#this is the best scene in wt period

[scramble-crossing]

i deffo agree with your entire analysis (including the questionable canon of the anime canon) and yeah for sure the original game supports this imo. for one thing i don't think that hanekoma would have supported sho even as a back-up plan if he thought that sho would've destroyed shibuya or fundamentally ruined what HANEKOMA liked about it. hanekoma considered a shibuya under sho to be better than a shibuya erased by joshua, so whatever shibuya sho would've made couldn't have been a dumpsterfire or whatever. like not saying that sho would've kept things squeaky clean or something but hanekoma considered it 'good enough to support'. hanekoma isn't exactly the best but i think that he wouldn't have picked sho if he didn't think that sho had some attachment to shibuya.

in NEO we literally see him come back to his shibuya on W3D7 to fight soul pulvis even though he could've just fucked off. yeah we have the scene of neku "convincing" him, but the dude already came back to shibuya and decided to stay to fight for his city. he also literally warned rindo about soul pulvis and about the presence of angels (the japanese version with him talking about "hyper-real" numbers is even more obvious) back on W3D4 even before neku showed up!

the wicked twisters and all of shibuya would've lost without him and his contribution to operation: awakening. period. (along with everyone else)

he learned his lesson about teamwork! when he goes to another day, he makes a fuss about "you're joining MY team" but he actively walked up to the guy signing up team members and went "hey i need a team lol" like a student asking their teacher for help getting a partner for the group project. he's gone from "not a social animal" per megumi to "zetta dig[ing]" konishi's "style" to teaming up with the WTs to protect them to understanding the value of working together in an equation for the sake of his goals

also it's worth noting that the line about only doing it for his sake is slightly different in jp. neku says that they have to get to shiba as soon as they can and says "渋谷を守るため もし力を 貸してくれるなら――" (if you can lend us your strength to protect shibuya). sho interrupts him and says, "フン、俺は 俺の目的のために 動くだけだ" (hmph, i only work for my own goals/i do want what i want) basically, telling neku to stop telling him what to do. neku says, "それでいいよ おまえも渋谷を 狙ってただろ" (that's fine, since you're aiming for shibuya too, aren't you?) and then "その渋谷の崩壊は 許せないよな" (shibuya's erase would be unforgivable, right?/you can't allow shibuya to collapse, can you?). so like yeah it's similar to what the english script did but it has a very different implication. here neku isn't convincing him to help but rather being like, "yeah, you'll only do what you want to do, and i know that you're going to do things that help shibuya because you're aiming for it as well." like i said, we literally see sho ALREADY have been offering rindo helpful advice before neku even showed up.

he gives the WTs tons of advice in the first week that have nothing to do with his interest in soul pulvis but rather to expand their powers. in field walk rpg he has a ton of random character dialogue about how he loves random shit in shibuya like the holographic hachiko statue (tokyu plaza) because he thinks that dogs are stylin' or how he thinks that rhythms that shake the heart (specific to him being interested in picking up music records from tower records) are as beautiful as a flawless equation or whatever. why would he want to destroy all of that? he wouldn't

he doesn't even care if other people cart away his artworks! he didn't seethe about that in the og, just made more and then walked away

i agree with him being obsessed with beauty and art and probably shibuya's. i mean the guy wanders around the phone booth of love at molco and shit trying to pick up cool pieces for his next artwork (and leaving something precious of his own in its wake, suggesting that he isn't interested in stealing shit, he just has a unique value system of exchanging items and art and stuff), makes people play Tin Pin Slammer and doesn't even participate himself but just hangs out in the crowd watching and seethes when joshua cheats him out of an interesting match, and possibly even stuck negative noise on ken doi to catch their attention about ramen given that the negative noise in W1 was all mission-related that a reaper must've put on someone (and with their relationship in another day). he's not a "good person" but people treating him like he's evil or sadistic or whatever just pisses me off. he's an arrogant asshole who, as far as we can read from the text, genuinely wants to see a shibuya full of cool art projects and sick murals like the udagawa one he likes and cool people like the WTs with their interesting UG powers and stuff.

ok thanks for listening to my essay. 3.1415926

Hey there.....it's been a couple months and I live in shame

Thank you so so much for this I absolutely LOVE your thoughts! I wanna try to respond them in as organized a way I can so I'm gonna address each point individually and in chronological order.

