#always my favorite image produced by you during the time I was revealing the designs on twitter

[bruhstation]

normal reactions to the ulfstead trio over here. (sweats)

#asks #ollieantics #casa tidmouth #always my favorite image produced by you during the time I was revealing the designs on twitter #wish I could print this on laminated paper and hang it on my apartment wall

[calzona-ga]

[Spoiler's] departure marks only the fifth time (and first since Patrick Dempsey) that the ABC medical drama has said farewell to a series regular via character death.

[This story contains spoilers from the March 11, "Helplessly Hoping," episode of Grey's Anatomy.]

Grey's Anatomy said parted ways with a beloved member of its cast during Thursday's midseason premiere and it did so in a relatively rare fashion for the ABC medical drama: with a character death.

Giacomo Gianniotti's Dr. Andrew DeLuca was killed off following a heroic battle to stop a sex trafficker in a storyline that stretched back to last season and ultimately capped the actor's seven-season run on the Shondaland favorite. DeLuca, who was stabbed and ultimately died in surgery, became only the fifth series regular in Grey's Anatomy history to have their storyline end in a fatality and the first since Patrick Dempsey's shocking exit nearly six years ago.

In a fitting end to his storyline, DeLuca winds up on Meredith's (Ellen Pompeo) magical beach and is able to have a farewell with his former love interest before walking into the sunset. DeLuca joins George (T.R. Knight), Derek (Dempsey), Mark (Eric Dane) and Lexie (Chyler Leigh) as series regulars (per Wikipedia) to leave the show in death. Of the 33 total series regulars in 17 seasons of Grey's, 13 characters have left alive. And it's of course worth noting that several other characters have been killed off of Grey's, though those actors have either been guest stars or recurring players.

Below, showrunner Krista Vernoff and star Gianniotti talk with The Hollywood Reporter about how DeLuca's death factors into a season that has put COVID-19 at the top of the show's call sheet and what's next.

Meredith is on a vent and that was the last beat until the show's return tonight. Why was it important for that to be the image viewers had of this iconic character for three months? She's still on the vent in the midseason return.

Vernoff: That happened to be the midseason finale. Sometimes stories tell themselves and things happen in very powerful ways. As an image, that works on people's psyche and helps them understand that this pandemic is ongoing and profound and impacting communities in really painful ways. It's a powerful image to help people remember why staying they're home. If this thing can hit Meredith Grey, it can hit anybody.

This season has put COVID-19 at the top of the call sheet, with realistic portrayals of everything from infected doctors, others struggling with the emotional gravity and, in the midseason finale, hospitals reached capacity. When it aired, that episode was sadly prescient. How does the rest of the season play out in terms of how close it has been to what's happening in the world now?

Vernoff: What's so interesting about it being prescient is that we were telling the truth in that episode of what was happening in May 2020 in Washington state and it was happening again in Los Angeles in December, when the episode aired. We weren't prescient; we were telling a story that happened in the early stage of the pandemic. It's been amazing how when we thought when we were breaking the show, we thought we were going home for two weeks and now it's a year later and we're looking at this in this way. It's still staggering to me. We are not jumping forward to some imaginary future where covid is a thing of the past. We are still set in the past in the back half of the season. That was one of the decisions when we decided that Meredith has covid and that that would span a fair amount of the season. We didn't want Meredith in a bed with covid for 11 months. We are still in like May/June of 2020 creatively. We're not jumping forward so we don't have to try and keep up with what's happening now; we're looking at what was happening then.

In a season exploring covid, why was the first major character death of the season unrelated? Was this supposed to be the season finale last year?

Vernoff: There was no plan to kill him at the end of last season. I very much did not want to kill DeLuca last season because he'd been through a mental health crisis and he'd come through it. I wanted to show that a person can go through a mental health crisis and come out the other side and be a functional, contributing member of the hospital staff. This story of DeLuca seeing that sex trafficker again and following her out of the hospital and refusing to let up and it becoming a part of Station 19 and following it and right when you think he's got her, somebody punches him. You think he's been punched but you come back and realize he's been stabbed and then he's on the beach with Meredith. My reaction to [the story idea] was, What?! Fuck! No! Really!? This is what I'm doing?! No! Many times after I pitched it to the writers and we designed the season around this story, I started to chicken out and second-guess myself. Can we save him?! Can he live?! He can't. We've done a lot of near-deaths and saved them since I took over the show. So now people are expecting that. This was the story. It was as shocking to me as it was to you.

Giacomo, what was your reaction when you got the call that Andrew was being killed off?

Gianniotti: Krista and Debbie Allen, our exec producer, called me into an office said they've tried it different ways and keep coming back to the trafficking storyline from last season. The storyline was so highly received, and because of that, they knew they had to continue to explore it. They saw an opportunity to tell a beautiful story that highlighted human trafficking and for DeLuca to go down as a hero and make this really noble act to stop this perpetrator but would unfortunately cost him his life. I've been on the show for seven seasons thought it was a great way to exit. Krista running Station 19 as well had the idea to make it a crossover so we could tell it over two episodes and spend time with DeLuca. I'm a storyteller and the best story always wins and I thought this was the best story.

What was the larger point you wanted to make with DeLuca's storyline? He dies a hero, which is a bit of the ultimate for a Grey's death.

Vernoff: I was processing [grief] myself when this story came. As we were going through this shared trauma of covid together and quarantine and being away from the people we loved, I wanted all the other tragedies in the world to just stop. It didn't seem fair. The Alexandria House, a charity I support in L.A. that shelters battered women and their children — so people who have already been traumatized — the first week of the shutdown, the Alexandria House caught on fire. It was like, What?! Isn't covid enough? But everything else didn't stop because of covid and we were all having to process other things, too, and horrible tragedies that come with life. That's part of where this story was born. All these people are going to die of covid but also sometimes other people just die. And it's f—ing awful. Part of DeLuca dying in this way … watching this episode, watching his mom greet him on the beach and feeling that grief, I cried harder watching this episode than I cried since George O'Malley died. I thank Giacomo for playing this character so beautifully and powerfully that through the death of DeLuca I believe there is an opportunity for us all to release our collective grief.

Will DeLuca re-appear on that beach again this season?

Vernoff: No. I thought him walking away with his mom was the most powerful closure for that character. But you will see him again, just not on the beach.

Gianniotti: Even though his life has come to an end, there's many ways to show our characters who have passed. I look forward to tell some other stories in those ways. Maybe there's flashbacks or other scenarios where we can see DeLuca. That's about all I can say. But it's not a drill; he's definitely died.

What was filming on that beach like given how much those scenes have meant to viewers?

Gianniotti: Ellen and I kept pinching ourselves. To be able to shoot on a beach was amazing. It was nice to be a part of that and have DeLuca have his moment and say his piece with Meredith. There was a lot of unfinished business between them. Maybe if Meredith hadn't gotten covid, the first part of this season could have been them picking up the pieces of where they left off in their romances. But circumstances didn't allow for that. It was nice that DeLuca got to at least thank her for everything she'd given him.

How do you think Meredith will respond to DeLuca's death?

Gianniotti: It's tough to say because you think of the dream and what happened at the end of the episode and wonder if Meredith would correlate that with the metaphor: if he's joining his mother that must mean he's leaving me and passing on. Maybe that would translate to her waking up? Who knows? Or it will be a massive surprise when she wakes up. There is a very obvious, glaring comparison with reality in that so many health care professionals have lost their own due to covid. It's a direct representation and reflection of that. It's helping people in the industry feel seen as well. It hits different and it's going to send a shockwave through all the characters at the hospital — and maybe Meredith the most.

Knowing Meredith is battling covid, it feels like there's one of two outcomes there. How does the covid story that you're telling impact the different finales that you're crafting considering the show's uncertain future?

Vernoff: More will be revealed as you watch the show. (Laughs)

Without spoiling anything, how would you describe who else will visit Meredith on that magical beach?

Vernoff: There are some really fun surprises coming up. It's one of the things that I have enjoyed as rays of light in the darkness of the storytelling necessitated by covid. That beach is a ray of light and the surprises of who you see there are rays of light. And I don't want to take that away.

Can you confirm there will be others who appear on that beach who viewers haven't seen there yet this season?

Vernoff: Yes.

Giacomo, you got to make your directorial debut on Grey's this season. After seven seasons, was there anything you wanted to do on the show but never had the chance?

Gianniotti: This felt like a gift. They rolled everything I wanted to do into two episodes, they wrote my dream exit storyline. I got to have an action movie told on Station 19 chasing a perpetrator and not wearing scrubs. That was fun and not something I'd gotten to do on Grey's for obvious reasons. All the scenes where we got to take our time and be together with Ellen and Meredith on the beach was a good way to tie up the loose ends. As far as the mental health storyline, it was an honor and privilege to tell that story. Ultimately, it's about representation and for people to see someone who is bipolar can be an attending and command a whole department at a hospital is huge.

Did you keep anything from set?

Gianniotti: I didn't! Maybe I'll go steal my stethoscope next time I'm there!

What's next for you? Any plans on returning to Grey's as a director?

Gianniotti: Definitely investing a ton of time in directing and hoping to continue to do that here and abroad. I'm seeking a lot of opportunities in Italy and Canada as a director and actor and have a few things coming on the horizon that I'm excited to share

#grey's anatomy #krista vernoff #17x07 #andrew deluca #giacomo gianniotti #spoilers #THR

[aawesomepenguin]

“[The Sonic Movie] was always one of my dreams”, Takashi Iizuka and Sonic Movie staff reveal new details

The Sonic Movie release in Japan is very close, and in order to celebrate, 4Gamer has done an interview with Takashi Iizuka (Head of Sonic Team),  Nakahara Toru ( Senior Executive Officer of SEGA SAMMY, and also SEGA’s Lawyer), Jeff Fowler (director of the Sonic Movie) and Toby Ascher (Sonic Movie Producer), and in it, they gave us some details about the movie and what the experience was like.

Remember that the translation isn’t 1:1, but it gets the point across.

