#this was during jazzys stream
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drop the lightbrush milk and cereal drawing here
since you asked So politely
#sorry i keep forgetting to post here lmfao#this was during jazzys stream#inanimate insanity#ii lightbulb#lightbulb ii#ii paintbrush#paintbrush ii#lightbrush#paintbrush x lightbulb#lightbulb x paintbrush#relpyart
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Wake Up Call - Nintendo Alarmo
All through Summer 2024 the Nintendo fandom had been in a fervor. The Nintendo Switchâs reign had eclipsed its seven year apex: the time had come for a new flagship piece of hardware to take its place. The stage seemed to be set: the game releases were thinning, the Nintendo Directs sparse, and the major game releases clearly smaller, outsourced, and not the main focus of development. Nintendo had already acknowledged the new machineâs existence with an assurance of it being announced within the fiscal year, followed by a continuous promise below each and every announcement stream that there âwill be no mention of the Nintendo Switch successor during [...] these presentations.â
As the dog days passed by, during the fleeting few weeks of Fall that still existed between the ever widening record-high Summers and devastating Winter storms, it seemed undeniable that the stage was being set. Nintendo filed new patents for motion sensor technology. Word got out that they were filming a commercial for a new piece of hardware. They flew out content creators to demo something kept under wraps. And on October 9th, 2024, fans awoke to a flurry of notifications, an early morning unheralded announcement shaking the very foundations of what was thought possible for the gaming giant:Â
Alarmo.
Nintendoâs smart alarm clock. A touchscreen device with a sleek interface, loaded with 35 themes inspired by 5 games (and more to come), and a $100 price tag. Their patented motion sensing technology made for a hands-free experience. Set the alarm once and from then on, each and every morning, your eyes would flutter open to a jazzy Mario tune, and your triumphant rise from bed would be rewarded with a victory jingle, a âLets-A-Go!â, and a shot of nostalgic dopamine.Â
But is nostalgic the right word? The motion sensor only works with a very specific set-up: most notably being limited to one person, a small bed, and a room that will remain otherwise empty through the night. No spouses, no pets, no roommates. It was clear this was intended for a childâs room. So no, it wasnât nostalgic. At least not yet. It was designed to create new nostalgia.
Nintendo Alarmo, along with the similarly aimed Pokemon Sleep, are part of Nintendoâs long-running obsession with intentionally forming habits and responses. From the scheduled broadcasts of the Satellaview to the daily-task centric Animal Crossing series, and especially the predatory practices of their mobile game releases, Nintendo had a penchant for designing parasites that attached themselves to your waking (and non-waking) cycle.Â
Today Iâll be sharing excerpts from interviews with people who received Alarmos as children, and uncover the shocking effects of waking each morning to a pavlovian coin-get jingle. But first, speaking of coin-getting, a word from todayâs sponsor: LoanFast. Is payday just aâ
God what a waste of time. Shitâs always so negative these days. These nostalgia-grab video essays used to be pleasant. Hereâs an old-school animated movie you havenât seen since the DVD bargain bin! Top ten cartoons of the 2010s! The misunderstood genius of the Wii U! But nah, now time has crept past the optimistic millennials. Weâre struggling to find the diamonds in the rough patch that was the 2020s, to salvage anything from that fucking trash heap of a decade. God, no wait. Now I sound like them. I grew up with that age of media. I love that age of media. Itâs just so easy to let the zeitgeist of doomerismâ Okay stop. Itâs way too easy to let these things override my brain. I had to mentally backspace the phrase âeasily impressionableâ right there too. I watch these videos with their big words and their gloomy ways of lookin at life and I feel it all start to seep into me.Â
Millennials will convince you that the 00s were the peak of human creation. That the 10s were the last big push of creativity. But that's just not true! My cartoons were way better! Our video games are just objectively cooler and bigger! Adults get stuck on trying to make fun of my generation for the same few bullshit things, if I hear one more Skibidi Rizz Iâm gonnaâ Shouldnât think like that. Iâm 24 now. Thatâs an adult. Iâm an adult. I keep saying that and it doesnât sound any more true. It happened so fast. It took so much time but it happened so fast. I was just a kid, playing Super Mario Odyssey on an old LCD, and then I was a teenager and a lot happened, so much happened, and now Iâm an adult playing Super Mario Odyssey on an old LCD and nothing happens, nothing ever happens. I am an adult and it is Christmas Eve and I am alone.
It was Christmas Eve then too. Back when Christmas felt like Christmas. I was 12 years old when I got the Nintendo Alarmo. December 24th, 2024 when I tore open my first present of the year. It was tradition to get one present the night before, usually something to pass the time until I was more tired than I was excited for the next morning. You wouldnât think a clock would keep me busy but I spent the whole evening fiddling with the options, looking at every theme, resetting the time to hear the top-of-the-hour jingles for each game. I remember dad helping me put in the wi-fi password, I remember momâs hurried trip to whatever convenience store was still open on the holiday because the damned thing didnât come with an AC adapter. She brought back a package of Reeseâs and one of those juice drinks with a plastic toy on it. It was⊠a Spongebob one? Yeah, and I set it on the shelf and it fell off during all the unwrapping the next day and it rolled underneath the shelf and it was down there for months and Iâm remembering every single time I was sitting on the floor playing Mario and Luigi Brothership after getting it the next day and every single time I could see the Spongebob juice topper below the tv smiling at me and I never thought to get it I never put any thought into it being there it was just there until a day my mom must have swept and it wasnât there and I didnât think about it not being there. Until right now.Â
Why didnât that thing come with an AC adapter, god thatâs so stupid.
I think about all that and I donât think about everything that happened afterwards. Iâm 12 years old and itâs Christmas Eve 2024 and Iâm getting the Nintendo Alarmo and now Iâm 24 years old and itâs Christmas Eve 2036 and I look over at the window sill next to my bed and the Nintendo Alarmo is still there, still ticking. The AC adapter has been replaced a couple times and itâs a bit dinged up but itâs still ticking. So much happened all the while that clock kept ticking. Iâm still ticking. Iâve gotten so worked up over this fucking video and Iâve been scrolling my home page this whole time. I try to actually read the titles my eyes are glossing over: âThe Untold Story of Minecraftâs 1.50 Disasterâ, âWhat Went Wrong With Forza 2030â, âDoes Sony Regret Dropping Out of Consoles?â and I almost click the last one to see which retired executive guy theyâre interviewing and personifying the whole company onto this time and I stop myself. It just takes one god damn clickbait title to manufacture curiosity like that and Iâll be watching another two hour video about job layoffs and feeling like shit again. Iâm so sick of feeling like shit. Itâs getting harder and harder to find content that makes me feel good.Â
I decide to just turn the damn thing off. I sit there in the dark for a minute, as a dim light comes from across the room: it's 11:00pm and my Nintendo Alarmo is displaying a top-of-the-hour animation. Mario runs into view, bumps a block 11 times. I hear the little coin-collection jingle 11 times, and then the screen defaults back to its calmer darker state.Â
I google for a day calculator on my phone and punch in that Christmas Eve and this one.Â
4,383 days. If you take into the fact that after the Animal Crossing theme releases I swapped to that for Halloween and Christmas mornings, thatâs 22 Animal Crossing mornings, and 4,360 Super Mario mornings, and 1 Mario Kart morning that I hated. Who the fuck wants to wake up to tires screeching? And the âFIRST PLACE VICTORY!â out-of-bed message was a bit patronizing even for me. But yeah, 4,360 Super Mario wake up calls. 4,360 times I have heard the Super Mario Bros. theme song as the very first sound of the day. Through thick and thin, from one side of the country to the other, through every school morning from 2024 onward and every single day of every job Iâve worked, it's remained constant. A morning without that jingle is just not conceivable to me, it's as natural a part of life as anything else. As sure as Iâll eat food and as sure as Iâll take a crap and as sure as Iâll turn my computer on and as sure as Iâll sleep again the next night is as sure as I will hear that jingle. Speaking of, sleep.