First of all, I 100% agree with what you've said about Hanekoma. If he wasn't able to directly remove Joshua from power even when he threatened Shibuya's very existence, and instead had to approach him in an extremely tedious and roundabout manner by guiding Neku when he could and using Sho as a sort of half-proxy, there's no way he would've shoved a dangerous or otherwise incompetent person into the Composer's seat and forced himself to repeat this whole process weeks later once Sho had a grip on Shibuya. Like you said, "hanekoma considered a shibuya under sho to be better than a shibuya erased by joshua," and that means something coming from a person who belongs to a class of beings who willingly "purify" cities that do not live up to their standards. It's not impossible to think that if Hanekoma thought Sho unfit and saw no other alternative, he would've come to see Shibuya as a lost cause and let it fall, preferring a dignified end over allowing it to rot and fester as a shell of its former self. Granted, he doesn't exactly sing Sho's praises. He certainly seems to view him as being convenient over an actual good candidate for the position. However, regardless of the fact that Hanekoma's criteria seems to be "the biggest, most unlikable freak in the UG," I think my previous point still stands. Would Sho have been a good Composer? Impossible to know for sure, but if nothing else we can extrapolate from what we understand of Hanekoma's values that he would've at the very least safeguarded Shibuya against erasure and kept it intact enough to still be worthy of existence in the eyes of some very, very picky Angels. And this is saying something when Joshua refers to Shibuya as being a massive influence on the world around it, so much so that he fears it corrupting other sectors of the UG. To put it simply, maybe Sho just passed the bar when it came to Hanekoma's standards, but that bar was set extremely high. Also! Just in case anyone mentions it, while Hanekoma saying that he relied on Sho's attachment to Shibuya is exclusive to the anime, technically speaking it's canonical that NEO is a sequel to the anime rather than the game. It's still very much relevant to Sho's character in NEO, if not his character in the original game...

Which leads right into your next points! Just for a moment, I want to jump to what you said about the japanese version of the game because I find it extremely interesting. That's SUCH a different implication from what we get in the english version!! Whereas we're given more of a sense that Neku is corralling Sho into working with him and the rest of the Wicked Twisters on the basis that he can't be Composer without a city to rule, basically using his preexisting goal to try to get him to adopt a new one, that of saving Shibuya, here he's saying that he knows that Sho already has a goal of saving Shibuya. It's less "Look here asshole, you have to save Shibuya because you can't be Composer without it," and more "You and I both know that you want to save Shibuya, so stop being so stubborn and help us out already!" Yes it's subtle, but personally I think it lines up better with the version of Sho that's put forward by the anime's ending, and, perhaps more importantly, lends better to interpretations of Sho's motivations In english, it reads closer to "Sho wants to be the Composer -> therefore he must save Shibuya. In japanese, it can more easily be read as "Sho wants to save Shibuya -> Ergo, he clearly cares about Shibuya -> Sho wants to be the Composer because he cares about Shibuya. Again, it's minor stuff, but the japanese version, I feel, more obviously connects his motives with his actions, presenting him helping to save Shibuya as a natural result of his affection for the city instead of it being an obstacle in his way or a diversion from his ambitions. It's really a shame that this nuance is lost in the english version. Sho is already kind of a mess in the fact that it can be difficult to discern what the writers are trying to do with him. He's built up as a persistent and deadly threat all throughout twewy only to be unceremoniously killed off in a scene that feels more like a bit than an actual serious story beat. Neo's promotional material paraded him as a core character in the protagonist's group, and yet he ends up being booted out 1/3 of the way into the story and made unplayable until post-game. He is one of the most integral characters to the plot, and yet what, in the end, does he have to show for it? Nothing! He leaves the secret ending having returned to the exact same position he was in at the start of the first game, at the exact same level of power, still gunning to take on the Composer. It feels like he's being used as sequel-bait in a series where it took 14 years to make another game, not to mention the fact that the last time something interesting was implied to be happening to him, A.K.A A New Day where he was positioned to become Neku's partner, that plot thread was dropped hard and absolutely nothing came of it. I'm not saying he's been completely abandoned by the narrative. He's definitely shown to have improved as a person since the events of the first game, and I love that! I love his cryptic mentor/moderately shit big brother arc and the fact that Neku, Mr. Twewy himself, is willing to put his faith in him. But to me at least it feels like he's being underutilized, especially in comparison to characters like Beat, who I love, but who certainly didn't need as much as he got in neo given that he had a totally satisfactory arc by the end of the first twewy. Sho is perfect for a redemption arc that's reminiscent of Neku's while still being unique and complex, one that would fit seamlessly with twewy's themes of growth and the necessity of human connection. If we ever get another twewy game and this is exactly what happens I will kiss neo on the lips for being the PERFECT in-between phase and kick-off for this arc, but I mean...it's twewy. Waiting for another game to complete his storyline is like pushing Sho off a cliff with nothing to catch him but a prayer and the world's shittiest little kiddy pool. Also the hose that's trying to fill it with water is clogged by a giant knot in the shape of mickey mouse ears.