Q: What advice did Sega give to the movie staff in the making of the Sonic movie? Iizuka: Advices related to Sonic in various situations, such as how he looks and moves, and his character, as in "Sonic would never say that". Sega has some guidelines for giving advice to people who do not know Sonic, but it is not a comprehensive guide, so I commented a lot during production. Toby: Mr. Iizuka's advices on Sonic's personality and design were very helpful. I wanted to make Sonic the correct Sonic that fans know. Iizuka: Since this work is a hybrid movie that combines live-action and animation, there are many scenes where actual actors and Sonic are involved. The movie isn’t set in Sonic’s World,  so I proceeded to think on how he would react to all of it.  The biggest challenge for us this time was that we had to think about Sonic from a completely different perspective when compared to the games.

Q: What did you pay most attention to not betray your fans? Toby: I was under pressure because I knew that the expectations of fans were very high because we are from a generation that played Sonic games when we were kids. But at the same time, I also wanted to make a movie that a newcomer to the series could also enjoy. I was very concerned about that balance. I wanted to make it possible for people who don't know Sonic to enjoy the world of Sonic, while putting in a lot of material that fans can still enjoy. Nakahara: That was the mission behind this movie. To please our generation raised in Sonic and children who have little experience playing with Sonic. I hope this movie will create a new generation of fans.

Q: Are there any differences between the Sonic from the games and the one from the movie? Jeff: This is the first time we're introducing Sonic's backstory! Iizuka: Baby Sonic is a young Sonic that hasn't appeared in games. In the movie, it’s shown how his experiences as a baby changed him, and how his personality was formed. The games feature an already grown up Sonic, so it's good that the story up to that point wasn’t very clear [in the games, allowing the movie team to be creative with Sonic’s backstory].

Nakahara: Baby Sonic is being compared to Baby Yoda's in Star Wars. They’ve become big rivals. Jeff: Let me tell you, Baby Sonic is an idea that we came up with before Baby Yoda was revealed (laughs). It takes time to make characters and CG... Nakahara: Baby Sonic’s design was created under the supervision of Mr. Iizuka, but the actual CG animation was created by Marza Animation Planet Co., Ltd., a subsidiary of the SEGA SAMMY Group. Hollywood companies are included in the special visual effects of this movie, but Japanese companies such as Marza and Sega played a central role in the animation of Baby Sonic and Sonic. Toby: That's one of the great things about this film. As a fan of Japanese animation, a collaboration between Japan and the United States made me very happy.

Q: When you hear that it's a joint production movie between Hollywood and Japan, there are some movies that didn’t succeed, but this time it seems different. Nakahara: Most of the Japan-US collaboration in movies so far involved only the Japanese content holders signing IP licenses. So Japan doesn't get involved with the production, and they don't pay much for the production. As a lawyer, I've seen many contracts where you only get a license fee. That's not really the case. However, this time, we have invested in the production costs for Sonic, and we are on an equal footing with Original Film, the company that has produced the blockbuster movie series, Fast and the Furious, the director of "Deadpool," and Paramount Film Company. There was also a big discussion, "Can you do a movie with an equal partner with so many different creative visions?" That's a big risk. But in the end, including the terms of the deal, the decisive factor that brought all of us together was that Sonic needed to be a movie star. Sonic is a big star in America. Because of that background, we joined hands in conditions that everyone was satisfied with. As SEGA, they jumped over the license agreement and suddenly became an equal partner, and there was a mix of expectations and anxiety. As a lawyer, I've been involved in a variety of works, but I was able to establish a relationship of trust that surprised me, "How can we collaborate so well?". Of course, small issues have come up every day, but I feel that we have been able to overcome them comfortably throughout.

Q: Weren't you able to make a case against Hollywood because you Nakahara-san, are a certified American lawyer? Nakahara: I may not be the one to say it, but this all truly is Sonic. Everybody loves Sonic. Whenever some big development occurs, a lot of it can be attributed to Sonic. Sonic is like Tom Cruise in the way that he has this presence of greatness that makes him feel like a star from throughout the years. Q: Is there any reason for making it a hybrid movie? Jeff: I thought it would be more fun and more enjoyable for the audience to get into Sonic's sense of speed when it gets put into the live-action world. From Sonic's point of view, the world is always slow, but from a human perspective, he is always moving at super-fast speed. The important thing was to express the power and speed of Sonic in a fun way. The baseball scene in the trailer is my favorite, and he uses his speed to enjoy baseball alone. From a child's perspective, if you were to move at that speed, you would want to play all the positions yourself, right? Q: Sonic has established a star position in the West, but what do you think was the reason why Sonic is particularly popular with Westerners? Iizuka: Sonic is a character born in Japan, but from the beginning we were aware of the West. With a Californian image of the blue sky, blue sea, and palm trees, we added a sense of speed with a deep blue appearance. Sonic’s character of strongly sticking to his morals and to his justice without ever being affected by anything else was also a characteristic of Western characters. And also, Sonic’s World doesn’t take much elements from Japan, or Japanese culture. In fact, Sonic’s World is more Western, and the coolness of the Western people we always see around have been incorporated into Sonic's world, so it has been accepted by Westerners and supported so far. Sonic has always been western in nature, so our goal in a way has always been making Western-style games, create characters with Western-ness, and that eventually landed us a Hollywood movie... so I feel like I've finally arrived there in the 27th year.

Q: Please tell me about the character that Jim Carrey plays. Iizuka: Dr. Robotnik, the villain in the movie is called Dr. Eggman in the games, but in them, he has a round body and thin legs, and a figure that can’t be seen in a live-action human being. So if we wanted someone actually human, we had to create a new Doctor Robotnik look. Should Dr. Robotnik in the movie resemble Dr. Eggman from the games? Would they talk in a similar way? Jim Carrey splendidly created a new Doctor Robotnik! Dr. Robotnik always was a crazy scientist, but Jim Carrey's Dr. Robotnik is crazy, unlike anything we had imagined. That's very interesting. Did Jim Carrey bring half the fun for the movie? I think he played a really good Dr. Robotnik. Nakahara: Jim feels like a gentleman and a calm philosopher during the breaks. But once the camera turns, he becomes a different person and a lot of energy comes out. 

Q: What are the highlights of this work? Jeff: Jim Carrey and James Marsden, of course, but the star of this film, Sonic, is definitely the highlight. Laughs, charming, confident and laid back. Fans will definitely enjoy it. There are many easter eggs. If you send me a list of how many you have found, I will tell you that there are still some that have not been found yet (laughs). Toby: It's a movie designed to be enjoyed over and over again, so every time you watch it, you'll discover something new. Also, Dr. Robotnik's dance! It's great!!

Q: Please tell us about your future plans for Sonic. Iizuka: This year, we finally made a movie about Sonic. That was one of my dreams, and since we are about to celebrate the 30th anniversary of Sonic next year, many people will have been brought in by the movie, and then they’ll have more opportunities to come into contact with the series through the [30th Anniversary] game. I hope we can get you a better game. Sonic is evolving with the evolution of game technology, so I hope we can continue to release surprising game titles.

SPECIAL thanks to @dizzydennis​ for helping in the translation in some parts.

Source

#Sonic News #Sonic the Hedgehog #Takashi Iizuka #Sonic Movie #Toby Ascher #Jeff Fowler

[anikkis-fantasirealities]

“The Banquet Rooms of the Grandeur Campus”

③ Human Interest Story ┊ ʸᵒᵘ ʷʰᵒ ʸᵉᵃʳⁿˢ ᵗᵒ ᵍᵘᶦᵈᵉ ᵗʰᵉ ʸᵒᵘᵗʰ···ᵗᵒ ᵍᵉⁿᵗˡʸ ᵍᵉⁿᵉʳᵃᵗᵉ ʸᵒᵘⁿᵍ ᵍᵉⁿᵘᶦˢᵉˢ ᵃⁿᵈ ᵍʳᵃⁿᵗ ᵍᵉⁿᵉʳᵃᵗᶦᵒⁿˢ ʷᶦᵗʰ ᵍᵒᵒᵈʷᶦˡˡ·

꒰⁺˚₊·₍₍loading...₎₎ ✎...۪۫❁ཻུ۪۪ -ˏˋ 📨 ˊˎ-

༘✶ ㊉ ㈦〘 ⅯⅯ 〙⋆｡˚𓆟 ༉ ║ Posted : ０６/１５/２１° ｡༄ ‧₊˚ ๑ ㅤ ㅤ ㅤ ㅤ •ଓ.° ｡❍ ㈩ ㊇

- - ——— ꒰ An article by Nicole “Nikki” Elaine S. Chua ꒱

ㅤㅤ ㅤㅤ₊·͟͟͟͟͟͟͞͞͞͞͞͞➳❥ ࿐ྂ—͙❬₊° ᶦ ᵃᵐ ᵃ ᵇˡᵒᵍᵍᵉʳ ᵃᶠᵗᵉʳ ᵃˡˡ·“= ‹⸙͎

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┊ ┊ ┊ ┊ ┊ ┊

┊ ┊ ┊ ┊ ˚✩ ⋆｡˚ ✩

┊ ┊ ┊ ✫

┊ ┊ ︎✧

┊ ┊ ✯

┊ . ˚ ˚✩

On a scorching afternoon where the shouting of children, chasing each other after classes have concluded, and the chattering adults have started to lock up the messy rooms, there was not one place that was quiet. I, on the other hand, had a quest to fulfill under a time limit! The red ballpen flung onto my chair desk when white sheets of paper were clenced by my thin palms. I ran outside past our broken doorstep to our class, over the pastures, and on top of stone-edged floors. Time is ticking... 4, 3, 2, and those squeaky black dull shoes made it! In opening the slim door to the right side of the room, they were like glorifying gates that screeched wide open—awaiting for my arrival. Well, it wasn’t that dramatic, but I was perspired out of sprinting under the gleaming sun. My short legs wobbling for a tiny second. The beads dripping on my worried face were shaken when I entered the room at around the size of a studio-type residence.

It was normal for me to be an errand girl who assists her class and obey her teachers with respect, no matter what school my identification card is designated to. I grew up with that kind of personality: helpful, caring, kind, diligent, and patient. Hence, these exhausted shoes have travelled to many places across gymnasiums, libraries, storage rooms, and laboratories. Though, sometimes, my mind still can’t get used to such a huge room, like that of the faculty rooms. I still become staggered over the hectic aura of the space, where long tables sat in rows, and people in pink & blue uniforms kindling the noise from the outside within. I would look around to see piles of examination papers, rolls of cartolina squeezed into a box, and scattered gadgets for teaching being charged to full energy. This is an article featuring the 𝙝𝙖𝙧𝙙𝙬𝙤𝙧𝙠𝙞𝙣𝙜 𝙩𝙚𝙖𝙘𝙝𝙚𝙧𝙨 𝙤𝙛 𝙉𝙚𝙬 𝙀𝙧𝙖 𝙐𝙣𝙞𝙫𝙚𝙧𝙨𝙞𝙩𝙮: 𝙄𝙣𝙩𝙚𝙜𝙧𝙖𝙩𝙚𝙙 𝙎𝙘𝙝𝙤𝙤𝙡.