I brush my teeth with Scooby Doo bubblegum toothpaste and a toothbrush that I avoid looking too closely at because its got Spongebob on it and Iâm too tired to let myself start back down that path of thinking about the things I took for granted. I can feel on my teeth that the brush is awfully frayed. Iâve been putting off buying a new one for months. I donât know why. I could just grab one at the store and swap it out and it would make me feel so much better and be so much better for me, but I just donât do it, I just never think to get it while Iâm there and that just happens everyday and I blink and it's been months and my toothbrush is still frayed. 4,360 times. 4,360 times.Â
I catch my brain multi-track drifting and decide I canât sleep without a distraction. I open Youtube on my phone and start scrolling for something to play while I sleep. I crawl into bed and I just barely remember it's Christmas tomorrow. I grab the Nintendo Alarmo and thumb through the settings, swiping through menus.Â
When I wake up tomorrow Iâll think that maybe I was just too tired, maybe I just got other shit on my mind, and that maybe these old LCD touchscreens are just over-sensitive pieces of shit or that maybe just maybe I am. But tomorrow my eyes will open at the time theyâre used to opening anyway and Iâll be ready to hear the special Animal Crossing Toy Day Jingle that I was so certain I set it to, and Iâll hear the horrible screeching of tires on pavement and something will snap in me and Iâll hear the âFIRST PLACE VICTORYâ and think about the empty platitudes and the 12 years I can barely remember and the four thousand wake-up calls that accompanied me as I kept sleep-walking through them and Iâll wake up and something will shatter and Iâll spend Christmas morning cleaning up the shards.Â
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during jazzyâs latest ii reaction stream during a conversation Justin said that silver would probably wear makeup, I would say âI need to draw silver in makeup NOWâ but I do that already lmao
Also check out this voice request my friend got for me WOAH!
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Last week, in the middle of a pretty trash week in general we learned that Sakurai Atsushi, lead singer of legendary Japanese rock band Buck-Tick passed away on Saturday October 16th.
I'm not sure how much I've spoken about them on here.
I found them in late 1998. When I got that X/1999 fansub in Brooklyn where I first heard X-Japan, it sent me down a rabbit hole. I would find out the fandom and the country were reeling from the passing of X's guitarist hide earlier that year, in Spring, and I would find a stream of a tribute album. Hide tribute spirits.
This is where I first heard Buck-Tick. Their cover of "doubt" left me wanting more.
I would then learn that they had been around since 1983 (i was 3).
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(this is from 87)
They evolved through many eras, from new wave to goth (?) to cyberpunk to rock'n'roll to a combination of all eras. Their influence can be felt even in modern visual kei. They are probably the band that made everyone in that scene wanna have at least one jazzy swing type song on their albums. Hell, Acchan's the reason Kyo is Kyo. Sakurai's look inspired many anime character designs (and I'm pretty sure Benimaru Nikaido from King of Fighters is based on 80s Buck-Tick....yes...they ALL had that hair).
In fact, a lot of their music was in anime (especially if said anime was about vampires. It always amused me that during the era where Acchan looked like a vampire, B-T were the band you called if you needed a theme song for your vampire anime.) Nightwalker, XXXHolic, Trinity Blood, and the very best one, the one that is actually scary, SHIKI!!
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If you're not up on vis kei, you probably still have heard of him since he and Imai were in SCHWEIN with Raymond Watts from Pig and Sacha Konietzko from KMFDM.
He also had a band called The Mortal which did a pretty amazing Siouxsie cover.
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I recommend Buck-Tick and the Mortal's entire catalog, most of which is on streaming now. I should make a bloody playlist.
I will add the playlist to this post later.
R.I.P. Sakurai Atsushi
one of the greatest vocalists ever, and condolences to the band.
I cannot stress enough how awful I feel for those guys.
This band was together for THREE FUCKING DECADES. No lineup changes.
Atsushi and Imai had the kind of vocal interplay you only get if you're basically best friends.
It's a terrible loss.
. . . and, . . . . no.
I can't end the post like this.
It's too sad.
This band brought too much joy to end the post like this.
I am leaving you with the saga of the paper mache head people.
in the 80s, for the album Seventh Heaven (an album I might actually like better than Sexual XXXX, I can't decide), B-T did videos for quite a few songs (they did PVs for pretty much every song on Sexual XXXX), and 3 of them feature Atsushi having nightmares about/seeing people with large fake paper mache heads. Then in the video for In Heaven they are playing a show for them.
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They had something I think is crucial to every band now and forever: WEIRD ASS MUSIC VIDEOS.
You think it was jus the 80s?
no no no
check out UTA
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Just your average performance video? No. They dressed up like rock icons, with ridiculous wigs.
This is what I'm talking about. Joy, kids.
Atsushi and Buck-Tick brought JOY, dammit.
enjoy.
I'll post a playlist later, I guess.
Atsushi Sakurai, rest in power you legend!
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This is a cry for help.
Someone called me out during the Jazzy Oliver stream. And I don't mean in a friendly way. LITERALLY THEY STATED THE CONTENT OF THE FIC WITH NO FILTER. IN HER CHAT.
This has been my worst fear. Already, the fandom knows about my fucking joke. I don't want the staff to find out. Yet someone had no filter. At least don't mention the fucking MPREG.
Hi, I'm a creator of the Silver Spoon Pregnancy joke and lemme tell you: THIS IS NOT OKAY. Only I really have the power to tell people that I made that joke a reality. Please, this is asshole behavior. I never stated the contents of that fic in front of any staff because I didn't want to make anyone uncomfortable. Once again, really only I and my friends have the automatic consent to tell people that I wrote that fic. Just because you found it, doesn't mean I give you my fucking consent to expose me.
Posting this in the main tags because pretty sure y'all on Tumblr know what I mean because of June 9th, and also once again, this IS a call for help and comfort.
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UPDATED BTS Solo Chapter WISHLIST 2.0
Below are my own personal wishes based on my feelings about BTS's solo period. Readers may or may not feel the same, and that's okay. Hopefully it's interesting to consider where we agree or disagree.
- In black are the original wishes from my Phase 1 list. (1.0) - In red are the updates to the original wishes. (2.0) - In green are newly added wishes to the list. - In orange are where the situations for the original wishes canât be fixed or undone. Although some items are too late to go back in time to recover in that moment, going forward the item may still be able to be done in concerts or in other settings different from how it was originally presented.Â
Silently think, âI WISHâŠâ before reading each item.Â
I wishâŠ
- BigHit had offered more assistance & guidance to the members for the solo projects. More seems to have been done at least better in the 2nd round of projects (Phase 2).
