#visual mucks for music

[ghostowlattic]

Movements In Monoliths I

improvisational music

[exxr0se]

Cp9 highschool au

We all know they're from the student council right? I 100% believe that some of them are behind when it comes to academics such as Jabra and Fukurou. To uphold their title the group always has a study session every week doesn't matter when or where it'll always happen.

Usually Kalifa is the one helping them since Lucci just loses his cool when explaining things to them he doesn't out right yell but you can tell he's ticked off.

Times when Kalifa isn't teaching them Kaku and Blueno would assist as well they believe that visual learning would help so often at times Kaku would be drawing up some equations while Blueno is explaining it to them.

Everyone always makes sure to pitch in money for dinner rather it's getting takeout from a pizza place or getting groceries to cook dinner. When they do get dinner it's always in big portions too because they like to share with one another.

Kumadori would try his best too in teaching them but Jabra and Fukurou would end up being distracted by him. Jabra would often muck around a lot which would result of him getting slapped by Kalifa to focus and she does the same to Fukurou so he stops talking. (She's like a older sister to them)

Sometimes when they study they play some music in the background everyone always chooses a song so it's fair. No matter how bad the song is they still play it unless it's agreed upon everyone for another song to be played.

They usually end up studying at each other houses, since Blueno lived the closest to the school (walking range) they often go there to study. If it was like a Friday night and they studied a bit too hard the group would sleep there overnight. There's a drawer for their clothes specifically for them because they often sleepover after studying due to being tired. Blueno doesn't mind he loves the company he likes it.

[artzychic27]

I just randomly started thinking about the Flinstones

It all takes place in the town of Paristone (And after a couple of millennia, it will soon be known as the city of Paris)

Marinette is a young designer who makes all sorts of pelts and rock accessories and helps out her parents with hunting and gathering

Adrien is the son of the town’s top pelt designer, lives in a fancy rock mansion and is always wearing the latest trend like… Shoes

Alya usually has a stone tablet somewhere on her person, always carving the latest gossip and news with her chisel and putting them on the web… There’s a big spider web where people post their stone tablets

Nino is an excellent shadow puppeteer (Stone age filmmaker) and has an affinity for music using prehistoric birds to come up with new sounds

Chloé is the daughter of of the town’s chief and wears only the most expensive stone and shell jewelry. Also, she probably invented the eye roll

Sabrina’s still her sidekick, usually following Chloé with a stone tablet and chisel, ready to carve her planner

Kim is one of the best young hunters and is usually swimming through the lakes for any fish

Max may or may not have invented the wheel. Anyway, his companion/friend is Markov- a hollowed out stone with an intelligent beetle inside stepping in some sort of black muck and writing out visual responses on leaves that feed through a slot. He might also be working on a written language

Alix invented the skateboard and now that is the only way she wants to get around, ever. It’s new, exciting, and makes walking look stupid

Nathaniel is always sketching on leaves using a stick dipped in ash from burnt out fires and does cave painting commissions. (He accidentally got juice from red berries poured on his hair, and now continues to dye it)

Juleka created hair dye by mixing the juice from red and blue berries (She’s also the first lesbian to ever roam the earth)

Rose has a plushie collection made out of pelts stuffed with mastodon fur

Myléne is what’s know at the time as a veg-a-eat-ian, meaning she doesn’t eat anything that had a face

Ivan’s the same and is oddly eloquent considering they don’t have a written language yet

Marc is a feral kid… I’m not joking, he was raised by some sort of saber toothed animal up until he was five and adopted by his mothers. Until he was seven, he only spoke in snarls and is unbelievably strong

Yeah, I just needed to get this outta my head

[teeswinx]

WATCHED THE TRAILER! It definitely looks like Winx Club’s most promising premier in ages!

I’m not a huge fan of them choosing a squeaky voice for Stella… I’m sad that it seems like we’re never getting a more mature Cinelume-like Stella voice again. The other voice actors seemed pretty good though, Bloom and Flora’s voices definitely work!

For the visuals: The Trix look GREAT btw, but maybe my standards are low bc they haven’t had decent new outfits in years, haha (wish they’d give Icy dark lipstick though, but that’s just bc I’ve never been a fan of her pink lipstick). Bloom’s fire magic looked really cool! Interesting that Flora and Stella are the ones who come searching for Bloom unlike in the OG where Stella’s mostly mucking about and happens to run into her (will admit, I kind of already prefer the OG origin). I like that we’ll get to see Aisha interact with a newbie Bloom though!

I must say though, the trailer itself was… not great from an editing standpoint. The music they chose and the pacing did not hype me up at all. I don’t think this trailer necessarily reflects the final product though — my wild guess is that they only had so much music and footage to choose from (the production of this reboot seems all over the place)

[the-curators-bullshit]

So I saw you asked for more rickrolls but I have a rickroll story I reckon was kinda fun.

So I was asked to play clarinet for an awards ceremony in when I was in middle school. Backing music while some kids got awards, no biggie, easy enough, I'd been playing for years already. So it's the night before the ceremony, and I completely forgot about it. And I didn't have any solo pieces. So I went through all the sheet music websites, memorised all the youtube tutorials, everything - cause I needed a good 10 minutes worth of music. I ended up printing off like Colours of the Wind from Pocahontas and some other stuff.

Anyway, come to the day, and I go on stage to play. And the chaos demon in me was like "nah, forget normal songs, play Never Gonna Give You Up" (because I had the sheet music for that next to my printed out normaller stuff).

So I listened to the chaotic thoughts, but I didn't want to get in trouble, so I just slowed it down, played a bit with it (I'd been playing jazz for years, so I was used to mucking around with melodies), and yeah, I just rickrolled all 500 kids (and parents and teachers) there.

So that was fun.

(I just remembered I had this video of it actually: https://youtu.be/nsCIeklgp1M?t=5 )

THAT IS EXACTLY THE KIND OF STORY I NEEDED TO HEAR RN OMG THANK YOU!!

and also that is ICONIC?! you are an icon, thank you for sharing!!!

also the VIDEO OMG!! having a visual just makes it even more iconic, thank you :)

[evilpenguinrika]

How about 4 and 73?