Throughout the years I’ve walked on those narrow corridors, and climbed up stairs to different floors of the vintage buildings, I also meet ways with many generations. One generation was younger than me—that of clumsy children innocently playing in the fields endlessly. The other was of my age, those who exist with me, as they attempt to finish their studies without tilting their heads to nudges of distraction. Then, there was this generation who were much similar to us—like students in a classroom laughing and sharing stories with each other. They had the knowledge of the world in their hands. In their arms, they carry heavier packages to unbox. Though, unlike the previous generations I meet who simply stepped up and down the stairs, the prudent grown-up smiled back to me, walking slowly pass my agitated shoulder.

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ㅤㅤ ❝ That room that I remember the most, ㅤ ㅤ ㅤㅤ was under construction before the pandemic began. ❞

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I had the desire to help them lift their troubles by standing by their side, but they refuse because it is the role they signed up for, and my position had no power to be elevated to their level. Though, through these words, I know I would be able to do something to display their everyday lives behind teaching the New Era youth, giving the best advice, and serving the school with unconditional love. I was given the chance to be closer to the people who inspired me to present the compassionate self with the direction, ambition, and deduction to offer my best contribution to the world I belong to.

At the back of those generalized comforting grins and caring embraces, come their different fairytales that make the generation a community of teachers—young or old, millennial or Gen X, whatever gender and status they may have. They were a social generation, with hundred of stories to unfold and share to the youth. That was one thing I admired about them the most.

Well, I have encountered many teachers in my life since entering school, but the memory that always stick to my mind is my experiences with the teachers of New Era University: Integrated School. For some, they would cover their face when they recognize their teachers riding on a public vehicle rushing to its detination. Others simply ignore their respected educators when they spot them being at school even if the sun has already tucked in for the day.

However, I was one of those students who waves and greets them with my two-front teeth sticking out in happiness—trekking my way to school, riding shiny metallic jeepneys, and walking through scrapped walls that used to be fully painted. The inspiration flows out when I’m with them—a witness of their trials and ever-changing biographies in their very own home, the school, itself. Yes, the school becomes their shelter, figuratively, because that is how passionate they are in the path they’ve chosen to wander upon.

Then, there’s this vague image that I always remember—a banquet room where teachers eat together side-by-side during lunch breaks. The clanging of plates and utensils compliments the happy vibe of the room. The meals packed in transparent plastic bags from the canteen look fancy because of the optimistic mood all throughout the proximity in between me and the busy adults. Oh, and how could I not forget to mention the signature pancakes by New Era University: Integrated School that some teachers indulge in the most?

The giggles never end when I hear their jokes from afar, while I am walking through their room to return the checked papers I’ve finished to my Filipino teacher in Grade 10. Everyone was like workers in a castle of royalty—busy and preoccupied with their own duties, yet working towards one united purpose, that together creates a vibrant mix of emotions in the great hall. The harmonized melody it produces once the sweat and tears has finally been paid off, truly, the lunch breaks are what makes the banquet more lively. It’s a feast to behold!

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ㅤㅤ❝ Whenever I catch my name, I return it, ㅤ ㅤ ㅤㅤwith my good-natured, ‘Hi po, Sir and Ma’am!’ ❞

┗━━━━━━━━━━━━༻❁༺━━━━━━━━━━━━┛

On one side were the lockers, where old and new student’s projects filled the barren storage with interesting information. There are multiple brown wooden tables overlapped with colorful designs where groups of teachers sit together. The masters of Science sat at the bench to the wall at the right, while the experts in English stay behind a counter adjacent to the door on the right. People who speak of Filipino, Math, Computer, and MAPEH had benches next to each other in the middle of the bustling hall that was their faculty room. They are not divided, literally, for their workplaces are not distanced from one another. Each part of the table has a customized area per teacher, whose pictures of blood-related family and schedules are inserted under transparent cover—giving them motivation to carry on their sworn responsibility. However, just like BFFs who stick together, some teachers transfer to other tables to enjoy the rest of the day with their close co-faculty members.

They would talk about their personal lives, their interests, and at times, the students & problems they encounter in classes. Some gave glee, but of course, there were also those that gave headaches. That’s why whenever I am presented with a new subject teacher per grade level, I can understand if the they know me well from the narrations of the teachers who’ve handled me. They are aware of my struggles, efforts, and kindness as a pupil of New Era. They are familiarized with this face, the expression, and its body language.

Though, I am still proud that they recognize my batchmates dedication, too. Each teacher imparted values to all their children equally. There was no favoritism, and everyone gets a chance to participate. When we make mistakes, we are still accepted and loved. All this, even though they are humans who are aroused by intense feelings? No matter how impressive, or lowly we are, it is that chance to be better that we are most thankful about in this palace of high education.

All the pictures you’ve seen so far contain significant beings in my life as a student-soon-to-be-adult. That’s the magic of being someone not so known in society or history, but will remain a treasured person in your life—a special connection only you and that person understands, and not everyone else does. Even though I tend to stutter and zip my mouth when I am often in the loud banquet when I do not want to disturb the delightful get-alongs by our educators, eventually I am noticed and asked, “What are you doing here, Nicole Chua?” It’s the admiration that regardless if I was hidden or completely revealing of myself, they help me to speak out and be more confident with the adults. That is something that I also want to influence my classmates with, because these teachers outside lessons and activities are not so intimidating & looming at all!

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ㅤㅤ ㅤ❝ I can recall the cooked dishes and the grades for judging, and I cherish them knowing you cannot taste them again. ❞

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They are friendly, approachable, and absolutely considerate of the many kids they manage from Mondays to Fridays. Off campus is a different story that I can’t personally share for the privacy of their lives, though I would say it’s rough. It’s rough to come back home—to take care of your very own children while finishing school records, bringing along the stress from work into their real dwelling. They are not just mothers and fathers of the campus that caters hundreds of beautiful princes and princesses. They are also parents worried of their own children’s future.

The sicknesses, the loans, the quarrels, and the trickling hourglass—all this is what they must face in the cold, dry evenings. They are vulnerable to all these things that makes them a part of reality, and not just some fantasy with no flaws. It didn’t matter if they were in the coordinator’s office, the cookery laboratory, the office in the second floor, or that special place on the fourth floor. I was there to hear their encounters with their rude children, or the sweet marriage they had. If I clean harder, dart quicker, and volunteer even more, I can appreciate them who were not supernatural beings veiled in fiction. They sacrifice for that hope, that they will teach the next generations how to educate those after them, and those before them. 𝘛𝘩𝘦𝘺 𝘸𝘪𝘭𝘭 𝙥𝙖𝙨𝙨 𝙤𝙣 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘭𝘪𝘷𝘪𝘯𝘨, 𝘣𝘶𝘵 𝘵𝘩𝘦𝘪𝘳 𝘮𝘦𝘮𝘰𝘳𝘪𝘦𝘴 𝘢𝘯𝘥 𝙩𝙧𝙖𝙣𝙨𝙢𝙞𝙩𝙩𝙚𝙙 𝙢𝙚𝙢𝙚𝙣𝙩𝙤𝙨 𝘸𝘪𝘭𝘭 𝘣𝘦 𝙖𝙥𝙥𝙡𝙞𝙚𝙙 𝙩𝙤 𝙡𝙞𝙛𝙚 𝘧𝘰𝘳 𝘢𝘭𝘭 𝘦𝘵𝘦𝘳𝘯𝘪𝘵𝘺.

One time, I was holding onto the dream of being a part of the school’s newspaper—it was my “𝗛𝗨𝗗𝗬𝗔𝗧” to fulfill the vision, reflected by that tender link I had with that story. The tension was still on me when I came to the opening. I had no clue why I felt that way, even if I’ve entered too many banquet halls at that point. Though, I was determined to open that door and introduce myself with the passion I had. She was someone I did not know so much back then, but now, I’m writing this article because of her instruction. Her proficient Filipino words, and the lectures she offered to us. There was the excitement, the uplifting compliments, and the will to keep on writing. This may be the last time that we will be coupled for education, but I’m hoping to see our names as staff on the front page. Am I too much, or was that a mysterious ending?

Teachers in general only want the best for their learners, for influencing their lives is the greatest fulfillment. They can be strict or relatable, but together, they spend the rest of the day in the banquet room, merrily toasting for a job well done. In this monumental learning institution, many important people shall rise and do their part in society, away from the fairytales and fictional playtime. Perhaps, next time, if you can also observe your own school’s faculty room, you can hear their stories—the sounds of a feast, and assist them in preparing for the afternoon festivities.

I hope you were able to see the beautiful reality of the teachers of New Era University: Integrated School with my own eyes. Do greet them hello, or help them in your tiny acts the next time you see them, and it will definitely brighten their day. Thank you for reading their ordinary tales! Come back again in another blog where my fantasies become realities! A Nikki reminder: let’s help one another to rise up to success, instead of degrading one another to failure!

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ㅤㅤㅤㅤ ❝ It’s the ultimate desire, and yet I felt so anxious, ㅤㅤ ㅤbut now we’re so close, yet so far between screens. ❞

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· * ✫ * ⊹ * ˚ . . 　　· ⋆ * . * . . · . · . * · . · · + . ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤㅤ· ** ˚ . . + 　　· ⋆ * . * . . · . · . *

ㅤㅤ ㅤㅤ. . + 　· ⋆ * . * . . · . · .˚ ⊹ · * ✧ ⋆ · * . · . · · .. . .

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤ· + ㅤㅤ ㅤ ㅤㅤ ㅤㅤ· * ✫ * ⊹ * ˚

ㅤㅤ ㅤ ㅤㅤ · ** ˚ . . + ㅤㅤ　· ⋆ * . * . . · . · .˚ ⊹ · * ✧

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ⋆ · * . · ㅤㅤ . · · .. . . · + .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤ. · + . *

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ⋆ * . * . .

