts for FMVs or an otherwise pre-rendered solution for its openings and important moments, Vagrant Story does it all with the same exact rules (well... excluding the vapid meaningless pre-opening that happens before the title screen shows up but just forget about that one), and the result is that everything feels like it has much more weight to it. Also, as I said, there is the advantage of transitioning smoothly into gameplay, which the game -does- go on to use a few times later on for short "boss appearing at the boss arena"-type cutscenes, but those all lack the juice and meat of this glorious opening scene. It's just a meticulously created, awesome example of Video Game craftsmanship, outside of just being really awesome to watch as well. I absolutely love it.

Here are some runners-up: Wild Arms 2's Disc 2 cinematic (US version); Fire Emblem: Thracia 776's opening (before title screen); That part in Actraiser when you descend into Fillmore stage 1 and go into the statue and that kickass track starts playing; The brief scroll down on the dark forest scene in Tales of Phantasia (Super Famicom) before the title screen shows up (really fascinated me as a kid); Lufia: The Legend Returns (odd pick but it has a pretty charming intro with some nice artwork for the GBC); Probably many others that I'm forgetting right now.

Anyway, from this list you can sort of tell what games I like to play so I can excuse myself from writing a dreaded positive review of something for a while. Also, I noticed that things that are done with the in-game engine tend to impress me more than things that aren't, even though it's technically actually more work to do an anime FMV thing I guess? Well, whatever, I'm a hypocrite and stupid so make sure to share your own opinions too if you want I guess I dunno.

[jasonwhorl73-blog]

A Week of Eating with Haile Thomas, the Teen Vegan Sensation and Founder of HAPPY

Meet Haile Thomas, the 18-year-old health activist, vegan food & lifestyle influencer, and the founder/CEO of the nonprofit HAPPY (aka, Healthy Active Positive Purposeful Youth). Michelle Obama has said that “Haile is an example for all of you, what your little powerful voices can do to change the world.”

Read on to see what the teen vegan powerhouse eats in a typical week. 

MONDAY

Starting Monday off on the right foot is always my #1 priority, because we all know how easy it is to fall into the “I miss the weekend!!” trap. In the morning, I’ll usually have some kind of warm drink since it’s typically pretty chilly (I’m talking 30 degrees or lower) during this time of year. I like to alternate between the biggest hug, a mug of super rich and creamy coconut matcha, golden milk, and lemon ginger or peppermint tea.

During my teatime, I really enjoy being away from my phone and doing some gratitude/intention journaling or just gazing out the window indulging in my obsession with clouds! That always starts my day on such a peaceful and positive note, and I can move onto emails or project planning with a clear and ready mind. Mondays are often my day just to catch up and get back into the groove of anything I was working on the week before. I almost never schedule meetings on this day because I want to ensure I can be fully dedicated to getting back into work mode.

Monday lunches are all about replenishing the energy I’ve used up in the morning and continuing the momentum. And because I’m an entrepreneur who works from home, I have the absolute joy of just getting up and heading over to my kitchen to make anything I’d like! Lunchtime also provides a much-needed mental break from any of the work I was focused on, which is so great. My go-to is a quick lively bowl with some greens, roasted veggies, quinoa, and either a tahini- or cashew-based dressing. These kinds of lunches leave me dancing, happy and rejuvenated! I’ll usually photograph what I eat to post on Instagram later in the week.

TUESDAY

Tuesdays are normally the start of meetings, interviews or recipe testing for the week. When I’m really busy and have video shoots, or I’m working on content for some of the awesome brands I get to work with, I try to make my meals ridiculously easy. I start the morning off with some homemade granola (Golden Milk Granola is my fave!), a little bit of oat milk and fresh fruit. It takes me like 5 seconds to put everything together in a bowl and head to my desk to start working for the day.

On busy days like this, I tend to rely on snacks more than anything as I don’t want to interrupt my concentration or schedule too much — sunflower seed pesto with fresh veggies, or avocado toast loaded with mushrooms, pickled onions and some tangy artisan vegan cheese are definitely go-tos.