- BigHit had ensured more equity for all 7 solo projects. Yet to be seen but seems headed in a better direction.
- BigHit had allowed Jimin to do the requested visual album (additional videos or at least visualizers) for his complete album. Yes! Jimin said he was able to create the videos he wanted for his 2nd album for Closer Than This, Smeraldo Garden Marching Band, and WHO. He also got visualizers, remixes, and an additional English version of one song (Be Mine). All songs were covered somehow. HOWEVERâŠ
I wishâŠ
-(NEW) Jimin had shown choreography for Be Mine (even an Instagram post or dance practice video at least). Weâll look forward to that when he returns.
-BigHit or Jimin had released his slow, Jazzy version of Like Crazy that he sang on Lee Mujin Service on streaming platforms. STILL WAITING but he did release a slow, acoustic version of WHO, which was great.
-Jimin had released Letter (Dear.Army) on streaming platforms STILL WAITING
-Jimin had left out the cursing on his songs (or at least made clean versions for radio, etc.). YES! No cursing on MUSE.
-Jimin had a longer, uncrowded promotional period. YES! Jimin had a decent promotional period with minimal interruptions and distractions for Phase 2.
-Jimin had done that song-ending shout âYeeeeahâ during his re-performance of Tony Montana with Suga for Day 2 of D-Day encore concerts as he did for the 2016 version. Too late to recover
-Jimin and V had full length albums. (even though I feel the EPs suited their projects). Too late to recover BUT Jimin released 2 EPs, which creates 1 LP, if both EPs are considered together. It's still possible V could release another album too, but he doesn't have to.
I wishâŠ
-V had put at least one up tempo (faster) song on his album. Too late to recover
-V had been able to use his dog, (the real) Yeontan, in his videos. Too late to recover BUT the real Yeontan was on stage during a music show performance!
-V, Jimin, & JK had not lost so much weight for their promotions. (improved views of weight/eating) Too late to recover BUT Jimin looked much healthier during 2nd promotion. He was not as thin and his hair, makeup, and style were improved. V looked healthier in his later Fri(end)s video too.
I wishâŠ
-JK had not done the explicit version of â7â. Too late to recover
-JK had not used Jack Harlow as his collaborator on 3D. Too late to recover
-JK had begun his solo project sooner so he wasnât worn out by the rush and he might have had time to be more involved in decisions and production. Too late to recover
-(NEW) JK had done the video for Never Let Go or at least a dance practice or TikTok post to show what was intended for those lengthy skipping parts OR that he had recorded the song without the lengthy skipping chorus parts and released the longer version later when he was able to combine it with the dance.
I wishâŠ
-RM had not cursed on his project (at least so much). NOPE! He cursed as much - if not more - on RPWP (Ha!)
-RM had used Still Life as his main track. Too late to recover
-RM had done more extensive promotions. Yes! Promotions for RPWP were better than for Phase 1. He had a lot of videos and recorded performances for the songs - and a documentary!
-RM had used JM for the Wildflower collab. (maybe?) Too late to recover
-JH and RM hadnât released work right before JMâs album release. Too late to recover
I wishâŠ
-JH had danced more throughout his project. Yes! Dance was the theme of his entire 2nd project (Hope on the Street, Vol.1), which included a dance-focused docuseries. He danced throughout the entire project.
-JH had chosen a different style of music for some of his songs. Yes! I really liked the style of music he chose for all the songs on his 2nd album, but I still do appreciate the experimentation and branching out by trying different genres and styles for phase 1 and beyond.
-JH had been able to be around to perform HUH?! with Suga a few times during his concerts. Too late to recover
I wishâŠ
-Suga had not cursed on his project (at least as much). Too late to recover
-Suga had brought IU on as a guest during his concert tour. Too late to recover
-Suga had not stepped on JMâs promotional time (if possible) [See BTSâs Solo Chapter - Part 1 for possible reasons.] Too late to recover BUT this is somewhat canceled out because for promotional contributions, Suga did have Jimin on Suchwita and on stage to perform for a D-Day concert encore.
-(NEW) Sugaâs concert movie had on screen language translations available for the songs, perhaps regionally, so people who didnât know could understand the message of his songs. (I heard that wish from a few attendees.)
I wishâŠ
-(NEW) That song, that Jimin mentioned during the Festa 2022 dinner that he had asked Jin to work on with him, would be released.
-(NEW) That Jin and JHope release content for some subunit activities while waiting for the return of the rest of the team.
I wishâŠ
-The guys were able to be around to accept awards & recognition for their solo achievements. Too late to recover
I wishâŠ
-BTS fandom were more healthy & less destructive (Re: âtrue OT7 spirit, â autotune nonsense, â voting blocks against members, â misinformation, â general ugliness). STILL THE SAME, IF NOT WORSE, and now we have possible sabotage from a HYBE employee (who shall not even be named) who may be collaborating with others to damage the reputation and achievements of Hybe, BigHit, and BTS. Some of the âfansâ causing chaos and harm could be plants (saboteurs) from outside of the fandom. The rest of Army should try to reject being riled by these outside (or inside) sources and work to come together to support AND PROTECT every member of BTS. âTogether we stand, divided we fall.â
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crying at the tags on the playlist names post oml. anyway what're your top 5 mountain goats sounds for someone who loves no children and has not heard any other of their songs
OOOOOOOOOOOHHHH
Well here is the tmg essentials playlist that I have crafted, which is an hour and a half long (also is the reason my pfp is John Green mountain goats And was mentioned in the playlist tags :])
And as for the top five? Hhh okay.. I want to get a good mix of times and feelings in there as well as try to cover the essential albums uhhh
1. This year | The Sunset Tree | 2005
This is an absolute classic and is great to scream in your head. It's about getting through this year if it kills you!! It's one of my most played songs of all time at this rate (I've streamed it 500+ times apparently??)
2. Get Famous | Getting Into Knives | 2020
I love this one, it's more jazzy than most of their songs and is just very fun. It's not what a lot of their music sounds like but it's a good time.
3. The Best Ever Death Metal Band Out of Denton | All Hail West Texas | 2002
I love this album in general, it is very acoustic and every song has its own narrative. This song is the first on the tracklist, and it's a good representative for a lot of their music especially in that time period.
4. Deuteronomy 2:10 | The Life of the World to Come | 2009
Be warned this song will make you fucking cry. Content warning for extinction and animal death. That's all I will say. This song changed my life... I've never been able to listen to this album all the way through cause it's one of their more emotionally heavy ones. By god are some of the songs profoundly sad. Good but devastating.
5. Amy aka Spent Gladiator 1 | Transcendental Youth | 2012
If you like No Children, I must recommend something near it in catharsis. And of course that's Spent Gladiator. This song is like if This Year had an older sister. It's about going through rough shit and thinking you're not gonna make it but you find every way you can to keep going.
Bonus:
Here's the ska cover of no children. Because I love it.
You Were Cool is one of my favorites that they only perform live and haven't released a recording of. You can find videos of it on YouTube! I used one of the lines from it on my graduation cap.