ㅤㅤ ㅤ ㅤㅤ ㅤㅤㅤㅤ ㅤ . · ·

ㅤㅤ﹙dedication. ﹚ ୨˚୧ ˚ ༘♡.↳ ₊˚‧

This blog is dedicated to “I am a Teacher,” for her patience, remarks, rainbow scarfs, adorable dogs, and wonderful words given to me. You are My Most Precious Treasure in this writing journey, from blandness to vividness.

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

ㅤㅤㅤㅤㅤㅤㅤㅤ﹋﹋﹌﹌﹌「 🧁 」﹌﹌﹌﹋﹋

ㅤㅤ ㅤㅤ ㅤㅤㅤ ㅤㅤㅤ ┊彡 Credits

➥ Cover Edit

➫ Ma’am JB

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ First Blog Divider

➫ Sir Leo

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➥ Second Blog Divider

➫ Ma'am Eva

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➥ Third Blog Divider

➫ Sir Prince

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Fourth Blog Divider

➫ Sir Prince

ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ ㅤㅤ ㅤ ㅤㅤ ㅤㅤ ㅤㅤ ㅤ

➥ Fifth Blog Divider

➫ Teacher Med

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➥ Source of Information

➫ The author’s encounters

➫ Briefly shared stories by her teachers

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[howaminotinthestrokesyet]

Behind The Album: Sticky Fingers

In April 1971, the Rolling Stones released their 12th studio album, Sticky Fingers. The recording of this album would mark new territory for the band in a lot of ways. Sticky Fingers would be the first album that had absolutely no participation from the late Brian Jones. This would be the first album released on their new label, Rolling Stones Records. The record would be the first major effort from new guitarist,Mick Taylor. He had participated on the previous album, but on a limited basis. The timing of the album was important as well because it would be the first major work from the band since the disaster at Altamont Speedway. Many things had changed in music since the new decade began.

An important factor that played a large part in the recording of the album was the fact that the band had tremendous tax issues at the time. They had learned that their manager Allen Klein had not been paying their taxes, even though he told them he was doing so. This meant that each member of the band owed quite a bit of money in back taxes to the government. Mick Jagger would later say, “I just didn’t think about taxes and no manager I ever had thought about it, even though they said they were going to make sure my taxes were paid. So after working for seven years I discovered nothing had been paid and I owed a fortune.” One of the first steps came in the band firing Allen Klein. Yet, this did little to minimize their money issues because unbeknownst to the band they had signed over copyrights in America to all their 1960’s material. Klein’s company Abkco Records now held ownership and received all royalties for their music. This financial catastrophe meant that they needed to release new music in order to make any money from the recordings. For this reason, Rolling Stones records was created to begin the process of getting the band out of debt. They needed to retain ownership of their music in order to maximize any kind of profit. After detaching themselves from Allen Klein, Prince Rupert Loewenstein was hired as the group's new financial manager. Looking back now, they finally found someone that would not rob them blind. Atlantic Records was hired to license all of their music, while Marshall Chess of Chess Records would handle the business side of the label. They seemed to trust his background as the president of a hardworking blues label more than anything else. There was a lot riding on this album financially for the band because if it did not sell, then things would go from bad to worse for each member personally.

The recording of Sticky Fingers actually began during their tour of the United States in 1969. They made a visit two muscle Shoals in Alabama because some of their favorite music was recorded there. During this time, the band recorded three songs, “Brown Sugar,” “Wild Horses,” and “You Gotta Move.” Keith Richards with later talk about those sessions in an interview. “The session] one of the easiest and rockingest sessions we’d ever done. I don’t think we’ve been quite so prolific… ever. Those sessions were as vital to me as any I’ve ever done. I mean, all the other stuff we did – ‘Beggars Banquet’, ‘Gimme Shelter’, ‘Street Fighting Man’, ‘Jumpin’ Jack Flash’ – I’ve always wondered that if we had cut them at Muscle Shoals, if they might have been a little bit funkier.” Yet, the recording of the album would take more than a year. The band did not reconvene for more tracks until March 1970 at Mick Jagger‘s estate, Stargroves. He did not have a studio in his house, but instead they used a mobile recording unit. They would use the same thing on the next album, which essentially carried around in a van all the equipment in the sound booth at a recording studio. This unit also allowed the band to record any musicians that just stopped by for a visit. One reason the album took so long was because the material they made during this period was so outstanding. If a song did not end up on Sticky Fingers, then they decided to use it for Exile on Main Street.

Unlike their other releases, this album embodied straight rock and roll. They did not experiment with country, gospel, or anything else for this record. Looking at it in hindsight, this is precisely why people love this album, while critics had mixed reactions about it. The one thing the band did introduce with this album was their new guitarist Mick Taylor. He became a revelation musically because Taylor stood out as the most technically skilled guitarist in the band's history. Keith Richards even said in an interview that the guitar part on “Can’t You Hear Me Knocking” could not be played by him. The guitarist also brought a much more melodic guitar as opposed to Brian Jones previously. This would not be the Rolling Stones, if they did not have any issues at all in the recording of the album. During this time, Keith Richards began to gradually descend into complete and utter heroin addiction. At times, he was so intoxicated during recording they had to abandon completely certain takes. The delay of the album probably had much more to do with his heroin addiction, rather than the amount of material they were producing. Richards would later comment on why he began using the drug. “It was] the periods with nothing to do that got me into heroin. It was more of an adrenaline imbalance. You have to be an athlete out there, but when the tour stops, suddenly your body don’t know there ain’t a show the next night. The body is saying, ‘What am I gonna do, leap out in the street?’ It was a very hard readjustment. And I found smack made it much easier for me to slow down very smoothly and gradually.” At one point during the recording, things got so bad that Mick Jagger filled in for him on the song “Moonlight Mile.” At no point previously would that have even been imagined. This would become quite the conundrum for the band considering the fact that they had just fired Brian Jones for this exact reason. Another interesting aspect of Sticky Fingers was the fact that Gram Parsons did a country version of “Wild Horses” one year before the album was even released for his band. There exist differing accounts on how it all transpired. Jagger and Richards were totally fine with the release of the song. Before his death, Parsons would say in interviews that the song was a gift to him for helping them with country rock songs like “Country Honk” on Sticky Fingers and Let It Bleed. The track is very different from the one the band released, and some critics even argue that the Parsons version is better.

One of the things about Sticky Fingers is that the art associated with the album became just as important as the music. Andy Warhol designed the cover of the album, which was a pair of pants with a working zipper. The first albums had the zipper pull all the way down to reveal white underwear. These albums are collectors items today because they eventually had to switch to a plain photograph. The metal from the zippers was damaging the records when they were stacked in trucks to be delivered. Unfortunately, nobody really knows for sure who the model is on the cover of the album. Some have suspected that it is Joe Johnson, the brother of Warhol's lover at the time. The other iconic piece of art released with this album came in the introduction of the Rolling Stones signature tongue. This has become the most recognizable image for their brand. You probably cannot live in this country without having seen it at least once. The inspiration for it came to Jagger via calendar he owned about Indian culture. “I was looking for a logo when we started Rolling Stones Records. I had this calendar on my wall, it was an Indian calendar, which you’ll see in Indian grocery stores, and it’s the goddess Kali, which is the very serious goddess of carnage and so forth. And she has, apart from her body, this tongue that sticks out. So I took that to John Pasche and he ‘modernized’ it somewhat.”

Upon its release, critics had very mixed reactions towards the album. The main flaw that some found it possessing came in the fact that it underwhelmed. This issue represented what these critics have come to love about the band's more recent efforts. On Beggars Banquet and Let It Bleed, the Stones had experimented quite a bit with their sound venturing off into new areas. Yet, Sticky Fingers did not go in those places, but instead stayed fairly close to basic rock and roll. This emerges as an age old story with a lot of bands. You must do something different in order to impress the critics because they will often say I have already listened to that. The album became the band's most popular one to date as it went number one in both England and America. That fact should actually be the true testament on how good the band's album is overall.

[palomvs]

     insert a GOOD tik tok reference here ! hey , i’m izzy ( my middle name , my actual first name is lola , but i thought having my character’s nickname and my name be the same might be confusing , but you can call me either ! ) , i use she / her pronouns , i live in the est timezone and i haven’t left my home in a solid FIFTY-THREE days ! i’m so , so , so excited for this group and to finally give netflix even more real estate in my brain — they really do own this ass ! 

     ( ester expósito , cisfemale , she / her , muse b ) — oh my god, i totally just saw PALOMA VIDAL walking through greenwich village ! you know, she plays VALENTINA ROMERO on that new netflix show, the village ? i can’t believe they’re already famous at TWENTY. i’ve watched all of their interviews, and they totally come off as BRAZEN and STOIC, but they can also be DEBONAIR and CONSCIENTIOUS. based on their social media, i’d describe LOLA like ( script pages covered in notes , silver rings , iced matcha on a warm day , coconut-scented sunblock ) — totally makes sense that people call them THE PRODIGY.

𝐢. 𝐬𝐭𝐚𝐭𝐢𝐬𝐭𝐢𝐜𝐬

full name : paloma isabella vidal. nicknames : lola , loma & palo. age : twenty. birthday : september 15 , 1999. sun sign : virgo. gender : cisfemale. pronouns : she / her / hers. romantic orientation : heteroromantic. sexual orientation : heterosexual. relationship status : tbd ! passports : spanish & american. languages spoken : spanish , english & a few words of french. label : the prodigy. pinterest board : click here !

faceclaim : ester expósito. height : 5'5". eye color : hazel. hair color : blonde. dominant hand : left. tattoos : a moon on her left shoulder blade , which she got in memory of the long nights she spent on the beach in california ( malibu nights by lany , anyone ? )

positive traits : debonair , conscientious. negative traits : brazen , stoic. enneagram type : type seven , the enthusiast. hogwarts house : gryffindor.