But I've gotten sidetracked. Mostly because it's been so long that I totally forget the post that spurred this ask in the first place. I might be stupid. But honestly I think you've already put it perfectly. I'm especially grateful for the info on the field walk rpg because it's something I know very little about. I'm glad Sho got to have a fun day out with his child soldiers/teenage besties :] Overall, it's absolutely true that Sho is a very morally complex character. I tend to dislike labels like "good person" vs "bad person" because it leaves little room for nuance, something that this series is chock-block full of. The idea that Sho is an utterly selfish and sadistic individual who can never truly change irks me because it's so antithetical to the messages of this series, "Anyone can change for the better," and, "By letting others in, approaching their different worldviews and values with genuine, good faith, and by extending compassion towards each other, we make the world a better place for both ourselves and the people around us." Sho is doing this. It may be with baby steps, but it's clear from his interactions with the Wicked Twisters, as well as his enthusiasm for art that is not his own whereas before he expressed disdain for any artistic vision that wasn't his, that he is making an effort to be better and allowing these experiences to change his worldview. If he is never extended the same narrative reward that other characters are shown for this exact same kind of growth, if he is instead trapped in this cycle of scratching and clawing and desperately yearning for some sense of divinity only to crash fantastically, met with violence and isolation and the loss of the few, good things he's managed to scrape out of life...well that'd be pretty miserable, I think.

[sukopion-mantisu]

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yeah.

[dbzebra]

actually i have something to ask that's not about ships!! i want to talk about the King Piccolo saga. i can't think of a question, but maybe just ramble about what you liked about it? i've found myself liking it more and more (i'm not at the Piccolo Jr Saga yet in my rewatch lol but soon i will be, so that's included too) than i had when i first watched it a long time ago and i've really come to appreciate how much the filler moments contribute to the overall story!!

HI!! THANK YOU! :D

gonna put this under read more cause it got long lol

Ok so I LOVE the King Piccolo saga. Its been a few years so im a little hazy on details but imma just rant for a bit. Once i get back there ill be a bit more coherent and focused lol

 Imo, its legit some of the peak in the series. ESPECIALLY in terms of art. DKP-Freeza had the best overall art imho. Anyway it starts off with such a bang i love it. Like im sad my boy Krillin dies. And then Oolong is all like “hey this piece of paper says demon on it” and it cuts to Mater Roshi and HE IS TERRIFIED. That shot of him hoding the paper practically trembling goes without saying. 

Its the first time we legit see Goku out for blood. Like this kid is pissed tf off. He anhillates Tambourine when he was running away and fucking kicks Drums skull in without a second thought! And with that scene we have one of my favorite shots in the anime, thanks to the GOAT, Masaki Sato

this dude does some of the best key animation/artwork on the anime PERIOD. its just so clean. He went up to somewhere in the Android saga (I believe the last thing he worked on was Super Android 13. And its missed later on cause the Buu Saga with this style? good lord. (We did get Studio Cockpit for Cell-Buu, but there were only like 4 eps in the series they did)

ANYWay IM getting off track sorry. its just so good. this was the first time where the Z Fighters (ik this aint Z but i still call them that lolol) are legit dying and it just feels so helpless. 