My mom, sister and I tend to alternate the responsibility of cooking dinner throughout the week. If I’m still working around 4:30/5pm, my mom will start making one of her classics, like Jamaican Escovitch Tofu or Oyster Mushroom Curry with coconut rice. There’s literally nothing better than the sizzle of a skillet and the smell of rich, cultural spices wafting through the air. And when it’s time to eat? Her food is literally the definition of comfort, filling up my belly and spirit. Any day my mom cooks is my favorite day.

WEDNESDAY

When it’s super cold out or snowing and you live in a small town in upstate New York, heading to a yoga class or the gym isn’t really an option. Instead, I love using apps to get some movement in at home. I try to do this at least four times a week, because when I do, I can really feel the difference in my energy and mood! Getting my heart pumping always leaves me feeling physically, but even more so, mentally refreshed.

I have a bit more pep in my step as I start the day. My refuel varies from veggie tofu scrambles with lots of cheesy nutritional yeast to really fun and creative oats. Both are super customizable so it is never really the same experience each time I eat them. For the tofu scramble, I like adding shiitake mushrooms, colorful heirloom cherry tomatoes, onions and parsley, with my one true love, avocado, on top! For my oats, I really go wild with the combos because I believe oatmeal should never be boring…so you can catch pumpkin, sweet potato, almond butter, berries, candied pecans, orange zest, and more in my oatmeal.

Because it’s the middle of the week, I love spicing up my schedule to re-energize.  If I’m not already traveling or working on a cool project, I like to go on cute mini adventures during lunch. Some of my favorite things to do include: visiting a u-pick farm or a new vegan restaurant for inspiration, going for a stroll and taking photos at an art park like Storm King, or heading to open skate at our local rink. It just adds a nice break in the part of my work that can be heavily screen based.

THURSDAY

If you can’t tell by now, diversity within my week is super important to me…or else I’ll go a little crazy! It keeps me inspired and energized. Thursdays start with some reading. I’m doing a 50-book challenge this year and aim to get in an hour or two of reading before I start the day! It’s so peaceful and fun for me to dive into a whole other world or a really interesting topic for a few hours before I dive into mine.

A little later, I start filming some videos for a course I’m working on for my nonprofit, HAPPY. This takes up most of my time during the day because there’s limited daylight, but it’s a lot of fun working on planning and production and then finally putting everything together when I shoot!

Dinner is a lovely, spicy, incredibly flavorful vindaloo using Beyond Meat’s sausage as a protein. With its incredible texture and flavor, this sausage is one of my favorite vegan products to experiment with from time to time.

FRIDAY

Fridays are my day for planning content for the week ahead. I make a list of all the recipes I’d like to share and photos I want to take for my Instagram. Then I double check my fridge and pantry for ingredients and map out what I’ll need to do for lifestyle shots. And because I am currently working on a book (!!!), I majorly prioritize writing at the end of the week and usually split my time pretty evenly between both activities. I like Friday to be just a really chill and reflective day, so I don’t usually schedule any meetings either. As I’m in the zone planning and writing, I love having something hearty to power me through — like roasted purple potato wedges with mashed avocado to dip in!

In the evening, I wind down work a little early and watch a documentary (I’m also doing a 100-documentary challenge this year!) or read some more with the fireplace crackling, some lo-fi music playing softly in the background, and my whole body wrapped like a burrito in the coziest fluffy blanket. This is the best time for hot cocoa and coconut whip!

SATURDAY

Saturday breakfasts are always kind of fancy — and I love it. My family and I go all out, making crepes, pancakes, tofu Benedict, or whatever we’re really craving at the moment. It’s so much fun spending time with each other in the kitchen, laughing, talking about anything, and combining our creative powers to make the best breakfast. We’ll set the table, bust out the apple juice from our local farm, and dig in — all smiles style.

The rest of the day is mainly spent working on the content I planned on Friday, so most of our weekend lunches and dinners end up being Instagram recipes!

Saturday nights are my favorite. This is when I really get to indulge in some self-care. I’ll throw on a face mask, deep condition my hair, take a magnesium soak, and binge watch Nailed It! or Worst Cooks in America. It’s honestly the best.