𝐢𝐢. 𝐛𝐚𝐜𝐤𝐬𝐭𝐨𝐫𝐲

     paloma was born to cristian and alina vidal ( respectively a producer for film and television , and a retired actress turned director ) in los angeles in september 1999 , and grew up in the GLITZ of hollywood from a young age. though many would think a life of premieres , backstage passes and paparazzi would go straight to a little girl’s head , paloma’s parents both made sure her life was kept as normal as possible. she was raised in l.a. , and spent most of her time either in school , or by the water. 

     despite her parents’ backgrounds and careers , it was never really written in the stars for paloma to follow in their footsteps. growing up , she was a particularly active and outdoorsy child , with a penchant for sailing , surfing ( see her HEADCANONS below for more on her surfing ! ) and photography. guidance counselors thought she might choose to become a pro athlete of some kind , or perhaps some kind of sports journalist or photo-reporter.

     throughout high school , she felt a certain lack of direction , feeling torn between her childhood interests and the pull of hollywood , and what she’d seen her parents do their whole lives. in her junior year of high school , the opportunity to audition for the role of audrey in her school’s rendition of LITTLE SHOP OF HORRORS came up. landing the role , and the subsequent weeks of rehearsals and performances , cemented the idea of a career in the arts for paloma.

     she eventually made a move towards the industry by attending the savannah college of art and design ( scad ) , as a performing arts major. the opportunity to audition for the role of VALENTINA , in netflix’s upcoming show the village was brought up by one of her professors ( along with her parents’ connections ) , who urged her to travel to new york. within a few weeks , filled with travel and a flurry of online assignments , paloma landed the role and decided to move to new york full-time to be present for the filming of the show.

     though she’s always been known as quite a workaholic , taking on the role of valentina has amplified it greatly. she’s usually the first in and last out on set ( actor-wise , at least ) and is known to prioritize making sure she knows her lines and blocking over beauty sleep. at present , this hasn’t devolved into anything too SERIOUS , but definitely could in the future ( will it be a slippery slope to a caffeine addiction and perhaps something more , or will she correct course in time ? stay tuned to find out ! )

𝐢𝐢𝐢. 𝐯𝐚𝐥𝐞𝐧𝐭𝐢𝐧𝐚

     VALENTINA ROMERO , known as val to friends , is the village’s resident pretty girl ( with a brain ). she’s what would result if serena van der woodsen , cher horowitz , cordelia chase , elle woods and summer roberts were put into a blender. from a prominent political family , she was raised between party fundraisers , easter egg hunts on the white house lawn , campaign trails and society gatherings.

    much like SERENA , her life has happened under the warm glow of the spotlight , and things always seem to have come easy to her. she’s a little more tame than serena though , and rarely ends up on page six ( when she does end up in the pages of magazines , it’s usually for something a little more decent ).

    much like CHER , she’s known for her fashion , and is the darling of amateur photographers in greenwich village. she’s not really the type to bring anyone down for their taste , but rather one to remark when someone wears something she’s into.

    much like CORDELIA , she’s not one to bite her tongue when something’s on her mind. she’s got a sharp wit , and adores honesty over everything else. again , she’s not known to bring people down for sport , but will rebut anything that comes her way if it’s meant to be damaging to her , her family or her friends.

   much like ELLE and SUMMER , she’s a lot smarter than she looks. she doesn’t always try as hard as muse a , but often ends up with good grades anyway. she’s often underestimated by group project members or fellow students , who see her as the stereotypical DUMB BLONDE. proving them wrong is her favorite sport.

𝐢𝐯. 𝐡𝐞𝐚𝐝𝐜𝐚𝐧𝐨𝐧𝐬

     she took up surfing at a young age , and made it her primarily source of exercise growing up. for a while , many thought she’d either go pro , or end up photographing surfers professionally. since moving to new york , she’s had to CHANGE workout regimes , but that hasn’t stopped her from decorating her apartment with surf memorabilia.

   she loves experimenting with fashion , and is known for her BOLD red carpet looks. from bright colors to unusual materials , nothing is off limits ( as long as it’s ethical ! ) she chose her stylist specifically because both saw eye to eye when it came to taking a risk , rather than playing it safe.

    her favorite scents are coconut sunblock and surf wax , which she found is CANDLE form and is always burning in her apartment when she’s running through lines , practicing her blocking , or hanging out with castmates / friends. it’s also one of her favorite ‘ first day of shooting ’ gifts for the cast and crew around her.

    dried mango is her ABSOLUTE favorite snack , and she’s always carrying some around on-set. her mother used to give her that and frozen grapes growing up instead of candy ( since she has such a sweet tooth ) , and she’s been hooked ever since.

    she’s not one to name-drop her parents’ connections and friends in the industry , but the one connection she’ll proudly let people know about ( when they ask ) is that , yes , hugh jackman is her godfather. he and her father met when the latter produced x-men in 2000 and have been INSEPARABLE ever since. if paloma’s ever able to fake a believable aussie accent , it’s thanks to hugh.

    her script pages are usually covered in notes , made in pencil , highlighter , markers , or whatever else she can get her hands on. over the past few months , and during her time at scad , she found that jotting down her IMMEDIATE thoughts on a scene , her lines and / or her blocking always help her remember things better. she keeps all of her notes and script pages in binders back at her apartment , so she can always look back on her character arc and make sure she stays true to who valentina is.

𝐯. 𝐰𝐚𝐧𝐭𝐞𝐝 𝐜𝐨𝐧𝐧𝐞𝐜𝐭𝐢𝐨𝐧𝐬

     give me the WILL THEY , WON’T THEY ? , where the paparazzi and magazine editors are all convinced there’s a relationship bubbling below the surface. and who wouldn’t ? paloma and your muse have incredible on-set chemistry , are always seen hanging out outside of work hours , and are expertly paired by their publicists during press rounds. that said , when removed from the flashes of the paparazzi , nothing seems to have transpired ( yet ).

     give me a RYAN REYNOLDS TO MY JAKE GYLLENHAAL ( see this video ) , where our muses cannot be paired together for interviews anymore , after cracking jokes every five seconds instead of promoting the village. they’re fused at the hip on-set , and are usually the ones to go live on instagram during filming breaks , to the delight of fans.

     give me an EX , because working with someone you used to date ( or just sleep with ! ) creates so many great possibilities. was it awkward for them to see each other’s names in the press when casting for the village was revealed ? or did one ( or both ) of them see it as an opportunity to build a friendship ? are they jealous on-set , or can they keep it together ?

     give me CHILDHOOD FRIENDS , with bonus points if the friendship exists because of their families’ ties to the film & tv industry. if people dig deep enough through google images , there’s bound to be a picture of them together as children on some red carpet. perhaps the years of knowing each other have turned them into best friends , or maybe they now can’t stand the sight of each other. after all , hollywood can get competitive and ugly.

     give me the BROTHER SHE’S NEVER HAD , who teases her mercilessly , but will always protect her from the paparazzi. they’re protective of one another and are each other’s rock in the new world that is sudden overnight fame. 

     give me the PLATONIC LIFE PARTNER , whom paloma loves more than her own self. they have the login information to all her devices , they text people back in her stead , they sleep in the same bed , they readjust each other’s clothing on red carpets. one is rarely seen without the other , and the village’s fans revel in the two’s friendship.

     i also have a full WANTED CONNECTIONS tag right here , if you want to peruse and find something that suits you , your muse and your own wc !

#( paloma vidal ) / * out of character . #villagetvintro

[cxhnow]