For all intents and purposes, Demon King Piccolo won. he took over the world. Crime was legal. Goku was presumed dead, Tien was MIA, Yamcha was crippled, and the Chiatozu Roshia and Krillin were confirmed dead.

OH RIGHT.

HE FUCKING. KILLS. SHENRON.

Wishes for his youth. Shenron is about to fly off and DKP is just like “nah” and MOUTH BLASTS HIM TO DEATH. 

Its just like, even if they did win, too bad the worlds still fucked and your friends are dead cause the eternal dragon is dead. (lowkey tho it makes me wonder why that was never used again.) Like later on they go all about no Kami/Piccolo = no DBs but never “what if we killed the dragon” would have been interesting on Namek imo

there were only a few times the series felt that hopeless and every time it was great.

One of the sub arcs is all about the Evil Containment Wave which is one of my favorite techniques in the whole franchise 

JUST LOOK AT IT ITS COOL AS FUCK

this move legit kills you just by using it. thats wild

And i love how King Piccolo (and even Junior in the following arc) just shits himself anyone even pulls out the rice cooker or whatever they decide to use. this dude is scarred lmao

Like this man hates martial aritsts so much he legit makes Tambourine for the sole purpose of eliminating any of them around the world so nobody could ever stand up to him again. terriying stuff if you think about it. and theres some sad scenes of seeing guys like Nam and them get slaughtered by Tambourine aka Dameon Clarke doing his Imperfect Cell voice (im a dub watcher lol)

This also introduces Yajirobe and I really like him tbh. His fight with Cymbal was great. dude legit sliced Cymbal ate him. I wish he was around more of the fights, hes tough af. (He was the savior against Vegeta but after that he became Senzu Bean delivery man lol). i mean i get hes the coward but he saved Goku more than once in this arc and hes a good guy overall. 

Also speaking of Cymbal getting eaten, since him and DKP are telepathically linked, could DKP feel him getting eaten or nah since he was already dead? 

As for the filler, this was where the anime staff really shone in the expansions. Like take the Ultra Divine Water. in the manga, Korin is just like “here lol” and Goku drinks it. In the anime theres a whole arc about the darkness. And while imo ti drags a biiit too long, the fact that they made a mini arc about him EARNING IT makes it so much better imo.

And then probably m favorite filler scene in the arc involves Tien when they were searching for Dragon Balls. (At least im pretty sure its filler) They track a dragon ball to the house of a dude Tien crippled back in his dickhead days lmao. The dude is pissed off (for good reasons) and lowkey petrified and this man Tien is beside himself with grief. Iirc he gets on his hands and knees, legit begging for forgiveness. (I think he even says something like, “if you want to break one of my bones or even kill me out of revenge, go right ahead” AND THE DUDE ACCEPTS HIS APOLOGY. its just so nce to see an actual redemption arc. Like with Piccolo its heavily implied in filler but never really explicitly shown when he turned good. With Vegeta he throws a tantrum and then hes like hmmm imma be good now. But Tien? The anime goes out of its way to show that this dude realizes his entire worldview was fucked and he feels the weight of it, all boiling up to when Shen almost kills Chiaotzu for not wanting to cheat. (Shen and Tao’s comeback in 23rd WT was a great conclusion to Tiens character arc buuut tbh i wish Tao wasnt a cyborg. YO WHAT IF GERO TURNED TAO INTO AN ANDROID AND HE WAS #19 OR SOMETHING that would be sick lmao.)

Also the filler with DKP’s origins that showed Muitaitos fight and detah and then Shen’s descent into being the prick he was in canon was really believable. 

I COULD WATCH A WHOLE SERIES ON THIS

(Also my theory on why King Piccolo legit explodes when he dies is that he basically transferred his entire being into Piccolo Jr’s egg, body and soul, so he wouldnt really have a body left. they kept going on about he was his reincarnation so it makes sense to me lol)

nd the next arc (which tbh its basically one big arc) has the best fight in the whole franchise Goku vs Piccolo Jr aka the best fucking grudge match ever lol

[1996babes]

My Thoughts on Wishful Thinking 🤭

Okay, I know it’s way too early to rant and drag this book. I don’t want to sound like the whiny ass ROD haters from like two months ago, so I will do my best to be nice with this. If everyone could be quiet about their thoughts until the end of this rant...that would be great.