Ask Game For Fanfic Writers

4. what is the plot bunny you’ve been carrying for the longest? optional bonus question: do you ever wonder why you haven’t written it yet and experience deep existential dread?

OHHHH BOYYYYYYYYYY. I actually have a few I believe. But I'll share a few since this would end up getting way too long lol (plus I would have to comb through my backlog to remember):

I have two plus one rewrite ideas for Ikarishipping. The rewrite is basically just a whole rewrite (for the second time in my life) of my biggest at-the-time on-going fic Bluebells and Lavenders/re: Bluebells and Lavenders that I posted way back on ffnet. The reason being that when I first wrote BbaL I was like, 13-15 and got a really nasty flame comment (I am showing my age with this lol) about my grammar and writing syntax, plot, etc and like, at the time despite English being my first language, I just could not understand grammar or the basics of the English language (look, words are hard okay 😥).

So I decided from that flame comment I was going to rewrite that fic and I did when I was 16-17. But since then my writing and style have changed and I would like to rewrite it and post it on ao3. I think I haven't gotten around to it is because it's just... A lot to do. And a lot to plan. When I rewrote BbaL and wrote re:BbaL I had meticulous notes that I have no idea where they are now.

The other two Ikari fics I want to write, one is insp by Marianas Trench song "Haven't Had Enough" which I also originally wanted to do a Cosplay Music Video back when I was 15-16 because why not lol. Plus CMVs were really popular back in my day (OH GOD I USED THAT PHRASE). I'm not sure if it's still popular now? It would be, also a Modern AU/College AU I think? I haven't really thought that ahead other than "slow burn rivals to friends to lovers" LOL

And the second idea is just inspired by the song "SUPERMODEL" by Maneskin. I'm not sure what the root idea would be other than maybe Paul and Dawn are both huge top models...? Yeah, I hadn't really gotten too far with this idea haha.

Another plot bunny I had on hold is a Hosie one actually! Actually I have a lot but I'll share two:

One is a Modern AU and it's actually inspired by my time working on student films. Except this idea is more Josie has a webseries and brought in friends from her film school days to help her out and Hope is the cinematographer. I started writing it actually, around the same time I was working on my own webseries. But since my webseries project went caput, I haven't found motivation to keep writing this fic.

The second is a Life is Strange 1 AU where Josie is Max Caulfield and Hope is Chloe Price. I wanted it to also be like a "choose your own adventure" type fic as well where at the end of certain chapters with BIG decisions, you would then pick your choice between 2 options and skip to whatever chapter your choice would be in. I think the reason I haven't done this is cuz it's also pretty hefty to write, and also doing a "choose your own adventure" is gonna require lots of meticulous planning that I don't have the spoons for.

73. how do you visualize scenes? do you see it like a movie in your head, or do the words just flow?

Definitely like a movie in my head!! It helps me more when I picture the scenes I want to write in my head and then I just figure out the words from there.

It's especially helpful when I write fight scenes! I watch a lot of anime and other action-based shows (recently binge watched Cobra Kai and watched some clips from The Magicians since I miss that show a lot), so when I write fight scenes in my stories (mainly You're The One Born To Save Hosie series), I just visualize the fights/actions like an anime. I mean, I already mucked up the magic lore in the TVDUniverse so I might as well keep going with the artistic liberties and flair with it haha. Plus, it's really fun writing these anime-esque action fight scenes :3

.

thanks for the ask!!

[teslacoils-and-hubris]

What the shit is everhood

(Info dump pls?)

Gladly! ^w^

so everhood is a game that I would say is very similar to undertale, from the pixel art style to the humour to the general uhh theme? i guess is the word? Where you play as a wooden puppet named red on a quest to get your arm back from gold pig. The battle mechanic is a rhythm based system where you have to jump around and over beats the enemies through at you. The music is absolutely fucking fantastic and i actually bought the soundtrack i like it so much lol

a couple battles get absolutely insane with the visuals too, to the point im not even totally sure i can do a description justice? you can check out this video if you're curious, theres really no spoilers in this battle but it shows what im talking about. these battles are where the photosensitivity warning really comes in though, so be cautious if that effects you

I can't go too deep into the plot without getting into spoiler territory, so i'll put that under the cut for anyone who's curious, but here's what I can say! You go around collecting clues to find gold pig and get your arm back, and along the way you get to meet all the wonderful characters that populate Everhood. Like Rasta beast, Noseferatchu the sneezing vampire, Flan and Muck, the dancing mushrooms, a vampire who's name always changes. You really get to know and love these characters while also learning that maybe everything isn't as it seems in Everhood. Maybe, actually nothing is what it seems. Maybe you're the only one willing to do something about. But..... are you willing?

oh also kermit is there and I think he might be god? Also you can kill him and it impacts literally nothing

Full plot summary under the cut. I highly recommend you play the game without spoilers, but if you're like me and you Need to know what happens before you play then go wild. I'll only be talking about the intended good ending though, since I haven't gotten around to playing the secret endings yet- oh also mild spoilers for undertale i guess if youre worried about that in 2023

so when I say its similar to undertale in themes, its sort of. in a reverse sense. In undertale the good ending is the pacifist route. By saving the monsters you help them escape the underground and better their situation. It is mercy, the direct functional opposite of killing, that saves you. There is no mercy kill because using mercy ends the fight period.

Well in Everhood, the good ending requires you to kill everyone.