R&B duo (and real-life sisters) Chloe and Halle Bailey have unparalleled talent and an unbreakable bond. With a “sexy, darker” new sound and exciting solo projects on the way, the multihyphenates are all grown up and ready for their second act — both together and on their own. "You. Look. Stunning!" Halle Bailey watches as her older sister Chloe poses in a faux-leather Nanushka trench coat against a vibrant background of red and pink, Kelis's album Tasty blaring through the studio. Halle's eyes dart between the shots popping up on the monitor and the real-life vision that is 21-year-old Chloe, who smirks at her sister's instructions to "slay" and "work" as they echo in the cavernous studio. Chloe returns the favor when it's 19-year-old Halle's moment in front of the lens; being photographed separately is a rare occurrence for the pair. Chloe cheers Halle on as the latter poses in a houndstooth Area dress, nipped at the waist with a patent leather belt, and matching knee-high boots: "That's gorgeous! You're beautiful." When Chloe and Halle arrive at Milk Studios in Hollywood for our cover shoot on Oct. 29, the energy is celebratory; they are fresh from the set of the Freeform series Grown-ish. Chloe and Halle graduated from recurring roles on the Black-ish spinoff to series regulars for season two, playing college students and track star twins Jazz and Sky Forster. They — along with cast members Yara Shahidi, Trevor Jackson, Francia Raisa, and Luka Sabbat — just wrapped filming on the third season, which premieres Jan. 16. The next installment of the show promises an unplanned pregnancy, an acting debut from Kylie Jenner's former BFF Jordyn Woods, and a much-appreciated homage to Beyoncé's 2018 Homecoming performance. It's also a busy time for Chloe x Halle's music: in 2019 they dropped two singles, "Who Knew" and "Thinkin Bout Me," and are putting the finishing touches on their highly anticipated second studio album, Ungodly Hour, which drops this year. They are buzzing while talking about their new, more mature sound. "It's more grown; it's sexy, it's darker," Halle tells me. She and her sister showed up in laid-back looks before undergoing superhero-style transformations in a curtained-off section of the studio, where they snacked on chips and guacamole and drank green juice while trying on dozens of potential designer outfits. They are sweet and petite, and during a break from the photo shoot, they sit side by side on a velvet ottoman across from me. Both are wearing curve-hugging dresses by Dion Lee and have traded their matching Alevì Milano heels for slippers and slides. Chloe and Halle are defining themselves individually even more than before, and their style is part of that. Throughout the day, Halle will rock playfully sexy ensembles (my personal favorite is a Carrie Bradshaw-esque Maison Margiela button-down shirt cinched with a Zana Bayne belt). Chloe's outfits are equally grown-up and sexy, but with an edgy sophistication — she will channel Olivia Pope, smizing in a camel-colored Fendi trench coat and graphic Sophia Webster heels. Their looks will always complement each other but still reflect the woman wearing them. Their eyes are wide, their mocha skin glistening, braids cascading down their backs. The mood feels highly melanated and highly favored. Chloe and Halle's connection goes beyond the typical sibling bond — they are collaborators, costars, and best friends. It's what makes the stakes of this next stage of their career, as they explore a more adult sound and divergent career opportunities of their own, so high. To see them posing together is like watching a delicately choreographed dance. It's as if they each instinctively know which way the other is about to lean her arm or turn her head and will shift congruously. Between shots, Chloe and Halle smooth each other's braids, bump shoulders to the bass of "Milkshake," or talk in hushed tones. Chloe is the textbook older sister and ultimate hype girl ("The angel that's always in my ear," Halle tells me). "We'll always squeeze each other's hands or look in each other's eyes and crack a joke," Chloe says, admitting that they both sometimes feel anxious while posing on the red carpet or for photo shoots like this one. I recognize their subtle movements, exchanged glances, and seemingly secret language; it reminds me of the way that my sister and I — and sisters everywhere, really — exist in our own universe. Chloe and Halle spent their childhood in Atlanta before moving to LA, where they reside today with their parents Courtney and Doug and their 14-year-old brother, Branson ("We're the Three Musketeers," Chloe says). In 2011, they launched their YouTube channel with an impressive cover of Beyoncé's "Best Thing I Never Had." Wearing matching red tank tops and bouncy braided bobs, they showed off melodies reminiscent of vocalists well beyond their years (Chloe was 13, Halle just 11). They would go on to cover hits from John Legend, Alicia Keys, Lorde, and Rihanna. In 2015, their rendition of Beyoncé's "Pretty Hurts" got the attention of Bey herself, and she signed the duo to her Parkwood Entertainment management company. And, as they tell me, being the protégés of a megastar like Beyoncé is a masterclass in ambition. "She's a boss and she takes care of her own," Chloe says. "She's independent and knows what she wants, and she's not afraid to articulate that." They employ their mentor's take-charge attitude by trusting their instincts when making tough career choices. "That's what we truly admire about Beyoncé . . . she's allowed us to grow in our own right, and as much as she is vocal, she lets us fly on our own." Up until now, Chloe x Halle's sound has been bright, ethereal R&B soul; they released their debut EP Sugar Symphony in 2016, followed by a critically praised mixtape, The Two of Us. Their 2018 album The Kids Are Alright — with jazz-inflected trap-pop songs like "Happy Without Me," "Everywhere," and the Grown-ish theme song "Grown" — showcased their angelic harmonies, earning them Grammy nominations for best new artist and best urban contemporary album. They solidified their place in history with a chill-inducing performance of "America the Beautiful" at the 2019 Super Bowl. But with age comes experience and, yes, growth. The new Chloe x Halle era will reflect their sisterhood and the kind of women they aspire to be: powerful, strong, and effortlessly sexy. "We're not little kids anymore," Chloe tells me. Their sound has evolved from light and airy soul-pop into "edgier, grittier" R&B, like something you'd want to hear during an episode of Euphoria. They teased new music during an "electric, intense, and fun" performance at The Forum in LA late last year. "We played two new songs; 'Do It' — that's one of our favorites — and 'Rest of Your Life,'" Halle tells me during a phone conversation after the shoot. She describes both tracks as being high energy with party vibes. While Ungodly Hour will be a clear departure, the sisters seem to be more musically aligned than ever. Chloe and Halle say there's no formula to their music-making process. "We feel like that takes away any creativity," Chloe explains. They went delightfully old school for brainstorming sessions, filling two or three poster boards with magazine cutouts representing what the new project should feel like. Before creating music, they keep things breezy by having "tea time and girl chat" and narrowing down the themes they want to write about. "I'll make a beat and Halle will hear some really sick melodies and go on the mic and record them," Chloe says. "I'll lay some melodies down and splice [them] together, and then we do lyrics, but we never force it." Halle nods. "It's much like throwing paint on a wall and seeing what happens, and that's the beauty of it." When I ask how they landed on the album title Ungodly Hour, Halle tells me that it came from a single studio session with English electro artists Disclosure. "They are two brothers, and they're literally like mirrors of us," Halle says of duo Howard and Guy Lawrence, who they worked with on the up-tempo title track. "[Ungodly hour] was a phrase for that riff. We kind of spoke it into existence, you could say," Chloe continues. She reveals that one of their early mood boards included the phrase "The Trouble With Angels" (possibly a nod to the 1966 religious comedy starring Hayley Mills?), and notes how exciting it's been to tie those themes together. I spent hours holed up in my childhood bedroom plastering editorial images on any available surface, so it's nice to hear that some methods will never go out of style. But let's not get it twisted: Chloe and Halle aren't two girls making cute collages — they're artists with a precise vision and the talent to execute it. Their technique is free-flowing, but there's a keen attention to detail that influences those working with them. Singer-songwriter Victoria Monét, who helped pen chart-toppers for Fifth Harmony and Ariana Grande, collaborated with Chloe and Halle on Ungodly Hour. She confirmed my theory that they are Black girl magic personified. "I really admire their spirit," Monét said over email. "They feel amazing to be around, and their voices represent that." "They're so hands-on with everything, from melodies to lyrics and production," Nija Charles said over email. The 22-year-old songwriting phenom produced hits for Cardi B and Summer Walker and worked on the sisters' sensual kiss-off "Forgive Me." "Watching them work always makes me go back home and want to perfect my craft." Hands-on is certainly one way to describe the sisters, who play a role in writing, arranging, producing, and playing instruments on nearly all of their own music. What does it mean to two young, gifted, and Black businesswomen to have so much creative control of their work? "Since we were young, our parents instilled in us the power to do things on our own, and not rely on people if [we're] just as capable," Halle says. This encouragement is what motivated them to learn instruments and produce their own music as preteens. Although extraordinary on their own, Chloe and Halle are quick to praise those who have inspired them along the way. I can tell they harbor a deep sense of sisterhood within their own circle, a tight-knit group of family and close friends with the occasional superstar thrown in. It's galvanizing for them to see other young stars doing equally amazing things. "I stan over Zendaya. I love her, and Normani," Chloe says, beaming. "There are so many amazing women right now, and I'm just happy to be a part of this generation with them." Halle agrees, shouting out Grown-ish castmates Yara Shahidi, Francia Raisa, and Emily Arlook as women who uplift them when they're low. The feeling is mutual for 19-year-old Shahidi, who told me being part of Chloe and Halle's atmosphere is "truly a gift." "We share successes, challenges, frustrations, everything!" Shahidi said in an email. "I define sisterhood as an eternal bond with your best friend," Halle tells me. "I'm so fortunate that I get to do this with my sister every day." She looks up to Chloe more than anyone else; after all, as an older sibling, there's a responsibility (and sometimes pressure) to protect, guide, and set a good example. But Chloe is just as heart-eyed about Halle and lights up when talking about her. "Forget all the business stuff and the music and acting; this is my best friend," she says. "Whenever we're apart for 15 minutes, we're like, 'I miss you!' We're texting each other, FaceTiming. I love this one." I make a mental note to respond to unread texts from my sister. "You'll need each other one day" is something I heard a lot growing up, especially when being reprimanded for terrorizing my younger sister. And it occurs to me that Halle and Chloe might need each other even more this year. In 2020, they are each embarking on big solo projects: Chloe in the supernatural thriller The Georgetown Project, her first major movie role as an adult, and Halle as Ariel in the upcoming live-action adaptation of The Little Mermaid. For Chloe, a self-professed scaredy cat, working on the "sophisticated horror film" with the likes of Russell Crowe, Ryan Simpkins, Samantha Mathis, and David Hyde Pierce has been a real game changer. "When I got the script, I fell in love with it. I was like, 'I have to do this,'" Chloe tells me. The movie follows a troubled actor (Crowe) who unravels while filming a thriller, and Chloe plays an actress cast alongside him in the project. She learned a lot about herself during the production process, but more importantly, she conquered her fear of scary movies. "I know how it works behind the scenes, so now when a scary movie trailer comes on, I don't close my eyes." When the topic turns to The Little Mermaid, Halle's enthusiasm is palpable. "It's so overwhelming, and beautiful, and breathtaking. I'm like, 'Wow, am I really doing this?'" she tells me. When I ask what she hopes to bring to such an iconic character, Halle takes a beat. "Freshness," she says. "Just being authentically me. It's amazing that the directors have been so forward in asking me to show my true self . . . that's been a really fun growing experience." Halle also tells me that she's most looking forward to the music ("Of course!"), and reveals that the movie will feature classics like "Part of Your World" and new songs written by composer Alan Menken, who scored the 1989 animated film. "I've been a fan of The Little Mermaid since I was 5, so those new songs are very exciting to me, as well as the old," Halle says. "That's probably like, ding, ding, ding! My number one." Halle's history-making casting news was announced in July 2019 and marked a major win for diversified representation, but drew criticism from those who don't think a Black woman should play a fictional sea creature. The defense came swiftly: Little Mermaid director Rob Marshall and Jodi Benson, the original voice of Ariel, showed support, as did Beyhive members worldwide. After spending a day in her presence, I can corroborate that Halle — with her doe eyes, dulcet-tone voice, and winsome charm — was born to play the role. I ask how she approaches the downsides that can come with celebrity. "It's beautiful that people are tuning in to our lives and that they love what we're doing, and I just think of them as friends," she says, unfazed. Chloe's older-sister senses are tingling. She sits up a little straighter. "You know when certain apps crash?" I do; a Twitter blackout is secretly one of my favorite things. "Who are you without these things, without your followers? You realize that you can't rely on outside validation for who you are as a human being. If I think I'm amazing, then I'm amazing." The sisters have flourished in the industry as Chloe x Halle the duo, two halves of a preternaturally talented whole. They appear at events together, maintain joint social media accounts, and don’t have separate Wikipedia pages (though that’s certainly going to change). They’re a dream team, navigating fame by leaning on each other. Working separately allows them to stretch as individuals, but as their careers evolve, it’s inevitable that their relationship will, too. Chloe seems genuinely joyful watching Halle grow into her own. “I see it happening right before my eyes and it makes me really happy,” she says. But those feelings of pride haven't come without a bit of loneliness, too — especially as Chloe films her first solo project. "In the beginning I was really, really sad," she tells me. There have been plenty of tears and, according to Chloe, plenty of text messages, too. "[Halle] texts all the time; daytime, all the time," Chloe laughs. "To have someone who's always in your corner encouraging you, and making you feel better when you're down . . . it's just such a good feeling. I'm just happy to have her as my partner in crime in life." Naturally, it’s also been “a little scary” for Halle, who admits that she’s been clinging to her sister over the years. Just as Chloe is the consummate firstborn, Halle fits snugly into her role as little sis, always looking to her “safety blanket.” She tells me that visiting Chloe on the set of The Georgetown Project gave her a new perspective. "I was just so proud of her, because you always want to see your beautiful sister succeed," Halle says. "We always do those monumental things together, so when I was able to be on the outside and look in, it was really cool." Ultimately Halle realized that — like gluing magazine cutouts to poster boards — some things don’t have to change: “Regardless of if I'm branching out, she's always going to be there. That bond and our sisterhood will never go away.” Though some things may be mapped out — production schedules, release dates, fishtail fittings — so much more lies ahead for Chloe and Halle. I ask where they see each other in five years. Halle springs up; she sees Chloe with every award in the book. “She’s going to flourish. What do you call it? EGOTs?” Chloe’s five-year vision includes even more plastered photos, but this time they’re of Halle, and they’re on giant billboards across the world. “I’ll be hearing her voice [singing] while walking down the street like, ‘Who is that? Oh yeah, that's my sister. I know her. You don't,’” she says. The three of us laugh, but their predictions aren’t out of the realm of possibility. Their Grown-ish costars agree: actor Trevor Jackson tells me he hopes to see them collecting armfuls of trophies and “truly dominating the world.” Shahidi insists Chloe and Halle’s hard work knows no bounds and remembers them simultaneously filming season one of Grown-ish and mixing their debut album, The Kids Are Alright. “The sky is not even the limit,” she cosigned. Chloe and Halle have more to shoot before the sun sets in smoky LA. It's been a long day, but their energy is still straight-up sparkly. We wrap up our conversation, exchanging thank yous before they disappear to the wardrobe area. They'll model more effortlessly sexy pieces from Nina Ricci and Fendi, cheerleading each other during lighting changes and eye shadow touch-ups, before the day gives way to night. As the sky changes, so does the vibe. Chloe is jetting off to North Carolina to film tomorrow morning without her sister, and they seem to be soaking up this moment in time. Things are coming to a close both on set and in their lives, chapters ending and new ones beginning. But no matter what comes next — together or separately, making music or making moves — Chloe and Halle will keep throwing paint at the wall and seeing what beautiful things come out of it. There's no magic formula. It's just what we sisters do. ★