I had previously already commented about the recycling situation under someone else’s post but I think I kind of snapped (i did), therefore, I am reposting it below.

“Literally everything from WT is recycled from something else. The friends, the clothes, as well as our MC and even the LIs!! Aubrey looks like a mixture b/w Nathan and Elliot. Jaime is basically Bryce and Rafael’s hotter (?) son. Anna is literally the twin sister of the popular cheerleader girl from ILITW. Our two coworkers/friends? They are known as the “waiter” and the “receptionist” from almost every Choice book. Our dickheaded boss? He’s the asshole from multiple previous works. Like...it’s just pure laziness on their part and it’s honestly sad. If they didn’t have the time or the budget to create new characters, then they should not have released the book at all. Period. It’s simple: quality over quantity.”

With that being said, Wishful Thinking is not a bad book. Not at all. It’s not trash, it’s just a recycling bin. Based off the first two chapters, it seems like it’s the book where non-essential and unimportant characters, clothes and hairstyles go to die. This is unfortunate because it makes the book seem cheap, sloppy and rushed.

The minor bright side? We’re only two chapters in! It’s very likely that the book gets better. This does not really help the recycling situation but it does give an optimistic outlook on the actual book itself. Personally? I wasn’t really feeling the writing all that much, plus the MC was really getting on my nerves as well.

The actual bright side? Jaime‼️ I love him, omg. The best friends-to-lovers trope is SO overused but damn it, he’s totally it for me.

Aubrey? Ooh, poor Aubrey. I see all the hate he’s getting on here and it’s just terrible, lol. He hasn’t even done anything yet and y’all are already on his neck. Smh, yes, he has no flavor but he’s pretty sweet. So, please, stopping dragging the guy for five seconds (even if it’s a little funny).

Anna? I love her outlook on life and success. Her personality is great. Visually, I mean, she’s alright....I guess. She’s really not that special, in MY opinion. Although, from what I have seen on here, people really like her so far as a LI. I am really happy for them for the gays and my fellow bisexuals who stan her. I’m sorry that she’s already being paywalled two chapters in, though.

Aubrey’s diamond scene cost 12 diamonds; whereas Jaime and Anna’s scenes cost 16 and 18 diamonds, respectively. It’s not a big jump at all but....

Anyway, I guess it’s back to the only day that I actually looking forward to during the week: FRIDAY‼️‼️ Open Heart, Ride or Die, and The Elementalists? They are worth all of my money! That’s just period.

[rbeatz]

Bob Marley’s Son and The Reggae Collective, White Tiger Society

White Tiger Society is a New York-based Soul, Reggae, and Hip-Hop collective comprised of vocalist and multi-instrumentalist Dajla “The White Tigress” and Grammy Award-winning engineer/producer Comissioner Gordon Williams. They recently released their new single, Why, featuring Bob Marley’s son, Stephen Marley.

Why is from their debut album, Sound of the White Tiger, set to be released on September 15th via Lalabela Music Group.

Comissioner Gordon Williams adds, “Stephen and I have a long relationship in music, going back to the days of The Miseducation Of Lauryn Hill, all the way up to Welcome To Jamrock, on which we worked together, as well as his latest album, The Fruit Of Life. Stephen actually picked Why to collaborate with us on, and we are thankful to have ‘Ragga’ as part of the White Tiger family!”

The song combines reggae, heart-felt soulful vocals and that positive feel similar to what we’re used to hearing from the music legend himself, Bob Marley. It’s difficult to listen to Why and not feel that uplifting feeling.

Comissioner Gordon Williams is a legend in the music industry, with his nickname given to him by KRS-One. He’s won multiple Grammys including two Album of the Year Grammys for The Miseducation Of Lauryn Hill and Santana’s Supernatural.

Dajla is a musician to the core. A student of classical and jazz piano from ages 6 to 16 at the national music conservatory in France. She also found inspiration at home, listening to her parents’ Soul, Jazz, Reggae, and Blues record collection. Dajla has released two albums and an EP to date, while sharing the stage with the likes of Angelo Moore from Fishbone,De La Soul, Nneka, Sa-Ra, and The Brand New Heavies.

White Tiger Society was born in In 2013 when Gordon and Dajla met in New York City through their work as a writing/production team.