If you do like these songs and want to get more into the mountain goats, I would recommend listening to either:
A Jordan lake sessions album, which are live session recordings they especially did during the height of the pandemic. The whole thing tracks over and has a lot of talking between songs and many of them have a different or more raw take on some of their more popular or personal favorites.
Any of their albums all the way through in order. My top recommendations for this are Tallahassee (which no children is on!), The sunset tree, all hail West Texas, bleed out, heretic pride, and transcendental youth. I do love many of the other albums but these ones are my favorites as a unit.
I know listening to the mountain goats at first can be really intimidating cause their discography is SO BIG (like more than 24 hrs worth of music big) but if you do then you end up with a lot of room to explore! I don't think I've even listened to every song they've made and I've been a fan for a good few years. Like mountain goats fans are super cool about that kind of thing (I know other music fan communities can be the opposite) cause they just love to share even a little love! And if you (or anyone else!!) have any questions or want more playlist suggestions (I have several hyperspecific tmg playlists saved and or made) my inbox is always open :] I love talking about tmg
#sierra speaks#thank you for the ask!#literally had soooo much fun w this#i hope you enjoy#and if you dont thats okay too#the mountain goats#mountain goats#tmg
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Headcannon Time! Blackjack O'Hare
Since our lovely laogomorph is now in the middle of his backstory, figured I could do some headcannons/facts about him!
- I knew early-on I didn't want him to be from Halfworld. I wanted Rocket to have that loneliness of being the only one like him from High Evolutionary's lab. So I settled on him being a creation of Tony Stark's. This also continues with the theme of Blackjack being a good person who was made worse by bad people who were on their way to becoming better. Stark was an arms dealer, and I feel like that got lost in the shuffle sometimes. I also wanted to highlight that cruelty, and the same kinds of it, are a universal in the galaxy.
- He has a lot of parallels to Peter! While Peter grew up with an 80s experience, and is sort of frozen in time there, he grew up with a 90s one.
- He's named after a character in a violent 90s cartoon, of which there were plenty of. As someone who grew up during that time, there were a lot of cartoons from R-Rated properties that should NOT exist lol.
- Why DOES he sound British? This is actually an homage to Rocketâs first appearance in the comics, when he had a British accent. I also liked the idea of having a running gag of where it's addressed that half of space sounds like this. And it plays into a lot of 90s kids having TVs for babysitters, and nature documentaries being a go-to thing in the days before streaming when you couldn't afford the GOOD cable.
- He's a voracious reader and loves reading literally anything. In a regular month, he can get through about 30 books easily. This is a weird callback to the Pizza Hut "book it" challenge from the 90s that a lot of kids did. A lot of 80s and 90s kids in the U.S. owe their literacy to how much they desired a personal pan pizza.
- He knows Braille and also BASL -- Black American sign language. He also knows some sign language from other pockets of the galaxy. BASL is a lot like ASL, but tends to use two hands instead of one.
- He's intensely pansexual, and has instant crushes on Mantis and Kevin, among others. Over the course of his life, though, he has two great loves. Readers have met them both currently.
- His favorite music is rap and hip hop. This, again, is something where he's very attached to something like Peter is, but in a very different manor. The Guardians soundtracks were based a lot in classic rock, and I wanted each new character I introduced to be like adding a new genre to the playlist-- Sort of like a new instrument getting introduced in an orchestra, so it all comes together to make one big, beautiful symphony.
- He's not very handy. He's been alone a lot of his life, and had to figure things out by himself a lot, just by nature of not trusting overs.
- He has intense anxiety, and abuses anti-anxiety medications as a result. He's got the heart of a prey creature, and has to live in a world where he has to be on guard literally every second.
- He's fully blind, and he has Braille stickers and other aids to help around his ship.
- His ship is named the Jazzy Belle, which is a nod to an Outkast song. It's very old and he doesn't know how to make a lot of the repairs. He doesn't like parting with it because he isn't a very big fan of change or instability.
- He's also a foil to Rocket and Meti in some respects. He is a version of them that never got a support system like he needed. Rocket eventually got the Guardians, and Meti his family. They represent found family. Rook represents BAD found family in her introduction. Blackjack represents what happens when that help just never comes.
- A lot of his mechanics have bits and pieces of household items and toys. The red of his eyes emotes, which is based on one of these:
- The family he lived with on Earth is religious. He followed in this path, even if he doesn't feel particularly worthy of it these days with some of the underhanded things he's done as a bounty hunter.
- He can use both guns and blades, although he opts for a lightsaber-type blade. Why? I thought it looked cool as hell in my mind.
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The Legacy Of J. Dilla Streaming On FX & Unheard Music Released Via Kano
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The Legacy of J. Dilla is making its debut on the FX network tonight. The New York Times documentary about the late hip-hop producer explores Dilla's ingenuity as a beatmaker, the history of his Conant Gardens neighborhood and the various conflicts over his estate. Dilla died in 2006 at age 32 after battling a rare blood disease. At the time he was a budding underground legend having worked with Erykah Badu, Busta Rhymes, The Roots, D'Angelo and Common. He also founded his own group Slum Village and used his beats to elevate several local rappers from Detroit including Phat Kat, Frank-N-Dank and others. The producer's career took a different turn after R&B veteran Amp Fiddler introduced him to Q-Tip after a fated interaction during a Lollapalooza tour. Since his passing, he's been talked about heavily among rap connoisseurs, beat junkies and producers. The general public is still unaware of his contributions and the documentary is a way to commemorate his work and introduce him to those who still don't connect the sounds to his name. DJ Jazzy Jeff is in the film deconstructing Dilla's methodology that still mystifies the most initiated beatsmiths to this day.Â
The James Yancy estate has made a deal with Kano, the company responsible for the STEM player to release unheard music from Dilla over the next 10 years. The 20 songs are being released alongside the film. Fans can listen to the music on the STEM player which allows the songs to be remixed and the mixes can be shared online. The STEM player costs $200 and a monthly subscription is $1.94. The Legacy of J. Dilla will debut on FX and can be watched later on Hulu.Â
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Rewind: Huffamoose - Huffamoose (1993)
If there was any justice in the music universe, Huffamooseâs 1993 self-titled debut wouldâve been picked up by a major and become, if not a huge hit, a beloved cult favorite.
Instead, it just languished.
Released on 7 Records in 1993 and not made available for streaming until sometime during the pandemic, Huffamoose is nevertheless as revelatory - and relevant - in 2023 as it was 30 years ago.
It was hard to find even then, and Sound Bites bought every copy he ever saw - four in all - to allay fears his CD would fail or itâd get left behind at a party. And the blog took Huffamoose everywhere, turning on everyone he knew to the sounds of one of the â90sâ greatest, unique, releases. Even Huffamoose didnât sound like Huffamoose when the bandâs major-label debut, Weâve Been Had Again, arrived in â97 with inferior remakes of âJamesâ and âI Wanna Buy You a Ring.â
Sound Bites can still remember the moment he first heard Kevin Hansonâs guitar and the thwack of Erik Johnsonâs drums as the opening track âEverybody Elseâ first crossed his ears.*
Nobody takes me for granted/nobody gets one over on me/Iâm a new man and my new problem/is everybody else, songwriter Craig Elkins sings in a laconic manner sweetened by Hansonâs harmonies.