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#chloe x halle #chloexhalle #chloeandhalle #chloe and halle #ungodly hour #ungodly hour news #2020 #oct 2019 #jan 2020 #popsugar #news #articles #ungodly hour articles #interviews #ungodly hour interviews #chloe bailey #halle bailey #the georgetown project #tkaa

[thelifeoftuan]

Lemme just ramble a little bit about Paris by Night 130: Glamour, filmed in Singapore. Hahaha! I have been looking forward to this show ever since I saw the live taping myself in Singapore. It was the fourth Paris by Night show I’ve been to, and I gotta say, this was one of the best. I would like to start by saying that it has always been my dream to go to a Paris by Night show where Như Quỳnh was in the opening number. And y’all, while it took four shows and me going all the way to Singapore, it finally happened and I was not disappointed one bit! After the show, I kept replaying this opening performance in my head. It was just so awesome! And the performance had so much meaning! I’m pretty sure my jaw dropped and I had the biggest smile on my face the entire time. When I heard that the composers of one of my favorite Paris by Night opening numbers (Paris by Night 100) were coming together to create another song written specifically for Paris by Night 130 in Singapore, I was quite ecstatic! I knew this song had to be great and needed to have a lot of meaning. I had a lot of anticipation about who they were going to choose to sing this song, but I had hoped that they would choose Như Quỳnh, and I had hoped that this new song would be the opening number. I had a pretty strong feeling Như Quỳnh was gonna be, but you can never be sure. I suppose after all of these years of being a Paris by Night fanatic, I got pretty good at predicting. Hahaha! This opening performance was spectacular! Before the show, I was killing time by looking through the program booklet, and it had an article that briefly mentioned this new song, titled Đừng Là Một Thoáng Mê Say. I had read the short excerpt of the lyrics of the song, and the underlying meaning from what I could understand was quite profound. Translated roughly, the title of the song could mean “let this not be a dream.” And it talks about the dream of returning after a long journey to a place you love, perhaps with your family, your friends, those you love, a place you call home. It seemed quite fitting for this song to be included in this special show in Singapore, because the majority of the audience during this show were from Vietnam. And Paris by Night bringing the show to Asia after so, so many years was a way for this company of Vietnamese performers to be just this closer to their home. Man, when the show opened and the music started, I was entirely wrapped up in the majesty of the music. It was definitely old school, almost with a cải lương (old Vietnamese folk opera -- which I am definitely not a fan of) vibe to it. I usually have an aversion to any cải lương stylings, but I knew this song was gonna deliver. Then the first singer revealed is Hương Thủy. It had been a minute since she has opened a show! I wanna say Paris by Night 124. And her portrayal was quite spectacular! Then the second verse starts and BAM! It’s my queen!! Hahaha! Như Quỳnh appears on stage, and like I said before, I’m pretty sure my jaw dropped to the ground and I had the biggest smile for the remainder of the song. The last time Như Quỳnh was in an opening performance was so, so long ago in Paris by Night 111. She was definitely due to be in an opening performance, and what an opening performance it was! It was so incredible. You gotta hand it to the producers, because they sure know how to create a wow effect. This theater in Singapore didn’t have all the capabilities that the one in Las Vegas has, so it wasn’t as elaborate as previous openings, but it was still so amazing, especially in the song and its meaning. And to leave it to Như Quỳnh and Hương Thủy to open this special show in Singapore was quite the feat to live up to. And to fit with the theme of Glamour, Như Quỳnh and Hương Thủy portrayed two different but equally defining personas of a Vietnamese woman, Nữ Quan and Nữ Tướng, translated to be the Royal Beauty and the Warrior. Both may seem like polar opposites but actually go hand-in-hand. This concept is based off one of the most ancient Vietnamese virtues of Vietnamese women, known as Tứ Đức, meaning the Four Virtues: Công Dung Ngôn Hạnh. I could probz spend days and days talking about this, haha! But these four virtues basically culminate to those expected of Vietnamese women to embody an idealistic vision of strength and beauty. There’s lots and lots of history behind just these four words. But to state it simply: Công refers to the woman’s livelihood, which should always be completed with care and poise; Dung refers to the woman’s image, which should always be well-maintained and tidy; Ngôn refers to the woman’s speech, which should always be well-mannered and articulate, deliberate yet soft-spoken; and Hạnh refers to the woman’s actions, which should always be gentle, compassionate, and respectful. Hương Thủy began the song with her portrayal of Nữ Tướng, the Warrior. Vietnamese history is colored with so many warrior empresses, and Hương Thủy’s outfit, still amazingly designed as a beautiful áo dài, represented this to the tee! Dated back to ancient Vietnamese history and folklore, I think her áo dài fit so well with the theme, flags and all! I can’t imagine any other Paris by Night singer who could pull off this role. The portrayal of a strong Vietnamese woman was such an important one, and in this day and age, this could be the portrayal of being an absolute lady boss, a warrior in the modern world, continuing to fight for freedom, oppose oppression, and bring peace to the world. Then my girl Như Quỳnh enters the stage in the second verse, and the audience just roars with applause! The YouTube video does not do the cheers justice. You can hear it in the background, but being there in person, man I gotta tell you, one of the loudest applause for Như Quỳnh in a while. Her portrayal of Nữ Quan, the Royal Beauty, was absolutely perfect! Her áo dài was frickin’ beautiful, as always. She definitely embodied the vision of the Royal Beauty in Vietnamese history perfectly! And it’s not just the outer beauty that is important. Như Quỳnh has represented, especially early in her career when she rose to fame, what it means to be a Vietnamese woman and was the true embodiment of Glamour! Soft-spoken, well-mannered, kind and compassionate, the ideal vision of Vietnamese beauty. So for the producers to choose Như Quỳnh for this role, I was one, so, so happy, and two, found it so fitting and couldn’t imagine any other Paris by Night singer who could live up to this performance the way Như Quỳnh did. And it definitely brings me back to the old days. Như Quỳnh, although she is nearing 50, looked so young and youthful in this performance, it just takes me back to her golden years when she first rose to fame and was the highlight of every Paris by Night show. This song was absolutely amazing, from the lyrics to the melody to the performance by the talented Paris by Night dancers as well as Như Quỳnh and Hương Thủy, to those who worked so hard to envision this song and this concept, from the costumes to the choreography. I just cannot say enough wonderful things about this performance and Paris by Night in general. I have so much love and admiration for this production and for Paris by Night, which for all of these years I have been a (pretty obsessed) fan, and finally getting the opportunities to see these shows in person has been a dream come true! To me, Paris by Night has always been a way for me to connect with my culture and heritage, to a home that I have never truly known. And after seeing Paris by Night 130 in Singapore, especially after this opening performance, I found myself fully engulfed in the meaning of the song Đừng Là Một Thoáng Mê Say, wishing that my experience would not be just a dream. I look forward so much to this show coming out to DVD on February 20! I know how hard the entire crew of Paris by Night worked on this particular show in Singapore, and I applaud them for their spectacular vision and will continue to support their shows! (Also, fun fact, you can find me in this YouTube video. I kinda wish it would be harder to find me this time on the DVD, but nope! I’m smack dab in front of the camera for this one! Hahaha!)