We had the pleasure of interviewing White Tiger Society below. Play their new single, Why, featuring Stephen Marley and read the full interview below for the FULL White Tiger Society experience. Dajla answered some and Comissioner Gordon Williams did others as noted.

  Where does the name White Tiger Society come from? 

DAJLA – It comes from an Asian legend – The White Tiger is a mythical creature that appears when the world goes off balance. It represents Justice. Although it does not harm people, it becomes angry when the ruler of the land conducts evil deeds.

How many musicians are in your group? 

DAJLA – WTS is a collective fronted by Gordon Williams and myself, and we work with musicians in the studio and on stage. For live shows, we have different line ups, DJ sets, or a full band.

 Where are you from and how has that shaped the musician you are today?

DAJLA – I was born in France, on the west coast. The great thing about my hometown was that I could attend the national music conservatory, so I studied classical and jazz piano and music theory there from age 6 to 16. It gave me solid music foundation that I would use years later for songwriting. But my influences were shaped at home, as I grew up listening to my parents’ reggae, soul, rock, funk and jazz record collection, and artists such as Bob Marley, Ray Charles, James Brown, Michael Jackson and Carlos Santana.

What instruments did you play when you were younger?

DAJLA – I started playing piano age 6 at the conservatory, also did Oboe for a couple years but it gave me migraines lol. I taught myself the bass age 17.

Are there an instruments that you currently wish you COULD play?

DAJLA – I would really like to learn to play the guitar. Great for some writing and performing solo.

Tell us the story of how you started creating music on your computer?

DAJLA – In 2005, a producer friend of mine introduced me to Digital Performer (music software) and showed me how to use it. I slowly started making simple beats and used it to make demos of the songs I’d write. I had a very simple set up, good enough for me. My Macbook Pro, an M-Box, a couple of Genelec speakers, a Brauner microphone, a Nord Electro and my Fender Precision bass. It was great!

What was your favorite studio moment when producing your newest single, Why?

DAJLA – My favorite moment was to go visit Stephen Marley in his studio in Miami. He and Comish go way back, and it was the first time I met him, so I was really honored. After listening to the track a couple times, he just went in the booth and instantly came up with his part. Truly amazing and memorable experience!

What was it like working with Bob Marley’s son? 

DAJLA – It’s like a childhood dream come true.

What do you like to do when you’re simply hanging out – aside from music?

DAJLA – I like to spend time with my close friends and family. Love to go dancing too. NY has some good club nights (Timmy Regisford, Tony Touch…).

Are you involved in any extracurricular activities?

DAJLA – I coach young artists – piano, vocals and songwriting, to help them prepare for recordings or live performances. Gordon has a music Academy – The Lalabela Music Academy that teaches music and music engineering to under-privileged children and teenagers, in the US or abroad. I am joining the Academy as a music instructor and to create a brand new modern, fun and hands-on approach to teaching music. Music can also act as “therapy” for some of the children I work with. Music heals!

Who are your musical influences?

DAJLA – Each period of my life helped me discover amazing artists – There was reggae from early age, and funk/RnB with James Brown, all the jazz greats, too many to mention…From Billie Holiday to Thelonius Monk – a solid hip-hop foundation in the 90s, with bands such as Public Enemy or the  Fugees, Lauryn Hill of course…Also hung a lot in the ska scene and absolutely love Jamaican music (The Skatalites, Ken Boothe, and the electro scene, Drum and Bass, House, Garage…Most recently I have been listening to a lot of Ethiopian Jazz – Mulatu Astatke is one of my favorite artists.

What DAW do you use and why?

COMISSIONER GORDON – Pro Tools. I have been a Pro Tools user many years. I am the most comfortable with it, but I do like Studio One as well.

Do you have a typical music production process? If yes, can you explain it?

DAJLA – I usually write songs on the piano, basic chord progression and lyrics. I let Comish hear the song, think of a style or direction, i.e. reggae, soul, ska…depending on the beat he hears. He then gathers a team of musicians to cut it in the studio. He then adds beats/effects, and finally mixes it, adding his magic touch of course.

Who has been one of your favorite artists to collab with?

DAJLA : So far Comish is the best artist I’ve collaborated with. His vision with regards to my songs is always on point and his experience in recording and writing pushes me to another level.