Your arm was taken from you because you've done this before, wiped out countless lives, friends even. And now you must finish the job. Its hard and sad and it sucks but it has to be you because no one else is going to. It falls on you to go back to these spots you've been through already, these happy cheerful locations, and hunt down everyone you've come to know over the course of the game.

so why do you need to kill everyone? and how on earth is it similar to undertale at all? well, Everhood isn't just the title of the game or the location it takes place, its the state every single character in the game is stuck in.

in the distant past, humanity found a way to reach another world, one they called Everhood. And in this world, no one could ever die. Some people chose to stay in this world, which lost connection to the human world for some reason i dont remember rn, and in doing so slowly lost their humanity. They lived for eons and eons and eons, changing their shape and loosing themselves in the process. You discover at one point that the Green Mage, a chaotic character whom I love, has been keeping track of the years everyone has spent in Everhood, every year a tally on the wall of their secret playroom. It takes three hours to get to the end of this hallway, to give you an idea of scale here. three real time hours.

Your character, Red, is a vessel for the literal human player behind the screen to free the inhabitants of Everhood from eternity. They aren't really happy. They can't be. They've been stuck for so long, and even though they beg and plead for you not to kill them you have to. Its the only way for them to be happy and move on from Everhood. And don't get me wrong you CAN choose not to go through with it. You have to actively fight back after this reveal to kill anyone. I haven't played through this way, so I can't speak on it.

The ending is sort of ambiguous, in which Pink (the person pretending to be Red and letting you the player control them) goes to an afterlife after killing everyone and gets to see them one last time, and they're happy. They forgive you. One by one you talk to them and they thank you for freeing them, apologize for fighting you, and move on happily to whatever comes after death. I choose to interpret it literally, but there's something to be said about the idea it's all in Pink's head. I don't think it was meant to be taken that way, but its one way to look at it.

The game sort of looses people with this being the good ending. But I think it's a beautiful metaphor. Sometimes you keep doing things that hurt you only because you're used to it. Maybe you don't even realize how its hurting you, its better than the alternative right? For the longest time I kept my bedroom blinds perpetually closed because the bright sunlight gave me headaches. I didn't realize just how depressed it was making me to be in near constant darkness like that. It was only after I bought a plant on a whim that I realized how much happier I was letting in the sunlight. You get so used to bad habits and awful jobs and clothes you hate because they're familiar. And doesn't it just seem easier? To take non-action and let everyone keep living and having fun in Everhood? Green Mage hosts DnD every week (or whatever counts as a week after you've lived for eternity), go play with the mushrooms in the forest, doesn't that sound lovely? You don't have to kill anyone, just keep living on exactly as you were! You have friends here Red! It hurts too much to kill them! they don't want to die! why not just give up? How could anything good come from the pain of change?

[astrangetorpedo]

‘Media Is the Third Parent’: A Conversation With Lucy Dacus

by Justin Joffe | 2/22/17

The music that we love is an accumulation of narratives. The stories those songs tell, the memories they create for us and the truths that their writers have lived all become an important rubber band ball of context and experience, informing our connection to them in ways we don’t always immediately get.

So when a young artist emerges from the formless depths of adolescence near-fully formed, the narrative starts taking shape even before we understand it. Cries of nepotism, entitlement, and business collusion often drown out the true origin story of someone who takes to a big stage so all of a sudden, whether or not those cries have any merit. And in the case of Lucy Dacus, a 21-year old singer/songwriter from Richmond Virginia with a remarkably deep and powerful voice, no such assumptions about her recent ascension ring the least bit true.

Adopted at a young age and creatively nurtured by her piano-playing mother, Dacus’ musicality was embedded in her home life from the get go. Her debut, No Burden, was recorded by her guitarist Jacob Blizard as part of his winter project at music school Oberlin and released by hometown label EggHunt Records last February. Almost immediately, Dacus’ husky alto caught the attention of larger labels—over 20 of them—requiring her to take some time sifting through the muck and the mud, fielding offers and inquiries guided largely by her convictions and her gut.

Six months later she signed with venerable independent label Matador Records, and their reissue of Dacus’ No Burden last fall gave hope to this whole generation of self-starters. Dacus’ reverb-drenched, alt-country-dusted songs cut to the question of how an artist in the public eye can still live away from what Sartre called “the gaze of the other”, free from expectations of beauty or lapses in trust, living and working only by the standards they set for themselves.

We caught up over the phone to discuss what it means to take personal agency over your work in a time when art and politics seem pretty much inseparable.

How ya doin’?

Good, I’m in Canada! Hopefully my connection will be good, but if it starts to break up I’ll blame it on that.

So, were you looking at a hearse or a limousine? That lyric of yours reminds me of one of my favorite Leonard Cohen lyrics, “Thought I saw an eagle, but it might have been a vulture, never could decide.”

Yeah, that one’s really good.

Much of your album speaks to trust and navigating uncharted waters, but can you unpack that rhetorical question for me?

I guess the point of that song, “Troublemaker, Doppelganger” is trying to navigate the worth of beauty, and if it’s hurtful or helpful to value beauty. If it’s a curse or a blessing. Is that something really negative and morbid, like the hearse, or is it the limousine—a glamorous symbol of enjoying life?

I’m trying to connect how your interest in the aesthetic side of media, between your time in film school and your time as a photo editor, has informed your perspective on our habits of consumption and decision making. Is that something that weighs on your mind often?

Yeah! The media, and how we’re taught to read it, has a huge impact on who we become as people. When you’re a kid you learn whatever your parents think, until you start taking in media. Because all your friends are your age as well, media is the third parent that you ever have. So I think about that a lot, what visual imagery is teaching us, and media in general having a huge impact. But it’s ambiguous—if you haven’t learned the cultural symbolism where media is coming from, it can be really confusing.

You said that you felt this record was possible because you went into it without any expectations, during the writing and recording process. But the minute any work is released to the public, media expectations become imposed upon us. I guess it’s what Sartre called “the gaze of the other”. How do you keep that purity of intention during your process while operating inside someone else’s media infrastructure, an infrastructure that you didn’t build? It’s something I feel that you’re in a particularly great place to help us with.