So it goes for nearly an hour as Elkins spills his cynicism and sorrow over Hansonâs jazzy runs and the taut rhythm section of Johnson and bassist Jim Stager, whose work continues to reveal itself as a jazz-rock master class hundreds of listens down the line.
I need to stop the cycle now before itâs too late and my children catch it, too/I need to let her go and move on with my life/but I canât/forget/her face/in the mirror, Elkins sings on âMary,â one of a handful of heartbreakers set among more playful fare like the stream-of-consciousness dream that is âSong about Nothingâ and the celebratory swing of âI Canât Turn Around.â
Throughout it all, the band cooks as Elkinsâ acoustic guitar provides intros and rhythmic padding for his bandmatesâ more-aggressive playing.
It ends - save for a reprise-laden hidden track - with the elegiac majesty of âSacred Ground,â a latently powerful song suitable for funerals and weddings (seems incongruous, I know) that finds Elkins singing:
This is what we are all here for/we are all here for/we are standing on sacred ground/there is nothing greater/there is nothing more/than this/is what/we/are/all/here/for
Its a mystical ending to a magical album that somehow, and unjustly, cast its spell on only a relative few. Itâs not too late to change that - and with streaming, itâs now possible and highly recommended.
*Sound Bites was honored to tell Hanson this very thing when he and Mrs. Sound Bites traveled to Philadelphia in 2018 for the album release party for ⊠and thatâs when the golf ball hit me in the head, which immediately became - and remains - the blogâs second-favorite Huffamoose LP.
Grade card: Huffamoose - Huffamoose - A
9/17/23
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there were a lot of good tracks this month! judging by some of the new singles, early 2024 is shaping up to be a cool time for new releases. another note, i'm not sure if i'll do a favorite songs of december because i might just do a favorite songs of the year thing instead. i wanted to do one or the other because doing both would be a lot of work and i wanna enjoy my winter break tbh!!!!
as always feel free to follow me on rate your music and twitter (iâm not calling it X)
"Mother Nature" - MGMT
â featured on Loss of Life - MGMT (not yet released) â genres: neo-psychedelia, indie rock
This February weâre finally getting the follow-up to MGMTâs incredible 2018 album Little Dark Age! The lead single to this new record has the band exploring fresh, new sounds to great effect. MGMT are no stranger to psychedelia, but this track has them taking a considerably less electronic approach to it. The songwriting is some of their strongest to date. Very excited about this new album.
"I Swear, I Really Wanted to Make a 'Rap' Album but This Is Literally the Way the Wind Blew Me This Time" - André 3000
â featured on New Blue Sun - AndrĂ© 3000 â genres: new age, ambient
This month we finally received the first full-length solo project from hip hop legend AndrĂ© 3000. As the title of this song suggests, this is a much different direction than his work in OutKast over 16 years ago. On this album, AndrĂ© explores ambient or occasionally jazzy soundscapes driven by the flute (his recent instrument of choice). This track is gorgeous with AndrĂ©âs flute passages taking center stage. This whole project is definitely worth a listen.
"Now And Then" - The Beatles
â featured on The Beatles 1967-1970 (2023 Edition) [The Blue Album] - The Beatles â genres: piano rock, baroque pop
The jokes have been played out by this point about âthese Beatles guys are good, theyâre going places!â, but it is still bizarre to have a brand new Beatles song in 2023. I highly recommend watching the documentary about the history of this song and how it came to be. Admittedly, that documentary played a big role in my enjoyment of this song. It feels like a fitting send-off for one of the greatest bands of all time. Is it overproduced? Yeah lol, but this project is clearly driven by Paul McCartney who, as everyone should know, is no stranger to overblown schmaltz. We love him for it! Will this ever be lauded as one of bandâs best songs? No, but itâs still very good.
"Celibate" - Danny Brown
â featured on Quaranta - Danny Brown â genre: abstract hip hop
This new Danny Brown album lived up to most of my expectations while also subverting them. Brown takes a more introspective approach which really sets this project apart from his previous work. This track has been in constant rotation for me since it dropped. Danny's more subdued delivery works very well with the feature from MIKE (who just dropped a strong contender for rap album of the year). Really enjoyed this track and also the entire project.
â§âË⧠BEST SONG OF THE MONTH â§Ëâ⧠"Oral" - Bjïżœïżœrk & RosalĂa
â genres: art pop, electronic
I thought this track would be good, but this is like unbelievably good. Björk wrote this track during her "classic period", but it never saw the light of day until this reworked version with RosalĂa. These two work so well together. Björk's trademark ethereal sound shines through hear and the occasional reggaeton percussion underneath is a very nice touch. The chorus is a highlight in both of their careers and thats coming from someone who holds both of these artists in very high regard (admittedly mostly Björk, although MOTOMAMI ranked very high for me last year). Please give this a listen! Not only is this a great track, but its for a good cause!!! All streaming proceeds go to protecting Icelandic fish from harmful fish farms.
"Wall of Eyes" - The Smile
â featured on Wall of Eyes - The Smile (not yet released) â genres: art rock, psychedelic folk, post-rock
The Smile are returning with a new record out in January and this track is very good! A few months ago they dropped "Bending Hectic" which, if you're keeping up, was my favorite track back in June. That track is making it on the album so even if this song wasn't good, I would be stoked. Luckily, this track is really good. I love the bossa nova inspired guitar throughout the song, the hazy psychedelic sound, and the small string flourishes. Really beautiful stuff. I can't wait to hear the rest of the record!
"Red Flags" - Brittany Howard
â featured on What Now - Brittany Howard (not yet released) â genres: psychedelic soul, neo-psychedelia
Look, I don't know why so many banger psychedelic songs dropped this month, but I'm not complaining. I was a big fan of Brittany Howard's last record and the announcement of her new album flew completely under my radar until I was made aware of this single. This is an interesting new sound for Howard, but she pulls it off really well. If the whole record is stuff like this, we're in for a treat.
#my favorite songs of the month#2023#music#rateyourmusic#mgmt#andre 3000#the beatles#danny brown#bjork#rosalia#the smile#radiohead#brittany howard
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Anna B Savage Interview: Curated Vulnerability
BY JORDAN MAINZER
Over a Zoom call with Anna B Savage in March, I tell her that âSay My Nameâ, an acoustic, whispered, creaking highlight from her sophomore album in|FLUX (City Slang), reminds me of Radioheadâs âStreet Spirit (Fade Out)â. Like that song, âSay My Nameâ, pattering drums and free saxophone nonetheless, is essentially a song-long crescendo. The first time Savage recorded the song, she burst into tears when finished. I tell her the story of how Thom Yorke did the same, a night after seeing Jeff Buckley and laying âStreet Spiritâ down to tape, but that I could be wrong. âNo way! Iâll choose to believe the legend,â Savage said. Immediately after our conversation, I realize I did get it wrong--not the crying part, but the specific song. (Purportedly, the Buckley-to-recording-to-weeping pipeline happened with âFake Plastic Treesâ.) In a way, my error felt fitting when talking about in|FLUX, an album that saw Savage learning to not worry about, and ultimately embrace, uncertainty and imperfection.