SUNDAY

Sundays are my day for more R&R but also for preparing for the week ahead. I’ll start the day off by setting intentions and goals for the new week. When Monday comes around, I’m more focused and work with a clearer sense of purpose. Then it’s time to head to the farmers’ market! Whenever I’m in town, I try my best to make it there. Then I can shop locally for everything I need for the next few days or any special recipes I’m developing.

The farmers’ market is always an adventure. Often I’ll find really amazing ingredients, such as Hen of the Woods mushrooms, sea beans or watermelon radishes, that aren’t normally available at my regular grocery store. There’s a lovely Indian food vendor who makes the best chickpea yellow curry with idli, so I always grab a container of their food for lunch before heading back home with my veggies and other fun stuff from the market!

The rest of the day I spend with family. We watch movies, do DIY projects, and have a pretty fun and sometimes pretty intense game night at our house that I always look forward to. It’s these moments that make the weekend so sweet.

Source: https://blog.williams-sonoma.com/a-week-of-eating-with-haile-thomas-the-teen-vegan-sensation-and-founder-of-happy/

[randomrichards]

Interesting Movies Coming in January 2019

So, begins another year showcasing movies that may fly over the radar.

January 11:

ASHES IN THE SNOW

Inspired by true events, Ashes in the Snow tells the story of a teenage girl used art to break the silence on an atrocity committed by the Soviet Union.

Set in 1941, the film examines Stalin’s brutal dismantling of the Baltic Region which deported many Lithuanians to Siberia. Many of them were convicted of treason and sentenced to a lifetime of labour. Among them is a 16-year-old girl named Lina (Bel Powley) and her family. But as she fights for survival, she finds her voice through art. In time she’s will use her art to expose what happened to her and her family.

I imagine this film will fall out of many people’s radar, shown only in art house theatres and film festivals. It’s a shame because this film shows a lot of potential in the trailer with an interesting real-life story. It sounds like a compelling David and Goliath story sure to gain acclaim. Thankfully, I have this blog to attract attention to films like this.

THE UPSIDE

Based on the French film The Intouchables, (which was inspired by a real-life story), The Upside tells the story of a bond between a rich quadriplegic man and an ex-con who assists him.

For the sake of his son, Dell (Kevin Hart) wants to get his life back together. To do that, he needs to get a job, or at least 3 signatures proving he’s interviewed for jobs or his parole is kaput. Meanwhile, billionaire Phillip (Bryan Cranston) needs assistance since he’s paralyzed from the neck down and he can’t stand the patronizing attitudes of home care applicants (much to his wife’s (Nicole Kidman) chagrin). Then Dell barges in to the interview and impresses Philip with his abrasive demeanor. So, Dell’s hired.

Now Dell gets to bask in the high life living in the Penthouse with Philip. Of course, there is the problem of Phillip having no experience taking care of a person with disabilities. Hell, he crosses his legs at the sight of a catheter. But what Philip likes about him is the fact Dell doesn’t pity him. As they work, they form a bond through their no-BS attitudes.

It’s common for Hollywood to remake foreign language films. What’s weird about this one is that the original is based on a true story and they change the location from France to America. It feels like a disservice toward the people who inspired these films. One could argue this is a way to garner an audience who don’t watch movies with subtitles, but that feels incredibly unfair to the original movie. Those people missed a fantastic performance by Omar Sy. But I digress.

You got some great actors in this film. You can’t go wrong with Cranston, who has delivered on Nicole Kidman, who is seeing a reemergence of her career with an Oscar Nomination (Lion), Emmy Win (Big Little Lies) and that badass fight scene in the recent box office hit Aquaman. But the one that stands out the most was Kevin Hart. He has sparked a major fanbase with an over the top, self-deprecating comedy style. He’s applied the same style in his movies, resulting in few hits (Jumanji: Welcome to the Jungle) and many misses (Think Like a Man). Though there is a hint of his exaggerated acting, it will be interesting to see him give a more grounded performance. Unfortunately, he’s got big shoes to fill with Omar Sy’s award winning performance in the previous film.

There is a danger of this being sappy and there is a hint of that. But I like to give films like this a chance.

January 18:

GIRL

All the way from Belgium comes this coming of age tale of a transgender teenage girl struggling to achieve her dream of becoming a ballet dancer.