[Laughs] A lot of the songs for the next record were actually written well before we spoke to a label or had any kind of coverage, so at least for the next record, I haven’t had to deal with that. But of course I’m still writing, and I think the biggest aspect of it that keeps me from catering to our current infrastructure is not trying to write. I don’t ever sit down and say, “OK, I need to write a song” or “I need to crank something out” or “I have to make something that will satisfy the people around me.” That’s never been a concern, I don’t think that should be a concern, and it means I maybe don’t write at a quick pace anymore, but everything that I do write is stuff that just comes to me the way any other thought does. So far it doesn’t feel like anything that I’ve written is compromised by the fact that we have a label now.

You’ve spoken about how you had to develop a bit more business acumen after this album was finished and you were shopping your project around a bit. Do you almost learn those things so that you can know when you don’t have to use them, in a way? When you don’t have to have your guard up with them?

Yeah, I really enjoy navigating the business aspect of having a band, and there is a great amount of instinct. You don’t wanna work with people who make you feel weird, even if they’re super qualified. You don’t want to feel like you’re being used by anybody, even though you are submitting to that in some way, in some mutual using of whoever you end up working with. But there’s a fine line that’s hard to describe between being taken advantage of and having a partnership. I feel like that might be different for everybody, but I would just suggest that anyone getting into this take their time and compare a lot of different companies or whatever you’re choosing. Be comparative about decision making , because you don’t have to rush into things.

That ties into the themes of trust on this record, too, which is funny because you wrote these songs before having to navigate those waters. You wrote, “I wanna live in a world where I can keep my doors open, but who knows what’d get in and what’d get out.” Would it be a stretch to connect that lyric toward your path of ascension in the music sphere, toward your approach to how you present yourself? Are you talking about trust in the abstract here?

Absolutely. The more you learn the more wise you’re supposed to be, but I still reflect upon myself as a child, or even just myself pre-audience, kind of contemplating on where my creativity came from at that point and always trying to stay connected to why I originally started writing. I did write that song a while ago, but luckily it still rings true.

I talked to Joe Steinhardt of Don Giovanni a few weeks ago, and he’s of the mind that the big three media companies are turning into the big three tech companies, insofar as Apple, Google and Amazon are eating whole industries of art, commerce and media. It got me wondering what we can do. Now obviously you’re on Matador, and they have a great reputation around doing right for their artists’ sustainability. What are you, and they, doing right when it comes to giving artists some agency over their own work?

I guess there’s two ways to approach this question. There’s technically retaining the rights to your own music, being structurally independent and not feeding into major labels or major companies, but then there’s also this idea of retaining agency in a more metaphysical sense.

I think both are important. Matador’s an independent label, which was part of the reason that we chose them. Myself, I feel like I still have ownership over my own work. Like I said, you just have to retain your writing process and not force anything. That’s what helps me feel like I still have a handle on what I make—it’s coming from me because of me, not because of anything else.

On top of that, I really like and respect bands that do more than just the typical structuring of recording, releasing and touring an album. Bands that are socially active, bands that are not afraid to talk about their belief systems explicitly. I’ve been inspired by that, and that feels like not just taking agency over your own work, but taking agency over the responsibility that you’ve been granted by a fanbase. Really contemplating your fanbase and being present with the people who listen to your music.

That begs the very timely and topical question, too—if all art comes from culture, and cultures are being stigmatized right now, then isn’t all art political? The question’s kind of irrelevant when the creative class is kind of a marginalized community in its own right, but I guess I’m just wondering how your value system responds to right now, as you come into the creative class professionally at a time when a lot of people are freaking out about the abolishment of the National Endowment of the Arts and similar public-funded avenues for creative programs or dialogues. What’s your role in pushing back against that?

The solution we came up with as a band for this tour was raising money for local charities at each of the shows that we’ve been playing. That feels like a pretty effective form of activism so far, but beyond that, I would hope that the music we make and tour causes people to consider not necessarily the specific current events happening around the world, but what’s behind them—power struggles, contemptment and these other things behind the negativity that we see, a lack of fulfillment in people.

It’s nobody’s actual job, but I personally admire people who see it as their responsibility. Whether its actual resources going to real life projects, charities or charities, that’s one piece of it. But like I said, the content of the music can really change people’s mindset, and I know that I’ve definitely been changed by some musicians and lyrics that I’ve heard. Like I said, media is the third parent to anybody. I would just hope that people write things that call for more thought instead of less thought. That could make a huge difference.

(x)

[fawnydoe]

episode 4. heavy cw warning for discussions of sexual abuse, it's that episode.

tell don't show, show. please. having a character list off everyone's flaws doesn't make a character look perceptive, it usually just makes the writer's come across as insecure and having to tell me everyone's deal before i can see it.

can someone please put some fat on the cat im shaking and crying.

i hope charlie's character arc comes soon because boy oh boy she is borderline annoying. would be nice if she actually gets to participate in the plot soon.

angel dust's sexual tendencies are simultaneously a joke and a source of trauma. you are supposed to laugh at him and you are also supposed to feel sorry for him. the show will decide which is what when it feels like it.

it feels weird for the show to swing between valentino being both an endearing villain and abuser. in another show, i'd perhaps entertain the idea of it being humanizing. with this, i know there's licensed merch of the rapist.

got to the poison sequence that caused like weeks long twitter discourse. other than some really poor editing (i can tell the cuts are meant to move with the music but it makes it unfocused and blurry. the palettes and poor designs further muck up the visual clarity of them and the lack of strong silhouettes don't help).....it just doesn't work with what the show has set up.

i disagree with the idea that it's inherently wrong to depict onscreen sexual violence, the idea that depiction in itself is sexualization is just incorrect. i can understand however why this came across as exploitative to some, even if i wouldn't agree it's as irredeemable as some claimed.

however, what makes the scene fall flat is that up to this point...angel dust being an exploited sex worker has been played for laughs? his hypersexuality has been nothing but a punchline, the audience is meant to take it seriously until episode 4 suddenly decided to show angel dust's being sexually abused....and that just makes the last few episodes come across in poor taste. you can't tell me to take this character as a joke and then suddenly decide it's time to be serious.

the set up makes the sentiment ring hollow. it's poorly done and if they wanted to make this episode work, the previous episodes should have set up angel dust's behaviors as cries for help, not punchlines to a joke.

i'm kind of disappointed. in the hands of a better writer, it would have been really nice to see someone struggling with severe trauma and abuse through hypersexual behavior. it's a response to trauma i rarely see depicted and the depiction here is....bad. not good. disappointing! i get why people like this character, or at least like that somewhat compelling part of him that was almost shown here.

the final song Does Not work. i get the message of it but the sentiment rings hollow and doesn't provide a satisfying ending. otherwise, visuals were nice. really liked the use of colors other than red.