What is your favorite MIDI Controller or instrument to produce with right now? 

COMISSIONER GORDON – Can’t say that I have a specific controller. I have worked with so many. I still use my original MPC 3000 from time to time. And I like the MPC Renaissance

What is one of your favorite or go-to VST Plugin? 

COMISSIONER GORDON – mmmmmm trade secret lol

Do you have a key production tip for our young producers out there? 

COMISSIONER GORDON – Be true to the music that is inside of you.

What are some of your favorite venues to play and why?

DAJLA – I really like medium capacity venues, which are more intimate and create a great experience and bond with the audience.

What is your favorite color?

DAJLA – I love all colors

What food do you eat the most?

DAJLA – Mainly vegetables and fruits, nuts, seeds… At home, I mainly cook North African/ French Mediterranean dishes, and I also enjoy Caribbean food…And Tunisian cookies

Do you have a favorite in-studio snack?

DAJLA – Does Pinot Noir count as a snack? lol

What is your favorite social media platform and why?

DAJLA – Each media has something great to offer… Facebook because it allows fans to reach out directly to us, and it’s very practical too for events. It is also a great tool to find and connect people.

What is next for White Tiger Society?

DAJLA – We’ve just dropped our new single Why ft Stephen Marley here in the US, and more music will come out this fall. The next step for us right now is touring the US and Europe, this fall and in 2018.

from rBeatz Radio http://ift.tt/2g1V92W

[homepictures]

The Real Reason Behind Home Photo Galleries | home photo galleries

When Miramax showed absorption in the apple rights to “Sólo” and the blur was best up by the Toronto International Blur Festival in 1991, Cuarón appeared to accept won. But Miramax after withdrew from the deal, and the Mexican blur agency captivated up affected absolution for added than a year, abrogation Cuarón broke. He could go aback to actuality Mexico City’s best abettor director. But if he capital to accumulate administering films, the alone way he survive was to acreage assignment in Hollywood.

For two years, Cuarón shuttled aback and alternating amid Mexico and California. His accord with Jonás’s mother, Mariana Elizondo, had collapsed apart. In Los Angeles, he lived out of a beat-up Volkswagen Rabbit and comatose with accompany like Lubezki. Every dollar he adored on motels was a dollar he could accompany aback home. He jokes that he was a “wetback deluxe.”

His breach came in 1993 back Sydney Pollack assassin him to absolute an adventure of “Fallen Angels,” a Showtime alternation that he produced. Aiming for academician at a time back cable cine channels showed mostly bendable porn, “Fallen Angels” apprenticed a agenda of accomplished directors, like Steven Soderbergh and Jonathan Kaplan. To accumulate the account low, however, Pollack additionally assassin Cuarón. “We brought him in because we anticipation we could exhausted him up to do it for beneath money,” Steve Golin, again a ambassador on the series, told me.

Cuarón acquainted so afraid back he showed up for cutting that he stuttered back he batten English and could almost accompany himself to allocution to the advance actors, Alan Rickman and Laura Dern. By the end of Day 1, he was berserk abaft schedule. Again Rickman alleged for him. Cuarón alarming actuality chewed out. He begin Dern and Rickman sitting together. Alfonso, Rickman said. We are actuality for you. We appetite you to acquaint us what you want. We accept in you.

That night Cuarón and Lubezki backward in a dive cabin abreast the Hollywood sign. There were stains all over the carpets, stains all over the sheets, stains all over the constructed coverlet. “All that night I capital to cry,” Cuarón told me. “But there were Alan’s words.” The abutting morning, he appear that they would reshoot all the scenes they’d done the day before. His abettor administrator protested, but Cuarón insisted. They reshot Day 1 and attempt aggregate they bare for Day 2. In the end, Cuarón’s episode, “Murder, Obliquely,” won a CableACE Award for best directing, paving the way for the blow of his career.