We follow Lara (Victor Polster) through an 8-week trial period at a prestigious Ballet Academy. She’s got a bit of a ways to go before her skills are up to par with the Academy’s standards. At the same time, she’s counting the day before her hormone treatment. But can she handle the stress of the Academy?

This film was a hit at the Cannes film festival and it has recently been nominated at the Golden Globe Awards. While the film has received critical praise, there is still controversy over the casting of a ci-gender boy to play a transgender girl. Yes, it’s great to see transgender girls getting representation and Polster disappears into the character, but it still doesn’t change the fact that transgender actors can’t seem to get role playing transgender character. Writer/Director Lukas Dhont clearly means well, but this matter’s much more complicated. It’s a shame because this seems like a compelling movie.

Can you still enjoy this movie despite this controversy? It’s going to be complicated.

GLASS

Never in my life would I have ever imagined a Shyamalan Cinematic universe. Of course, it didn’t help that his films have been more flops than hit. But he took us by surprise when that Bruce Willis cameo revealed Split to be an indirect sequel to his underrated hit Unbreakable. And now both films collide in Glass.

After 19 years, we finally find out what’s happened to the literally unbreakable David Dunn (Bruce Willis). After years using his super strength, invincibility and psychic visions for the greater good, he finds himself confined to a mental institution. He finds himself face to face with Elijah Price (Samuel L. Jackson), his comic book obsessed arch nemesis who goes by the name Mr. Glass. Also, there is Kevin Wendell Crumb (James McAvoy), a disturbed man with 23 personality who imprisons and kills teenage girls. With them altogether, Dr. Ellie Staple (Sarah Paulson) hopes to cure them of their “delusions.” Mr. Glass seizes this opportunity for a Supervillain team up with Kevin Wendell Crumb. So, he unleashes The Beast, Kevin’s animalistic personality with super strength and an aggressive thirst for blood. With these two out of the hospital and reigning terror on the world, it’s up to David to stop them.

This film also sees Anya Taylor-Joy reprise her role as Casey, the teenage girl who brought down Kevin in Split.

M. Night Shyamalan is quite a fascinating figure. He came out of nowhere and took everyone by surprise with The Sixth Sense. The fact he was able to stick himself into a zeitgeist in his first movie alone is a near miracle. But with the praise came high expectations. Though Unbreakable and Signs earned acclaim, none of Shyamalan’s films were of the same level. And then there were the flops. Oooh the flops. He released so many bad movies that he became a self-parody.

There were a few factors contributing to Shyamalan’s fall from grace. I mentioned the expectations, which puts a lot of pressure on any new director. Eventually, the fame went to Shyamalan’s head, giving him a misplaced sense of self-importance.  That self-importance seeped into his films, building a pretensions tone. He also relied a bit too much on quirkiness, resulting in unintentionally hilarious moments. It didn’t help that pop culture only associated him with plot twists, which kind of stuck him in a corner.

But then two factors turned his career around. First was Wayward Pines, a Twin Peaks-like series where Shyamalan’s emphasis on quirks became an advantage. In that same year, he stepped out of his comfort zone with The Visit, a found footage horror movie that got Shyamalan his groove back. And the deal was sealed with Split. Through these films, Shyamalan seemed to have let go of his pretentiousness and had fun with them. I hope he keeps this up for his sake.

January 25

SERENITY

In this thriller, Matthew McConaughey plays fishing boat captain Baker Dill. He was enjoying a quiet, simple life hosting tours off the tropical Plymouth Island, when along comes his ex-wife Karen (Anne Hathaway). She’s married to a violent man (Jason Clarke) and she wants him gone. So, she wants Dill to take him on a fishing excursion where Dill can leave him swimming with the fishes. The question is, will he go through with it.

This premise plays a lot like a film noir, from the rugged protagonist facing the past he’s trying to forget to the femme fatale leading him down a dark path. I imagine Baker Dill will confront many dilemmas that will reveal his true self.  