[georgieluz]

ok sorry but julian. my sweet dear julian. i will never ever ever shut the fuck up about babe got a tamagotchi i need to know everything about it and when you're finished with it i need you to bypass posting it on ao3 and inject it into my veins

hello, m'love! i'm glad you're ready to be as hyperfixated on babe and his tamagotchi as i am, but i fear you may be disappointed as this is just the title of my early 2000s battle of the bands au.

babe won't play a gig without his trusty tamagotchi attached to his belt loop, and it has somehow become the main visual representation of this fic in my mind. and bc i keep changing the actual title for this damn thing, it's still "babe got a tamagotchi!!!" as a file

but, about the fic itself!

babe plays keyboard and is the very enthusiastic second vocalist of george luz's two-month old garage band. and yes, he will absolutely bite if you try and call him a backing vocalist. especially bc skip muck will never let him forget that he's the main vocalist and frontman of the band. george disagrees and is constantly trying to explain how actually, despite him being on guitar, he's actually the frontman of the band bc he created it. then we've got malarkey on bass, who frankly does not want to be a part of this competition whatsoever, and lieb on drums, who's not particularly bothered but thinks it will probably be hilarious so has agreed to go along with it.

they've played two gigs total in their entire career. neither of which paid them. one was an impromptu performance at a friend's party and the other was in the retirement home of george's grandfather, where they were asked to cover songs by the beach boys and nothing else. malarkey threatened to end everyone and himself that day, so they've never played a beach boys song since.

george is convinced they're gonna win the local battle of the bands competition, and enters them without telling any of the others. unfortunately for them, local favourites, the bastognes, fresh off their very first tour and supposedly on the precipice of being signed to an actual record label, are also competing. and are probably going to win. no, they're definitely going to win. no doubt about it.

the bastognes are ofc very familiar faces, but i'll leave that for future discussion. outside of the band scene, we also have david webster, classical pianist, who really doesn't want to be dragged into a sticky dive bar to deal with these idiots and their antics, but is definitely going to be. mainly bc he writes for the local university paper and has been assigned to cover the competition. then we have joe toye, who bartends at said dive bar, aka the music venue holding the competition. he may or may not be fucking a certain band member who may or may not also be his boyfriend.

yes, there's webgott. yes, there's baberoe.

babe and his tamagotchi frequent heavily bc the bar is so low for me and it does in fact have me frothing at the mouth

and if you're curious, his tamagotchi is yellow with pink and orange buttons and detailing

if you still want it injected into your veins i am ready and waiting with the syringe!

for this ask/tag wip game :)

[tearlessrain]

7 and 12 for the durge creator asks:)

eey thanks! (ask meme)

so for clarity, my durge is actually two people, they're twin brothers (or yknow, they consider themselves that, not even gonna try to figure out the exact biological fuckery behind their existence), one of whom (Ryldimar) developed a conscience after getting tadpoled and the other of whom (Veil) really didn't. They were extremely close all their lives and are basically one soul in two bodies or something similar, but forgot each other after they got tadpole'd and were both just vaguely aware that they'd Lost Something Very Important until they started respectively piecing things together. their story inevitably ends tragically but Ryldimar at least more or less survives to move on from it.

Ryldimar is the one whose playthrough I consider "canon," while Veil didn't encounter much of the main plot up to act 3 and carved his own way to Baldur's Gate, where he proceeded to kill Orin and take her Netherstone before Ryldimar got there and basically replaced her as the Bhaal boss in my own canon. How did Veil resist the Absolute without the prism? some kinda twin bond/Bhaal blood bullshit, don't worry about it.

I somehow don't have proper art refs of them yet but they are each other's dream guardians in-game so I have screenshots like this hoarded.

just. imagine that Ryldimar is wearing a bunch of scraggly bloodstained furs instead of shiny plate armor. he didn't even look that put together before the tadpole.

so that was a bit of a ramble but yeah lol.

7. Is their personal story represented in their overall design? Do they carry any mental scars or physical alterations from the shit that happened to them? It is, but not all of it is on purpose lol. I made Ryldimar first and wasn't terribly invested in the whole durge concept, I just wanted to see more of the game, so I threw together something visually appealing to me and picked drow because I'm one of those people. then I decided to do one(1) evil run and made Veil by just mucking up Ryldimar's design a little. it was actually my friend who suggested that they could be twins and I immediately got super attached to the concept (because who doesn't love a good Evil Twin trope) and now here we are, and I've since adjusted their designs a little accordingly (they've both got the red swirl tattoo, but Veil's is canonically on the opposite side and it's not a tattoo so much as a remnant of whatever process split them into two people). Ryldimar is the one who ended up in Kressa Bonedaughter's custody for a while, so he's got a fair amount of scarring from her various vivisection attempts. It's also the reason he experienced such a stark personality change in a way Veil didn't; Kressa's poking around in his brain (mostly in an attempt to make him slightly more docile so he'd stop trying to strangle her with his own intestines) had unforeseen long-term consequences. Veil's face scarring is intentional and decorative, and it predates the tadpole. They both had some artistic inclination though they uh, kept it a lot more reined in than Orin obviously. Veil always leaned more toward visual arts and Ryldimar preferred music (mostly as justification for the single level in Bard I gave him).

Veil also does absolutely have brain damage, but aside from the memory loss it mostly just fucked up his emotional regulation a bit. Though ironically, he doesn't remember his name (Veil is something he picked for himself post-tadpole) while Ryldimar does remember his.