While the themes of in|FLUX jive with Savageâs previous material, thereâs a newfound openness to her approach. The dissolved relationship blues of Savageâs debut A Common Turn and subsequent ups and downs of her These Dreams EP presented a stunning new artistic voice, one unafraid to share her deepest insecurities, buoyed by details at once hilarious and cringeworthy. in|FLUX is more all-encompassing. She still explicitly refers to sex and sexuality, on tracks like the âTouch Meâ, âPavlovâs Dogâ, and the title track, but she ranges from desire to self-sufficiency. She revels in the foreplay on âTouch Meâ. âJust call me Pavlovâs Dog / Iâm here, Iâm waiting, Iâm salivating,â she sings on the jazzy âPavlovâs Dogâ, literally panting in the background. On the title track, she recalls, âLast night I dreamt we were one / We had sex / I didnât come,â a blunt, straightforward contrast to erotic songwriting. Beginning with voice and woodwinds, stop-starts of silence, the song transforms into a dance track with Moog synthesizer filling the spaces in between. âI want to be alone,â Savage sings, dancing on her own. Itâs one of many aesthetic about-faces on in|FLUX.
in|FLUX was co-produced with tunngâs Mike Lindsay, introduced to Savage through City Slang, and the album was built up methodically, flushed out in the studio on a week by week basis. Though Lindsay certainly got to know Savage and encouraged her therapeutic songwriting, her ability to push herself made the record what it is. During the pandemic, she pursued a Masterâs in Music and requested her mentor to force her to write a song on a Digital Audio Workstation, which ended up being the title track. The saxophone and clarinet that pepper the album were played by Savage herself, choosing to throw caution to the wind and pick up instruments she hadnât played since her teenage years. She sung final track âThe Orangeâ in the wrong key but ended up keeping it, turning a mistake into an artistic choice. âItâs a small miracle to finally enjoy being me,â she sings, âAnd if this is all that there is / I think Iâm gonna be fine.â in|FLUX seems to be a touchpoint for Savageâs musical career, one where sheâs less concerned about defining herself than being herself.
Read our conversation below, edited for length and clarity.
Since I Left You: At what point did you realize the writing process for in|FLUX needed to be more stream-of-consciousness?
Anna B Savage: I donât really see it as a stream-of-consciousness thing. It was definitely easier than [A Common Turn], which makes it feel like it could have been stream-of-consciousness, but annoyingly, I probably made it a bit harder than I needed to on myself, going in and reworking it at times, wanting the right things to come to the foreground. I wanted it to be looser, and I didnât want it to take me as long. Some of the songs on A Common Turn took me 2-3 years of rehashing and reiterating. I wanted this to be a speedier process. But theyâre--and me and my therapist joke about this--curated, but vulnerable. I get to choose what people see and hear.
SILY: You hadnât necessarily finished writing the songs before going into the studio with Mike, though, right?
ABS: Thatâs correct. It was a quick process, but Iâd go in for a week, and go away for a week, working on all the songs myself before going back in with Mike. So it was definitely not an easy process, but much easier than the first one.
SILY: At what point did you pull out the clarinet and saxophone you hadnât touched in forever?
ABS: [laughs] Mike and I, when we talked about doing the record--we hadnât even tried working together yet--he asked, âWhat kind of things do you think you want [on the record]?â and I tossed out I wanted some clarinet and saxophone. He said, âWeâll try and find some players,â and I said, âNo, I can play that.â He said, âOkay, you should bring them next week.â That was quite entertaining as well. I was like, âOh, fuck, now I have to make noise out of these things.â The ideas were far-reaching and fanciful. I really should have practiced before I went there, but I made it work.
SILY: When did you first start playing those instruments?
ABS: When I was really little. I was maybe 10. I stopped when I was about 16.
SILY: What else can you play?
ABS: There are other instruments Iâve learned, but whether I can play them is a different matter. The violin, soprano recorder, treble recorder, piano, guitar, voice, clarinet, and sax.
SILY: Your playing is definitely expressive. Some reviews I read describe the saxophone as âpurring,â like a big cat.
ABS: Thatâs so nice! I donât read reviews ever, because they make my mind melt, but that makes me very happy. Thatâs lovely. Thank you for telling me that.
SILY: When were you first aware of Mike, and how did you come to work with him?
ABS: I was aware of Mike when I was a teenager at school. I listened to tunng. That was when music was completely inaccessible and this alien planet I had no idea how to get close to or facing towards. Simon [Morley], from my label, lives quite close to Mike, and suggested him [to me] after the first one because he thought Iâd enjoy working with him. Iâd listened to the LUMP records but hadnât realized it was him. I didnât know he was the same guy from tunng, so I had to go back and do my homework piecing together it was the same guy I listened to when I was little. It was a straightforward process, though. We met, we tested each other out for a couple days, and said, âOkay, letâs do it!âÂ
SILY: Overall, the record has such a varied instrumental palate. Sometimes, in a good way, the songs canât decide what theyâre trying to be. Similarly, the themes of the record are all about you embracing uncertainty and indecisiveness. Was that an intentional mirror?
ABS: I have zero qualms with that kind of label or idea being thrown around, that Iâm a bit indecisive and I like all the things. Iâm greedy! [laughs] I want all of these things. Iâd be doing a disservice to not follow all of the things I like. Iâve always aspired to be a curated minimalist, but I actually like loads of different things from loads of different places, and I want to put them next to each other.
SILY: You use spoken word on âThe Ghostâ and âCrown Shynessâ. How did you decide to include spoken word, especially at the start of the album?
ABS: The bridges of both of those songs were quite interesting. I knew the framework of the songs before I finished them. In both songs, there was this moment where I wanted something to happen. I wanted it to change to a different atmosphere, but I didnât quite know how to do it. In both instances, [spoken word] ended up being what I wanted to bring into it. I didnât want to crowbar in another verse or bridge when it didnât feel natural. For some reason, for those songs, it didnât feel natural. But I wrote the lyrics, especially in âCrown Shynessâ, and they felt like the crux of the song. I needed to express it in the most straightforward, simplistic way possible. The spoken word at the beginning of âThe Ghostâ is actually a voice note from my phone of a dream I had. It was me, immediately after waking up, recording the dream for myself. I have a tendency to record my dreams quite a lot. When I was younger, I wanted to teach myself how to lucid dream, and thatâs the number one way to get to that point. I think itâs interesting as a therapeutic tool, too, but I used to not think I had an imagination, and then Iâd have these completely fucking wild elaborate dreams, which made me think I had some imagination in there.
SILY: Were you ever successful in lucid dreaming?
ABS: Yes. I knew I was successful because I looked at my hands, and they looked mad, so I decided I was gonna fly, and I lifted up off the floor for maybe two seconds, and then I woke up. I think itâs a win, but I donât think itâs the most exciting win of all time in terms of lucid dreaming.
SILY: Weâll count it.
ABS: Thank you.
SILY: There are a few places on here, whether youâre talking about relationships or sex, where youâre placing the listener exactly where you are. When I hear, âDissolving in the car with you on the A1 Southbound,â I can look up where that is. How important is it for you to have these moments on a record, where you hone in on something so specific?