There’s a notable growth of publicity for this movie. But publicity doesn’t equal quality. It could turn out to be a surprise sleeper hit like Hell or High Water or forgettable flop. Writer/director Steven Knight has gone either way, having written critical darlings like Dirty Pretty Things and hits like the series Peaky Blinders. He’s also wrote the flop The Girl in the Spider’s Web and the forgettable series Taboo. So, this film could go either way.

January 30

THE WILD PEAR TREE

From the man behind the Palme D’or winning Winter Sleep comes another tale of an artist secluding himself in a remote location.

Young writer Sinan (Dogu Demirkol) returns to his home after graduating from college. He has a bit of trouble fitting in to the rural living of this small village while he writes. But he has bigger problems with his father Idris (Murat Cemcir) debts growing out of control. Now the collectors are targeting Idris through his son. This also leaves him with little money to publish his stories.

It’s going to be a huge challenge to get butts in seats for this movie. Not only is this film entirely in Turkish, but it’s also three hours long. Theatres usually prefer the movies to be under two hours so they can be shown more and sell more tickets. Still, Nuri Bilge Ceylan had already gained huge acclaim for the aforementioned Winter Sleep, a tale of a former actor who runs a remote hotel while dealing with his family. This film seems to be garnering similar acclaim.

It’s in moments like these that I wished I had taken the time to watch his previous movies. I would have had a better opportunity to discuss what makes Ceylan’s films so special to its audiences. But I didn’t and that ship has sailed. 

[tune-collective]

Thundercat's Style Is As Funky and Out There As His Music: Exclusive

Thundercat's Style Is As Funky and Out There As His Music: Exclusive

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  About 30 minutes into his set at Chicago’s Concord Music Hall, Stephen “Thundercat” Bruner drops both hands from the guitar resting on his chest as his keyboardist and drummer, too, take breaks from their early evening concert. He looks up at the adoring audience who sold out the venue on a frigid Saturday night in the windy city and asks, “You guys feeling good?” Screams, cheers, and applause confirm that they are, in fact, quite well. “That’s tight,” he says. The Los Angeles native is a day removed from releasing his thoughtful, star-studded (Pharrell Williams, Kenny Loggins, Kendrick Lamar) third full-length studio set, Drunk. 

Then he locks back into his music—a smooth, velvet-textured amalgam of jazz, soul, Hip-Hop, and funk partnered with lyrical content fit for both talking head social-political programs and inner-city barbershop dialogue. Each song he performs seemingly gets its own 30-second improvisational period before returning back to the realm of familiarity, stirring the crowd into a frenzy. As he’s bathed in green and blue spotlights, Drunk’s “Them Changes” earns the loudest cheers. He also sprinkles bits of Kendrick Lamar’s “Complexion” and “These Walls,” which he assisted in producing for the rapper’s critically acclaimed To Pimp a Butterfly album. 

In purple camouflage sweatpants, a black tee under a red lumberjack shirt, Thundercat, 32, was having a chill day in comparison to some of the louder pieces he’s been photographed wearing in the past. Wolf hats with ponchos. Blazers that recall Michael Jackson’s vintage regal vibes. Outfits so heavily stylized and exaggerated that they’d make sense on the characters of the ‘80s cartoon heroes he named himself after. He’s rocked it all. Prior to this show, the eccentric artist sat down with Billboard backstage to talk about what inspired Drunk, why Lamar’s verse on this album is special and his generally flamboyant style. 

What journey are you taking this listener on with Drunk? 

I’m observing and reporting what my experience as a musician has been ’til now. It’s such a weird thing to be a musician nowadays. If you’re not in a rock band, music doesn’t exist for a musician. You’re just a “session” musician. Nobody tells you that. So you wind up figuring it out. Somewhere between those lines, there’s this existence where you end up drinking. That goes for everyone that I’ve worked with. It’s part of the business. It’s something to talk about. It’s me telling a story from that perspective. 

I try not to think too hard about music. I like to see where it goes. I try not to give it a direction. I figure out what it is as it’s forming. I don’t have any goal in mind other than to make the best music I can. I always start with the bass [guitar]. Things get added, but it always starts with the bass. 

“Walk On By” has Hall & Oates nods to it musically. Would you say they’ve influenced you? 