12. OC Art/Stories or shipping content? What do you enjoy the most? What's ur little hidden passion? Okay so arguably a bit of both; the two of them have a whole story arc intertwined with @elaphaemourra's tiefling oc Dragonfly (same person who is the inspiration between Veil and Ryldimar in the first place). I really love throwing my ocs at other peoples' ocs and the whole conversation started as just throwing whump ideas around by letting Veil get his hands on Dragonfly. that evolved into "Dragonfly is the hostage in Ryldimar's storyline, he was originally captured by Orin but once Veil killed her he didn't need a hostage anymore, so he just kept him for fun."

It was already canon that Ryldimar ends up killing Veil and rejecting Bhaal, now he just. also gets a very traumatized tiefling out of it and by this point we've written walls of text about these two recovering and helping each other heal from the insane shit they've both been through.

also they fuck. so much. they're the absolute epitome of "that which doesn't kill me gives me kinks that are difficult to explain."

[adamwatchesmovies]

Cinderella and the Secret Prince (2018)

While I didn't enjoy this film, that doesn't mean you won't. No matter what I say, the people involved in this project did it: they actually made a movie. That's something to be applauded. With that established...

There's something particularly devastating about watching a bad movie that could’ve been good if circumstances beyond the filmmaker’s control hadn’t mucked things up. Right before the end credits of Cinderella and the Hidden Prince, we see concept art of what the characters should’ve looked like. They look great. As good as anything Disney has put on-screen. I'm certain the voice actors saw these images and got all excited. I can picture the art director/character designer telling their friends and family about this animated fairy tale they were working on and then dying of shame once they saw the final product.

Ella “Cinderella��� (voiced by Cassandra Morris) is forced by her wicked stepmother and step-sisters to work as a scullery maid in her own home. When her mouse friends Alex (Chris Niosi), Manny (R. Martin Klein) and Walt (Tony Azzolino) discover an apprentice fairy godmother in the woods (Crystal, voiced by Kirsten Day), Ella gets the chance to go to the royal ball and meets the kingdom's prince. Unfortunately, Olaf (Stephen Mendel) isn’t a prince at all. He’s a puppet of the Wicked Witch (Stephanie Sanditz), who has transformed the real prince into a mouse!

If you’ve had the misfortune of seeing 2012’s Cinderella 3D, this one’s cut from the same cloth. Ugly characters are REALLY ugly but not in an intentional way. The "handsome" prince has his eyes set just a bit too far apart, making him look like he’s a fish man. Cinderella’s mouse friends (well, two are mice, one’s a hamster) are hideous creatures whose size changes from scene to scene. At best, this looks like a bargain-bin knockoff of Tangled. Most of the time, it doesn’t even reach the level of Happily N’Ever After. Some assets were obviously taken from an animation library because you can see their cycles end in the middle of a scene.

Despite the lackluster visuals, you can picture the movie this could've been if it weren’t trying to tell the Cinderella story. When you think of the classic fairy tale, certain elements come to mind: a poor girl forced to do labor, a fairy godmother and most iconic of all… a crystal slipper left behind at midnight. That last one? not in this movie! Instead, we have a quest for a magic ring to restore the not-so-secret prince to his human form. This mission takes over the entire film, which would be fine if it was what we’d signed up for.

As Hoodwinked has taught us, all could've been forgiven if the writing had done some heavy lifting. At several points, it feels like there are scenes missing. One moment, Cinderella and her friends spot a colossal ice mountain all the way across the forest. Seconds later, they’re inside, exploring a cave that looks like it belongs to a completely different film. The characters are thin, unlikeable, or both. At several points, the story contradicts itself. We learn, for example, that the prince was turned into a mouse when he was five years old. When he’s restored to his true form, he suddenly knows how to ride a horse and is an expert swordsman. Did he master these skills when he was a toddler? Then there’s a reveal about the evil witch that makes no sense and an epic conclusion that raises far too many questions. It’s clear some people on the team were trying but they were outnumbered by people who just didn’t care.

You can appreciate a film wanting to take a familiar story in a new, fresh direction but good intentions don't mean anything if the end product is kind of ugly, often annoying and poorly written. Don’t get me started on the one musical number. It’s so bland and generic you'll forget the lyrics as soon as the following line begins. Even for little kids who don’t discriminate, Cinderella and the Secret Prince would be a hard sell. (May 7, 2021)

[aquareegia]

Not that anyone gives a shit but I feel like posting my opinions on the songs for Unser Lied für Liverpool, so yeah. I'm not a critic, I'm not going to disect anything, nor am I gonna go into some deep analysis of the lyrics, I don't really care all that much. It's just my amateur opinion after listening to the songs for a few times.

TRONG - Dare To Be Different

Funky lil tune. As someone, who doesn't know shit about k-pop, this is what I kinda imagine k-pop to look & sound like. 😂 The song is nothing I would love to listen to but probably also wouldn't click away. Like it's fine, makes me bop my head a little but it's nothing I'd see doing well at ESC. Maybe if the staging is right and he can manage to dance that well and also manage his vocals live? But idk, I'm not sold.

Will Church - Hold On

It's not a bad ballad but it's definitely not for me. I'd click away, if I heard this anywhere tbh. I think Will is a great singer but the song is just boring, it'd just drown in the contest imho.

Lonely Spring - Misfit

As a fellow misfit at heart, I'm definitely not immune to the early 2000's pop punk sound. I actually enjoy that song a lot. 😂 Would it win? Probably not, but it's fun. It gets stuck in your head and by the end of the song, you're just having a good time and sing along. I feel like the emo millenials would really appreciate this song.

Patty Gurdy - Melodies of Hope

I don't hate it but I also don't particularly love it. I like Patty's voice and I really like the folky sound of the instrument but the song itself... it's kinda boring (and sorta outdated) imho. I feel like it could either do really well at ESC or it could be one of those songs, that get hyped beforehand and then flop at the actual contest. I haven't listened to anything else by her but I just know she has better songs!