ABS: For me, thatâs where things start to really come alive. Iâve read a fair bit of poetry, and all of my favorite poems have moments like that where youâre suddenly dropped into a very specific scenario. I always found those the most affecting, which leads me to believe theyâre the most universal even though theyâre the most specific. I really love adding that color and flavor to it. You can locate it geographically or in a specific time or season. Itâs the kind of lyricism or songwriting or poetry or writing I always find really exciting. Iâm basically trying to emulate what I like and respond to. Maybe thatâs what I like and respond to at the moment, and in four years I'll think itâs so passĂ© and I should be theoretical and nonsensical.
SILY: These documents of times or moments in your life are truly the most honest, and ironically have the bigger change to become long-lasting.
ABS: It makes me think of Joni Mitchell, when I think of incredible specificity. âA Case of Youâ is an example of that. âI met a woman. She had a mouth like yours.â What the fuck?!?
SILY: Who thinks that, right?
ABS: Iâve thought that. My friend brought home a new girlfriend who had the same mouth as one of my old friends. I was like, âWhat is going on?â I think itâs wild when something like that happens in songs.
SILY: Did you say anything?
ABS: Not until years later. It was quite funny.
SILY: The title song was the first track you wrote on a DAW. What were the circumstances behind that?
ABS: It was my homework. I was doing a music Masterâs program during the pandemic. I was on this course, and one of the modules was the tech side of music, which has always terrified me. Iâm not sure whether Iâve internalized all the bullshit chauvinist, misogynist stuff about women not being able to be as good as men at the technical side. Iâd been physically responsive in my fear; I was at such a disadvantage, Iâd need to be the best in the world or I wouldnât touch it.
My tutor, who I love so much, ended up marginally having to coach me for three weeks. We became friends, and he said, âWhat do you need from me?â and I said, âI need you to be really rigid with me and say, âYou need to write a fucking song on a DAW by Thursday at 9 PM next week.â And I need you to enforce that and keep enforcing that.â This was the first one I wrote, which pales in comparison to [the final version that appears on in|FLUX]. It was a little confusing. When I brought it to Mike, he said, âIâm gonna need to get more in touch with the way you write before we can tackle this song.â It was one of the last ones we did. I really thought it had something in it, so I kept bringing it to Mike, and he said, âI donât think weâre quite there yet,â and one day he said, âFuck it, letâs try it.â I donât quite know how to express how it came out. I was just playing around.
SILY: I think itâs fitting that specific song is where you sing, âIâm happy on my own,â and you have a strength in individuality. When you sing that, your vocals are layered, and itâs like you are multitudes.
ABS: Exactly. Iâm all of the different things all at the same time.
SILY: You reference John Luther Adams in âHungryâ. Are you a fan of or influenced by naturalist classical music in your work?
ABS: Yeah. I only really got to know it through my friend I met at Banff. He put me onto his stuff and so much different stuff. I definitely am very influenced by it even if not in any way knowledgeable about it. I love [The Wind in High Places], and I love the podcast Meet The Composer. I listened to the ones about John Luther Adams which are around The Wind In High Places. Anything that weaves in the landscape in non-lyrical audio is quite a feat.
SILY: Is there another hilarious story behind this albumâs cover art?
ABS: Not really. When I spoke to Katie [Silvester], the photographer, and Sophie [Louise Hurley-Walker], the Art Director and Designer, I had all these different things I collected over the years that had a sense of flux in them anyway. The duality in the cover image was very important to me. We did it by playing with a mirror. The photograph is upside-down, which was important to me, because it feels slightly uncanny. The figure on the back, the creature outfit, you canât even see an inch of skin. On the front cover, I might as well be naked. Thereâs a duality across the whole record for me, that feels so good and so cohesive and expressed in such a better way I could do on my own. There is a bum in my pictures, but itâs not on the front cover this time.
SILY: How are you playing these songs live?
ABS: Either with a band or solo, with a guitar. Some donât work because they were never played on a guitar, like âin|FLUXâ, which wasnât written on a guitar.
SILY: Do you find it a seamless process to build up the songs from the guitar to a full band?
ABS: Yes? No? Itâs a lot easier than if it was on the clarinet or the flugelhorn or something. You have the basic structure, the rhythm or main instrument. But a lot of the stuff did just have bass and drums on it, and the rest of the stuff is synths and analog machines. It gets to a point where itâs about paring down stuff and testing stuff out in the rehearsal room and seeing what works. I donât feel entirely weathered to making stuff sound like it does on the record, even though I used to hate that when I was a teenager going to gigs. Itâs not the same anymore. We have so many tools at our fingertips, itâs not the most feasible thing to make it sound exactly like it does on record, and itâs not the most interesting, either.
SILY: I used to be the same way, and these days, when I hear a band where it sounds just like the record, I think, âWhy did I even come?â Itâs like they just pressed play.
ABS: Exactly. And I want my band to have fun. I donât want it to sound like theyâre just pressing buttons, I want them to properly play their instruments.Â
SILY: Are you the type of songwriter who is always writing? Anything in the short or long-term coming up?
ABS: I am absolutely the opposite of a songwriter whoâs always writing. I write for the equivalent of two months of the year. I used to feel ashamed about that and thought I was really lazy, but now I realize Iâm not not writing in those 10 months, Iâm just collating. It helps the process of writing go really fast, because I have everything squared away.
I have a skeleton idea for the next album, which I had before I started recording in|FLUX. I really should have worked more on that. Itâs gonna be completely different again. Iâll make it completely hard to play live.Â
SILY: Itâs always cool to hear the evolution from debut album to EP to second album, artists that grow without moving away from what makes them, them. Do you think about that at all when deciding what to do next?
ABS: I wouldnât say I do. I definitely felt quite nervous putting in|FLUX out. People who had been real champions of [my previous work,] I thought, âTheyâre gonna fucking hate it.â Itâs the same thing as being a content creator or being on social media. Iâm not interested in rehashing the same thing over and over again. It doesnât bring me any joy. I like learning and expanding and testing myself. Even when I think Iâm being lazy, Iâm constantly testing myself. For me, I want to be able to express the ideas I have for these albums audibly. I donât feel like the personality of in|FLUX, which I knew before I even started recording, lended itself to the same stuff A Common Turn did, and my next one, I already know doesnât have the same aural personality as the others do. Itâs quite exciting.
SILY: Any plans to come to the U.S. for a tour?
ABS: I wish. I really, really want to. Fingers crossed.
SILY: Anything youâve been listening to, watching, or reading lately?
ABS: The Madison Cunningham record absolutely fucks me up. I went to see her last night, and she exploded my brain into tiny pieces. Iâm so inspired and amazed by her. Sheâs absolutely unbelievable.
Iâve basically just been watching RuPaulâs Drag Race All Stars since I finished Schittâs Creek.