Hall & Oates is everything. Fuck everything else. [Laughs] If it’s not Hall & Oates, it’s nothing. They’re a titan duo of songwriting. Being able to convey ideas through song, I had to learn that from different places. The best thing is knowing that there’s somebody out there who doesn’t know who they are, just so you can be like, “Sit your ass down and let me play you this.”  It’s timeless. They’re a major influence on my songwriting. As a bass player, that’s what comes easy to me—the bass playing. The songwriting, I didn’t fully understand what it meant. 

How’d you get comfortable as a vocalist? You essentially didn’t become an active singer until your late 20s. 

I’m looking at people like Beyonce and Trey Songz and Jamie Foxx—people that sing like they’ve got chicken all in their throat. I didn’t know where I was supposed to make sense. I would feel around it a bit. I would sing on other people’s albums, their backgrounds. And I’d ask, “Was it cool?” By the time we got to [sophomore album] Apocalypse, it was a weird moment for me. I was like, “I have to sing?” I had references and different things that made me feel comfortable, like, “I know I can do it.” But I didn’t know to what extent I could. I had to deal with people laughing at me. I had to deal with my friends telling me, “You can’t sing.” 

Really? 

Of course. I’m not going to name any names, but that was the honest criticism. And I could take it. But it wasn’t going to stop me. There was one time when I was in the studio and I’m recording vocals for Kendrick Lamar’s To Pimp a Butterfly track, “These Walls”, and a few of my friends had never seen me sing before. I literally had to kick everyone out of the room, because it was weird. Someone told me I had to put Auto-Tune on my voice and I told them, “I am not that guy.” I had to find my comfort zone. Kendrick was comfortable. I usually just sing at home by myself with my bass. It was a process of having to open up. 

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You have a great working relationship with Kendrick and he’s on “Walk on By.” What’s your favorite part of his verse? 

There’s one line where he says, “Immature and retarded is what you call me.” It was one of the things where when he said that, you felt that you understood the inner-workings of what we feel a lot of the time. You have these internal moments where you’re trying to figure it out. And Kendrick always has those moments in his verses where he’s speaking to a guy like me.

On his Unmastered, Untitled album, there’s a line where he asks, “Why you wanna see a good man with a broken heart?” It hit me like a ton of bricks. I’m thinking, “Yeah, why would that be your goal?” I love his ability to connect with that deeper part through music. And when he laid his verse to “Walk on By,” it immediately became this portrait. I was in shock and awe that he could see it. 

On “The Turn Down,” you sing about how trashed our world has become in different ways. There’s even a Captain Planet line.

That’s really how I feel. “What’s going on? Why can’t we all just see each other?” There’s a lot of amplified bullshit. Infinite, magnified bullshit. And it’s piling up. “Being Black” is always a thing. Even moving the Black thing to the side, two white people can’t even figure this world out. Nobody wants to make sense of the other. Nobody loves each other. Nobody really cares. Is that how this is supposed to happen?

“Show You The Way” features Michael McDonald and Kenny Loggins. Today, people still can still easily hear Michael’s husky soul voice and know it’s weight. But folks sleep on Kenny’s catalog of classics. Why was it important to have him on it? 

Kenny Loggins pours his heart and soul into the music he makes. He’ll take you with him through everything he’s going through, which is not easy. People don’t survive shit like that. We see it all the time. Like a Janis Joplin. Kenny’s still here. My favorite song of his is “Heart to Heart” [featuring and co-written by Michael McDonald]. You can tell he’s talking to someone. It’s too intimate. He takes you to where he’s at. Along with that, the music and the vocals are just jamming. I learned that from Kenny, along with people like Leon Ware. Good lord. 

Leon died yesterday and I know that he was someone you knew and worked with. Drunk’s “Tokyo” is inspired by you touring with him in Japan, right? 

It’s making me sad just thinking about it. You have these moments where you play in somebody’s band and the person leading is smart enough to show you the bigger picture. Leon Ware took me under his wing, man. He invited me into his life. I was a teenager and he took me to Japan for the first time. It was surreal. It was like playing with Marvin Gaye. I got a chance to see how he created and how his music affected who he made it for. I got a chance to play “I Want You” with Leon. I was 17 and crying on stage.