Lord Of The Lost - Blood & Glitter

This is the song, I could personally see doing best at the ESC out of this selection. Granted I may be biased because I like heavy music but I think they have the best total package of sound and visuals. And since LOTL is an experienced band, I feel like they could give us a great staging! I'm definitely rooting for them in the national final!

Ikke Hüftgold - Lied mit gutem Text

I hate it and I'm still mad this made it into the national final! 😂 Ballermann-Mucke is just something I strongly despise with my whole being! Like nothing against joke songs. I do enjoy them especially at ESC, when they're done well. But this... no thanks, I don't want it! This might work in Mallorca infront of a crowd of drunk Germans, but it won't work at Eurovision. Yeah... thanks, I hate it! 💀

Frida Gold - Alle Frauen in mir sind müde

Meh. Props for the German and women empowerment, I guess... but meh. I'd immediately forget about this song, the second another one comes on.

Anica Russo - Once Upon A Dream

I don't like it. Her voice (maybe it's the style of singing?) is absolutely not for me, it's like nails on a chalkboard to my ears. I just can't vibe with it. 😭

René Miller - Concrete Heart

It's not terrible but it's your generic radio song, that you've already heard somewhere else. I personally think René's voice would've worked better on a heavier tune, it's kinda wasted on a generic Imagine Dragons sounding song like that. 💀

[omegaplus]

# 4,315

JK Flesh: Sewer Bait (2022)

Tell us this is techno without telling us it isn’t. While JK Flesh has always been a project of hybrid dance-floor and industrial, Sewer Bait would be a huge distance away from what techno is. It’s a record that’s not meant to excite, but to supplement the indifference of people who can’t be bothered by such and can still appreciate it when the music itself reaches the bare minimum definition of it. Issued under Kevin Martin / The Bug’s Pressure label, Sewer Bait becomes Justin Broadrick’s third and final release under the JK- moniker this year (succeeding New Religions Old Rules and Veneer Of Tolerance) and one which he pulls slower on. Sewer Bait wouldn’t sound like a traditional techno release by any means. With Broadrick and Martin’s mindset of stuck-on unwashable muck and reeking contaminant, JK- pushs the limits on how hard hammering bass rhythms would hit, how slow its tempo could move to the point of sludgery, and how detestable and filthy the overall output would be. The title track took off pieces of Nineties rave and applied it to the album’s running theme of creepiness, and dub takes a janky beating to its own pulp on “In The Drain”. “Flushed Away” may easily be the stand-out cut, representing the best example of mucous and creepy violation. It’d be easy to visualize how gruesome Sewer Bait would sound given the penchant for undesirable infra-structure and you might be half-right. The other half? Well, could you even imagine it?

[whatsonmedia]

Thursday Thrill: Top 3 Music Festivals Happening Right Now

March may be coming to an end but there’s still plenty of time to catch some amazing music festivals! Whether you’re looking for snowy slopes, sunny beaches or a vibrant city escape, we’ve got you covered. Here’s a sneak peek at 3 of the hottest music festivals happening right now: Snowboxx 2024 16 - 23 March The wintery festival encompasses a ski trip, a mega music festival for EDM lovers and a holiday all rolled in.  Offering affordable packages for the best party with your mucks.  Even for solo festival lovers who are for a bit of an adventure of the piste. The ultimate mountain party takes you from the snowy peaks of the French Alps into the sparkling heart of picturesque Avoriaz and the Snowboxx Village.  Featuring two huge main stage events to get your week off with a bang on the apres-ski, heading for the heights on-mountain concerts, raves taking place in igloos, and tropical themed waterpark parties. If you’re up for an absolute wild and wicked week in France this one is right up your street.  The main stage really is one-of-a-kind. And it be hosting some of the biggest acts in the world all in walking distance from your accommodation. Furthermore, Snowboxx hosts epic bottomless brunches where festival goers get pissed on the piste. This year’s line-up features Rudimental, Netsky, The Streets, Ben Hemsley, Krafty Kuts, Girls Don't Sync, Becky Hill, Danny Howard. Also Gok Wan, Jazzy (Singer) The Menendez Brothers, Jodie Harsh, Goddard, Lens, A Skillz, CJ Beatz plus many more Tickets & More Info Ultra Music Festival 22 – 24 March Miami's biggest EDM festival returns for its annual state-side outdoor offering on the festival calendar. Hosting one of the largest crowds of festival lovers. Ultra Music Festival Miami 2024, one of state-sides largest outdoor EDM festivals off the global festival calendar. Promising an unforgettable electrifying extravaganza! Drawing thousands to Bayfront Park for lovers of festivals and an all weekend danceathon. Festival-goers can expect a euphoric fusion of pulsating beats and mesmerizing visuals, from a global line up of elite DJs igniting the stages with unparalleled energy. With a diverse lineup spanning genres, festival-goers can immerse themselves in a kaleidoscope of electronic music culture, forging unforgettable memories amidst the vibrant Miami skyline. If you need a break from the cold and wet weather the city's favourable weather, its stunning sunshine makes it one of your top festival experiences. Where a sea of revellers, numbering in the tens of thousands, descend upon the festival grounds, creating an electrifying atmosphere of love, peace and unity having the best time of their life. Ultra Music Festival boasts multiple stages, each hosting iconic performances that push the boundaries of creativity and innovation. As one of the world's most prestigious electronic music festivals, Ultra Miami continues to captivate audiences globally, cementing its status as a cultural phenomenon. It's a must-attend event for music enthusiasts worldwide. The DJ line-up is flown in from around the globe, with headliners. There are so many headliners including Adam Beyer, Calvin Harris, David Guetta, Fisher, Camelphat, Afrojack, Tiesto and more. Tickets & More Info Lollapalooza Brazil 22 - 24 Mar Lollapalooza Brazil, offers a dynamic fusion of music and cultural celebration.  Calling on festival-goers to an exhilarating experience unlike any other. Nestled in the heart of São Paulo, this iconic festival transforms the sprawling grounds into a vibrant tapestry of sound and spectacle. At Lollapalooza Brazil, festival-goers can dive into an unforgettable festival experience from a diverse lineup showcasing an eclectic mix of musical genres. Started from chart-topping headliners to emerging artists on the cusp of stardom. With multiple stages pulsating with energy, there's something for every musical palate, ensuring an unforgettable journey of sonic exploration. Beyond the music, Lollapalooza Brazil embraces diversity and inclusivity, featuring immersive art installations, culinary delights, and interactive experiences. It celebrate the rich tapestry of Brazilian culture. From savouring local delicacies to exploring art installations that ignite the imagination. Every moment is an opportunity for discovery and connection. With its vibrant atmosphere and palpable energy, Lollapalooza Brazil transcends mere entertainment, evolving into a cultural phenomenon that unites music lovers from across the globe. Whether dancing under the stars or forging new friendships amidst the crowds, the spirit of Lollapalooza Brazil ignites a sense of camaraderie. The excitement that lingers long after the final note fades away. Each year the festival brings some of the biggest names in music to South America that fans will love as they rock out at the legendary Interlagos Speedway. The line-up features a line-up of global elite world famous live music artists. Also DJs and locals including Kings Of Leon, Dom Dolla, blink-182, MK, SZA, Hozier, Above & Beyond. Moreover, some others artist: Arcade Fire, From House To Disco,Ella Whatt, MC Soffia, Mary Mesk, DJ Suburbia, BK Go Lollaloopie! Tickets & More Info Read the full article