Reading-wise, I just finished Madeline Millerâs The Song of Achilles. I read Anne Bronteâs The Tenant of Wildfell Hall. I love winter for the hibernation and the reading and watching TV. Itâs a good time to ask me this question.
youtube
#interviews#anna b savage#city slang#bodega social#strange brew#the deer's head#whelan's#kino Ć iĆĄka#ancienne belgique#in|flux#radiohead#thom yorke#jeff buckley#a common turn#these dreams ep#tunng#mike lindsay#simon morley#lump#joni mitchell#john luther adams#the wind in high places#meet the composer#katie silvester#sophie louise hurley-walker#madison cunningham#rupaul's drag race all stars#schitt's creek#madeline miller#the song of achilles
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Hello hello! Development and Wild card from the Infamous ask game for whoever you'd like please, if you want! ~whowhatifs
[ infamous mc ask game ]
hiiii thank u sm + sorry for the late reply !! đŽđ
development: how did you come up with your character? is their design still evolving? how do you think they might develop through the story?
haha so i've talked a little about it here before but my main mc for the game, fred, is an oc i've had for a looooong ass time. the first iteration of him was a sim in the sims 2 LMFAO and his design has ( of course ) changed a lot since then ! the only things that've remained the same are his hair color, eye color, his love for striped black+white t-shirts and the fact that he has tattoos ! :-)
and from then on the variations his current design has seen in different verses are hairstyle / facial hair / amount of tattoos đ€Ą his "normal" or original self has 37 of them ! in infamous he has 39 đ
and i have no thots + head empty about any changes he might go through during the story, i'm very excited to see where it goes ! :-)
wild card: tell us something about your mc!
hmm ! i've mentioned this in another ask so i'll expand on it a little! all of the songs fred writes are love songs, its always been what comes most naturally to him and he struggles trying to write about other topics đ + love encompasses romantic songs, as well as cheerful and fun ones, and of course heartbreak ones. he's written a lot of songs for seven ( before, during, and after they dated ) + he's also written four songs about rowan + two for jazzy + one for iris and devyn. no songs about orion yet đ but he's written songs for most of his closest friends because he loves them and their support is what keeps him going :-)
he never tells anyone when a song is about / for them ( + nobody is allowed to look at his notebook ), but most times there's enough clues for them to figure it out ! also, when a song is about a band member, he likes looking at / going up to them while singing it during concerts ! he's not shy about serenading people + it also serves as fanservice lmfao. however he's also admitted that he writes songs inspired by fictional characters or by fictional relationships that he loves ! so now whenever his band puts out a new song, fans have whole reddit threads discussing whether the lyrics are about seven or like. the latest game he's played on t/witch đ
đ§ââïž ( the rare ocassions where the songs aren't about love are the ones where he improvises something during streams / when joking around with friends đ one of the main reasons he ( and by extension his band ) really hit it off online is that he likes to sing pop songs either normally or with really stupid lyrics that he comes up with on the spot in team voice chat while gaming )
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There was still a wonderful amount of silliness during the mafia stream last week, including some moments like: Tim is a little picture frame (screenshot included) smooth jazz, its Tim Time, jar of jazzy piss, everything is fine, gangsters monthly, nothing is the sound of anything else, murder in the house of god, fucking hate bluey (disclaimer, out of context: Tim didn't know who bluey was), corpse in the truck, rhymes!, hey SAM, the brown starfish it sleeps tonight, Big Jelly John and his Spicy Orchestra, Himbo Jones!, Another fahrenheit rant, brine twerp, salt twat, beware the brine swindler!, sports!, test tube frankenstein, praise the lord and pass the ammunition!, just some time in the woods, gangsters monthly (reprise), and happy birthmoose (sounds included).
art by erebusodora, screenshot by me
#rusty quill#the brothers meredith#tim meredith#my audio#love it when tim just starts to go off on his own#always a delight
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âHarryâs Houseâ by Harry Styles â an album review
During the pandemic, a lot of things came to a halt, including concerts. A lot of people turned to music (streaming and physical copies such as vinyl, CD, and cassette) and other forms of entertainment for leisure at home. Meanwhile, a lot of musicians started working on new music. At the time, theyâd be thinking, "What would a âpandemic albumâ sound like?" It depends on the artist, of course. To celebrate one year since the release of Harry's House, here is my review (I became a fan one month after this album's release).
The pandemic definitely made people reflect on a lot of things, especially their own lives. According to Harry, "It is definitely the most personal record that I think Iâve made... I think itâs also the most free Iâve ever felt making music..."Â "[The album] is named after Hosono; he had an album in the 70âs called Hosono House, and I spent that chunk in Japan; I heard that record and I was like, âI love that. Itâd be really fun to make a record called Harryâs House.â"
Synth pop and Harry experimenting with the texture of his vocals take center stage. The album is full of pop bops that are sure to be on loop. Most of the songs are about relationships. Amusing lyrics like "Green eyes, fried rice, I could cook an egg on you/Late night, game time, coffee on the stove, yeah/Youâre sweet ice cream, but you could use a flake or two" match the (mostly) cheerful atmosphere of the album. The album is full of standard pop songwriting paired with simple yet delightful melodies. "In this world, itâs just us/You know itâs not the same as it was" are the most relatable lyrics of the album as they describe the effects of the pandemic.
The slow, introspective songs in the middle of the album, Little Freak and Matilda, also shine, as the melodies suit the delicate subjects of these songs. He is sincere as he recalls a previous relationship then a person who has gone through something tough. "You showed me a power that is strong enough to bring sun to the darkest days/Itâs none of my business, but itâs just been on my mind" shows off Harryâs potential as a good songwriter. After the ballads come the smooth, jazzy songs Cinema and Daydreaming, which continue to depict the attraction previously mentioned in the songs of the first half of the album. The last four songs of the album are interesting as they switch between paces and topics.
The only skip on this album is the track Boyfriends which was originally supposed to be on his sophomore album Fine Line. This ballad sounds like a lullaby; however, its pacing and Harry's crooning on this track aren't captivating or memorable enough. Maybe this track would have sounded better if it were middle- or fast-paced, or if he had sung in a different way. It's quite strange that this track is second to last instead of following or in between Little Freak and Matilda.
Harryâs House is introspective yet riveting. The album is one of the best recent mainstream pop albums Iâve ever heard. Despite the heavy synth on this one, it isnât tiring to listen to. The hype is legitimate. In my opinion, thereâs only one skip on this album (try guessing which song it is â hint: itâs on the latter half). This album is really fun and full of earworms.
Verdict: Good, fun
#writing#review#music review#album review#music#music mania#harry styles#harry's house#kid harpoon#tyler johnson#samuel witte#pop#funk#new wave#music for a sushi restaurant#late night talking#grapejuice#as it was#daylight#little freak#matilda#cinema#daydreaming#keep driving#satellite#boyfriends#love of my life#writers on tumblr#writerscorner
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Y'all, have you ever realized something about yourself while watching someone else's content and really want to thank them because technically they were the reason behind you finding out something new?
Specific question, I know, but this happened to me last week. No I will never shut up about this story.
I was watching a livestream from this voice actor named Jazzy Oliver (very nice person, VAs a canonically non-binary character and is a transfem non-binary lesbian). She was playing Life is Strange: Before the Storm and I was noticing how Rachel and Chloe were like me and my QPP @mxmc13. And that was pretty much the tipping point into me realizing that I was a lesbian and I was feeling very euphoric throughout the rest of the stream.
I feel obligated to thank them because specifically HER stream was why I found out I was a lesbian and the stream comforted me during the overwhelming euphoria I was having from the realization. Of course, I don't HAVE to thank her, but I feel like I should. And this isn't the first time I was comforted by her; back in late July (I think), I was scared of telling my family that I was Pangender, so I turned to her.
I was wondering if others had felt like they should do the same, so that's why I'm asking this question.
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