So began Cuarón’s years as a administrator for hire. He confused to New York — he says he couldn’t buck the industry babble in Los Angeles — and adherent himself to account scripts. A flat controlling brash him that if he capital assignment in Hollywood, he shouldn’t acknowledgment writing. At first, this wasn’t so painful. Cuarón focused on cutting added skills. His third film, “Great Expectations” (1998), is affidavit of how bound he came to adept every aspect of cine production: sets, costumes, lighting, sound, choreography, shot-planning. Back the French analyzer Michel Ciment buried a blow of it at Cannes aftermost year — a continued booty of Ethan Hawke analytic for Gwyneth Paltrow as an aria plays — the admirers responded with cheers. But Cuarón himself looked sheepish.

He had active on to “Great Expectations” because he bare money and admired the abstraction of alive with Robert De Niro. He didn’t absolutely get Dickens, but he anticipation he could atone with visuals. As he attempt the blur with Lubezki, though, he acquainted disgusted with the action of authoritative alone artful decisions. One day as he and Lubezki collection a van abounding of lighting accessory from a shoot in New Jersey, he gazed at the casual mural and asked out loud, “Why are we stylizing all this?”

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Structure - Photographers

Architecture Photography Research..

Andrew Lee

http://www.andrewleephotographer.com/

Andrew Lee has 20 years of experience in the field, he understands his clients requirements and preferences, and appreciates the ideas and principles that underlie their work.

He graduated from The Glasgow School of Art's with a Fine Art Photography qualification.

For each photograph, the camera can remains in place from one to two hours,  which allows the scene to be recorded at various times. 

Andrew Lee uses a medium-format digital view camera on location. The Linhof 679cs technical camera with full movements and large-image-circle Rodenstock and Schneider lenses allow all optical corrections to be done in-camera. 

Photographs are captured by a 60MP Phase One IQ160 digital back and assessed on location at full resolution on a tethered MacBook Pro. Lens cast correction and RAW conversion is achieved using Capture One software.

I chose this image as i like the perspective of the ceiling.  

I like this image as you can see the GCU sign clearly as well as the building.  The building is clean and sharp in the image as well.

Neale Smith

http://nealesmith.com/

I like this image as it has lines the lead from the bottom of the image to the top.  It is also clean and sharp.

I like this image as the lines are in perspective, even though it is a wide angle, and the view from this buildings windows adds interest to the image.

Neale Smith has been shooting architectural photography since 2006, specialising in interior photography. His aim is to give his clients photographs that will stand out and enhance their business. Emphasising on quality over quantity, great care is taken on the day to ensure that his clients needs are meet.

Based in Glasgow and working throughout the United Kingdom. As well as architectural photography and interior photography, he also works in the following areas:

Commercial photography Product Photography Industrial & corporate photography Location photography Portrait photography Visual impact assessment photography

Chris Humphreys

https://www.chrishumphreys.net/

Chris Humphreys Photography - Architectural, Interior and Commercial Photography in Scotland and throughout the UK.

Chris Humphreys an architect as well as an architectural photographer. Practising in Edinburgh for 18 years and developing a deep understanding of how to present completed projects in the best possible way. Chris has a natural eye for composition, lighting and detail.

Chris images are clean and simple, with a flexible approach to photography he aims to always meet his clients' needs.

I like this images, as the buildings lines are at an angle it gives more intrest to the image, which may not have been as intresting if the lines were vertical straight on.  

I like the colour on the white walls with this image.  It is clean and sharp, as well as being able to see the lights on in the image

Keith Hunter

http://www.keithhunterphotography.com/

Keith received his degree in photography from Napier College, Edinburgh. His interest in Architectural Photography developed while working in his father’s architectural practice.  Keith set up his business in 1988, and has specialised in photographing architectural and interior design. He takes great pride in producing creative high quality images, Paying attention to detail and has an understanding of the client’s needs.

I like the perspective of this image, it gives the impression of space and light in the building.

This image gets the whole of the building in, with all the lines corrected, with no obvious distortion.  You get the impression a how big the building is.

Tom Manley

http://tommanleyphotography.

Tom Manley has worked in architectural firms for 10 years before he set up as a photographer, with  focus on architecturet, as well as the social landscape and cultural fabric of cities. Glasgow based and often in Edinburgh giving easy access to projects across Scotland. Building on my background in both architecture and fine art, the camera and written words have become central to communicating projects, ideas, and images for a range of clients within the construction, and creative industries. Primarily my photography work documents architecture and aims to capture  the story of a building through form, function, concept, and place.