[ulkaralakbarova]

The government gets wind of a plot to destroy America involving a trio of nuclear weapons for which the whereabouts are unknown. It’s up to a seasoned interrogator and an FBI agent to find out exactly where the nukes are. Credits: TheMovieDb. Film Cast: Henry Harold ‘H’ Humphries: Samuel L. Jackson Agent Helen Brody: Carrie-Anne Moss Steven Arthur Younger: Michael Sheen Charles Thompson: Stephen Root Rina Humphries: Lora Kojovic Jack Saunders: Martin Donovan Agent Vincent: Gil Bellows Agent Leandro: Vincent Laresca Agent D.J Jackson: Brandon Routh Agent Phillips: Joshua Harto General Paulson: Holmes Osborne Col. Kerkmejian: Michael Rose Mr. Bradley: Randy Oglesby Alvarez: Benito Martinez Lubitchich: Sasha Roiz Winston: Dayo Ade Katie: Yara Shahidi Peter Humphries: Sayeed Shahidi Jehan Younger: Necar Zadegan Samura Younger: Jillian Bruno Ali Younger: Coby Seyrafi Major Pierce: Chris McGarry CNN Announcer: Angela Martinez ESPN Host: David E. Willis Young Sergent: Geoff Meed Observer: Kirk B.R. Woller TV News Announcer: Kelly Vaughn Announcer #2: Bill A. Jones Soldier: Phil Somerville Bomb Disposal Expert: Austin Nichols Pedestrian with Child: Delaine Yates Film Crew: Casting: John Papsidera Music: Graeme Revell Stunt Coordinator: Charles Croughwell Producer: Bill Perkins Producer: Marco Weber Director of Photography: Oliver Stapleton Line Producer: Samson Mucke Writer: Peter Woodward Visual Effects: Chris Ervin Key Hair Stylist: Robert L. Stevenson Producer: Caldecot Chubb Producer: Vanessa Coifman Editor: Scott Chestnut Director: Gregor Jordan Production Design: Steven Jones-Evans Key Makeup Artist: Francisco X. Pérez Makeup Department Head: Allan A. Apone Digital Intermediate: Keith Shaw Still Photographer: Dale Robinette Camera Operator: Chris Lombardi Art Direction: Nick Ralbovsky Visual Effects: Lucas Krost Costume Design: Danielle Hollowell Executive Producer: Vince Cirrincione Executive Producer: Rachel Rose Set Decoration: Amber Haley Gaffer: Jack English Costume Supervisor: Marisa Aboitiz Supervising Sound Editor: Chad J. Hughes ADR Supervisor: Angela Hemingway Sound Re-Recording Mixer: Jonathan Wales Music Editor: Ashley Revell Property Master: Guillaume DeLouche Special Effects Coordinator: William Dawson Script Supervisor: Tracy Scott Dolly Grip: Sam Stewart First Assistant Camera: Patrick McArdle Digital Intermediate: Brian Beard Key Grip: Patrick R. Heffernan Casting Associate: Jennifer Cram Lighting Technician: Jesse Mather Lighting Technician: Simone Perusse Prosthetic Makeup Artist: Brad Look Digital Intermediate: James Ahern Dolly Grip: Jeff Smith Construction Coordinator: Lars Petersen Movie Reviews: DoryDarko: Unthinkable raises a question which has been an issue for many people all over the world for a very long time, and especially since 9/11. This question is, is it ever justified to torture an individual to save the lives of many? And if the answer is yes, how far can you go? This issue is indeed a very sensitive subject and I think it takes guts for any filmmaker to put it out there in the open like Gregor Jordan did. Add to that the clever fact that he doesn’t actually make a choice, but rather lets the audience decide on whatever they want to think and feel, and you have a pretty gutsy and controversial concept. In a nutshell, this film is about a man of American descent who has become a Muslim and has now, as an act of terrorism, planted 3 nuclear bombs in 3 major American cities which will go off in four days. Screenwriter Peter Woodward made some very tactical decisions considering the characters in the story. They are all somewhat stereotypical, but this is no bother because they’re all there for a reason. Carrie-Anne Moss, as an FBI investigator, represents the conscience, the sensitivity and the struggle to make the right decision. Samuel L. Jackson is her polar opposite; the brutal, rational, stone cold “interrogator” who does what he does because he’s the only one who can and willing to do it. The means he is willing to go to in order to get his subject to talk ...