Up until his death, which is when my album came out, all I could ever talk about was that moment. I can’t even remember what happened yesterday. But I remember every day in Japan with Leon. It was magical. I talked to his son today. I had to tell his family that “I love you guys.” I wish I could have said something to him before he passed. It’s just the way of the world. “Tokyo,” as funny as it seems, was about that experience. It was bigger than life.

To take a turn, your style is super dynamic and out there. Let me show you what comes up when you search Goggle for “Thundercat” images… What would you say about this guy’s style if you weren’t him? 

[Laughs] I would think that he’s just wild as hell. Good god!

  A post shared by @thundercat_music on Dec 30, 2015 at 9:05am PST

  Is there any strategy to you getting dressed for a regular day or for stage? 

A lot of the time I’m in the moment with stuff. Sometimes to a fault. I’ll look at superheroes and comics and stuff and wonder, “why wouldn’t you dress like that if you could?” With fashion, I look at it as a way to express that. I don’t really pull any punches on it; otherwise you get caught up in this nexus of dressing like everyone else. Or finding something that’s a little above the standard. But to dress the way I’m really thinking? I do that. 

What are the cartoons you admire for their quality and style-wise? 

I’ve got some high standards when it comes to cartoons, man. There’s always Fist of the North Star. That’s one of my favorite all time movies. Quiet as it’s kept, that was the inspiration behind To Pimp a Butterfly from my perspective. And [my work on Flying Lotus’] You’re Dead! And [2015 EP] The Beyond / Where the Giants Roam. I’ve been watching that since I was a child religiously. I can quote the movie verbatim as it’s happening. It’s that amazing. 

Style-wise, it’s also amazing. I’d watch him and say to myself, “I want to be that guy!” There’s cross-play and character-based dressing up. And there’s a place between higher end fashion and what designers don’t want to admit they pulled inspiration from. You’ll see some shit come out from Gucci and be like, “Man, that’s straight off of Neon Genesis Evangelion.” And I know that. I’m always looking for that connection. I try to find my place in those pieces and try bring that vibe with me onstage. There have been times where I’ll freak my friends out because we’ll go to the store and I’ll go for the weird thing on display and they’ll be like, “You’re not going to do it, are you?” And I’ll be like, “You shouldn’t be here with me.” 

Where do you shop? 

A lot of my stuff is handmade. Or it’ll come from a boutique and be a one of four pieces.

What’s the oddest thing you’ve worn? 

The Native American garb is a very touchy subject and why musicians think they can appropriate culture. So something definitely my Native American headdress. I’m actually part Comanche. That’s in my blood. My family is from Detroit, Michigan and they were there. So just a slight bit off of my generations of Black, there are actually Native Americans. My great grandmother was named Prudence. She had all white hair. I have a picture of her next to her shotgun. Her husband was exiled for murder. He murdered someone because the man raped a woman. He committed an honor killing and was exiled for it. He was a Comanche. That’s why they couldn’t charge him the way they would charge a regular criminal. I never tell people, “I’m part Comanche!” 

  A post shared by @thundercat_music on Dec 30, 2015 at 8:59am PST

  But that would be the most controversial thing I’ve worn; a Native American headdress. Nobody ever tripped off of me wearing the wolf. But the chief headdress, that’s a thing where people go, “Who do you think you are?” And I try to respect that. Cultural appropriation is corny. Imitation is the biggest form of flattery a lot of the time. People forget that even with the dark past things come from, if it translates into good, you’ve got to be happy for that. Sometimes the timing is too soon.

Do you ever wear clothing to speak about the world’s issues—politics or humanity?

Yeah, man! I’m not very political. It’s nice to make a statement with something like a “Not My President” tee or something like that. It’s a way to identify with other people. But I’ve mostly been identifying with the earth through color tones. The things that you see in the world from that point. I look at animals and think, “Wow, that’s not fair! I just have one color and a bunch of moles.” And you see butterflies or cats and you’re like, “What the hell?” I’m identifying with them.  

This article originally appeared on: Billboard

http://tunecollective.com/2017/03/01/thundercats-style-is-as-funky-and-out-there-as-his-music-exclusive/