#life of tuan #music #paris by night #nhu quynh #huong thuy #thuy nga #Đừng Là Một Thoáng Mê Say #paris by night 130

[alexsmitposts]

I Never Saw a World So Fragmented! It is amazing how easily, without resistance, the Western empire is managing to destroy “rebellious” countries that are standing in its way. I work in all corners of the planet, wherever Kafkaesque “conflicts” get ignited by Washington, London or Paris. What I see and describe are not only those horrors which are taking place all around me; horrors that are ruining human lives, destroying villages, cities and entire countries. What I try to grasp is that on the television screens and on the pages of newspapers and the internet, the monstrous crimes against humanity somehow get covered (described), but the information becomes twisted and manipulated to such an extent, that readers and viewers in all parts of the world end up knowing close to nothing about their own suffering, and/or of the suffering of the other. For instance, in 2015 and in 2019, I tried to sit down and reason with the Hong Kong rioters. It was a truly revealing experience! They knew nothing, absolutely zero about the crimes the West has been committing in places such as Afghanistan, Syria or Libya. When I tried to explain to them, how many Latin American democracies Washington had overthrown, they thought I was a lunatic. How could the good, tender, ‘democratic’ West murder millions, and bathe entire continents in blood? That is not what they were taught at their universities. That is not what the BBC, CNN or even the China Morning Post said and wrote. Look, I am serious. I showed them photos from Afghanistan and Syria; photos stored in my phone. They must have understood that this was original, first hand stuff. Still, they looked, but their brains were not capable of processing what they were being shown. Images and words; these people were conditioned not to comprehend certain types of information. But this is not only happening in Hong Kong, a former British colony. You will maybe find it hard to believe, but even in a Communist country like Vietnam; a proud country, a country which suffered enormously from both French colonialism and the U.S. mad and brutal imperialism, people that I associated with (and I lived in Hanoi for 2 years) knew close to nothing about the horrendous crimes committed against the poor and defenseless neighboring Laos, by the U.S. and its allies during the so-called “Secret War”; crimes that included the bombing of peasants and water buffalos, day and night, by strategic B-52 bombers. And in Laos, where I covered de-mining efforts, people knew nothing about the same monstrosities that the West had committed in Cambodia; murdering hundreds of thousands of people by carpet bombing, displacing millions of peasants from their homes, triggering famine and opening the doors to the Khmer Rouge takeover. When I am talking about this shocking lack of knowledge in Vietnam, regarding the region and what it was forced to go through, I am not speaking just about the shop-keepers or garment workers. It applies to Vietnamese intellectuals, artists, teachers. It is total amnesia, and it came with the so-called ‘opening up’ to the world, meaning with the consumption of Western mass media and later by the infiltration of social media. At least Vietnam shares borders as well as a turbulent history with both Laos and Cambodia. But imagine two huge countries with only maritime borders, like the Philippines and Indonesia. Some Manila dwellers I met thought that Indonesia was in Europe. Now guess, how many Indonesians know about the massacres that the United States committed in the Philippines a century ago, or how the people in the Philippines were indoctrinated by Western propaganda about the entire South East Asia? Or, how many Filipinos know about the U.S.-triggered 1965 military coup, which deposed the internationalist President Sukarno, killing between 2-3 million intellectuals, teachers, Communists and unionists in “neighboring” Indonesia? Look at the foreign sections of the Indonesian or Filipino newspapers, and what will you see; the same news from Reuters, AP, AFP. In fact, you will also see the same reports in the news outlets of Kenya, India, Uganda, Bangladesh, United Arab Emirates, Brazil, Guatemala, and the list goes on and on. It is designed to produce one and only one result: absolute fragmentation! *** The fragmentation of the world is amazing, and it is increasing with time. Those who hoped that the internet would improve the situation, grossly miscalculated. With a lack of knowledge, solidarity has disappeared, too. Right now, all over the world, there are riots and revolutions. I am covering the most significant ones; in the Middle East, in Latin America, and in Hong Kong. Let me be frank: there is absolutely no understanding in Lebanon about what is going on in Hong Kong, or in Bolivia, Chile and Colombia. Western propaganda throws everything into one sack. In Hong Kong, rioters indoctrinated by the West are portrayed as “pro-democracy protesters”. They kill, burn, beat up people, but they are still the West’s favorites. Because they are antagonizing the People’s Republic of China, now the greatest enemy of Washington. And because they were created and sustained by the West. In Bolivia, the anti-imperialist President was overthrown in a Washington orchestrated coup, but the mostly indigenous people who are demanding his return are portrayed as rioters. In Lebanon, as well as Iraq, protesters are treated kindly by both Europe and the United States, mainly because the West hopes that pro-Iranian Hezbollah and other Shi’a groups and parties could be weakened by the protests. The clearly anti-capitalist and anti-neo-liberal revolution in Chile, as well as the legitimate protests in Colombia, are reported as some sort of combination of explosion of genuine grievances, and hooliganism and looting. Mike Pompeo recently warned that the United States will support right-wing South American governments, in their attempt to maintain order. All this coverage is nonsense. In fact, it has one and only one goal: to confuse viewers and readers. To make sure that they know nothing or very little. And that, at the end of the day, they collapse on their couches with deep sighs: “Oh, the world is in turmoil!” *** It also leads to the tremendous fragmentation of countries on each continent, and of the entire global south. Asian countries know very little about each other. The same goes for Africa and the Middle East. In Latin America, it is Russia, China and Iran who are literally saving the life of Venezuela. Fellow Latin American nations, with the one shiny exception of Cuba, do zero to help. All Latin American revolutions are fragmented. All U.S. produced coups basically go unopposed. The same situation is occurring all over the Middle East and Asia. There are no internationalist brigades defending countries destroyed by the West. The big predator comes and attacks its prey. It is a horrible sight, as a country dies in front of the world, in terrible agony. No one interferes. Everybody just watches. One after another, countries are falling. This is not how states in the 21st Century should behave. This is the law of attraction the jungle. When I used to live in Africa, making documentary films in Kenya, Rwanda, Congo, driving through the wilderness; this is how animals were behaving, not people. Big cats finding their victim. A zebra, or a gazelle. And the hunt would begin: a terrible occurrence. Then the slow killing; eating the victim alive. Quite similar to the so-called Monroe doctrine. The Empire has to kill. Periodically. With predictable regularity. And no one does anything. The world is watching. Pretending that nothing extraordinary is taking place. One wonders: can legitimate revolution succeed under such conditions? Can any democratically elected socialist government survive? Or does everything decent, hopeful, and optimistic always ends up as the prey to a degenerate, brutal and vulgar empire? If that is the case, what’s the point of playing by the rules? Obviously, the rules are rotten. They exist only in order to uphold the status quo. They protect the colonizers, and castigate the rebellions victims. But that’s not what I wanted to discuss here, today. My point is: the victims are divided. They know very little about each other. The struggles for true freedom, are fragmented. Those who fight, and bleed, but fight nevertheless, are often antagonized by their less daring fellow victims. I have never seen the world so divided. Is the Empire succeeding, after all? Yes and no. Russia, China, Iran, Venezuela – they have already woken up. They stood up. They are learning about each other, from each other. Without solidarity, there can be no victory. Without knowledge, there can be no solidarity. Intellectual courage is now clearly coming from Asia, from the “East”. In order to change the world, Western mass media has to be marginalized, confronted. All Western concepts, including “democracy”, “peace”, and “human rights” have to be questioned, and redefined. And definitely, knowledge. We need a new world, not an improved one. The world does not need London, New York and Paris to teach it about itself. Fragmentation has to end. Nations have to learn about each other, directly. If they do, true revolutions would soon succeed, while subversions and fake color revolutions like those in Hong Kong, Bolivia and all over the Middle East, will be regionally confronted, and prevented from ruining millions of human lives.

[noramoya]

MICHAEL JACKSON’S PERSONAL PHOTOGRAPHER,HARRISON FUNK,SPENT 3 ROLLERCOSTER DECADES CAPTURING THE LIFE OF THE POP LEGEND. HE REVEALS THE STORIES BEHIND HIS FAVORITE SHOTS...

“Me and Michael had our own language,” says Harrison Funk. “The buzzword was always the same. He would ask, ‘Harrison, can you make magic?’ Anything less wasn’t acceptable.” Funk was the photographer who got closer to Michael Jackson than any other, working with the singer from the late 1970s right up until his death in June 2009, witnessing and capturing his many changes, as the star rose to be the most famous person on the planet.

Funk was born 12 days before Jackson, on 17 August 1958, just outside Brooklyn. He was inspired to pick up a camera by his uncle, Leo Friedman, a famous Broadway photographer. Starting off with street photography and shooting local basketball matches, Funk worked his way up to such magazines as Time, Life and Newsweek. But a chance meeting with Jackson at New York’s infamous nightclub Studio 54 (where Jackson, a regular, would dance in the DJ booth to avoid autograph-hunters) set Funk’s career on a different trajectory.

Impressed by his versatility, Jackson employed Funk as the official photographer for the Jacksons’ Victory tour in 1984. Funk says he quickly sensed the media circus that was starting to form around the singer: “Rupert Murdoch’s people called and practically begged me to sneak out a photo of Michael from rehearsals. I told Michael and we laughed about it – but the fact I told him built up a trust.”

Subsequently, while on the Victory tour, Funk was given unprecedented access to the singer. One intimate photo taken by Funk captures Jackson applying his own makeup, something he took great pride in. “Him and Jermaine [Jackson] loved putting on their own makeup,” says the photographer, who adds that Michael became more and more interested in his appearance, more determined to look sharp, under the influence of such mentors as Gene Kelly, Fred Astaire and James Brown.

Jackson’s make-up routine, adds Funk, was also a sign of the singer’s gender fluidity: “It wasn’t so much femininity on Michael’s part as androgyny – he was fluid around gender. Michael had no interest in assigning a gender to anybody.” At that moment, he recalls, “he didn’t overtly identify as one particular gender”. However, when Jackson became a dad, his image changed to that “of father”, Funk says. “He became a strong man in that sense.”

On the Victory tour, Funk was exposed to occasional outbursts. “Don’t be fooled,” he says. “Michael had very demanding moments. If he didn’t like something, he let you know. Michael was never ridiculing to me ever, but if someone messed up the design of his stage, then he would yell at them. He expected perfection.”

The sold-out Victory tour was a turning point for Jackson. Just two years earlier, he released Thriller to stratospheric acclaim, and the media circus was now starting to spiral out of control. Yet some of Funk’s most iconic images of Jackson aren’t from his undisputed reign in the 1980s, but from the 1990s – when albums Dangerous and HIStory marked the singer’s evolution into a more socially conscious artist, who could be both profound (Black and White) and ridiculous (the messiah complex of The Earth Song was so jarring it provoked Jarvis Cocker to storm the stage during the 1996 Brits).

“PEOPLE SAY MICHAEL HAD A JESUS COMPLEX — THAT PISSES ME OFF !

In one of Funk’s favourite shots from this period, Jackson can be seen holding his arms out in an almost biblical pose. “People say Michael had a Jesus complex,” he says, “but that pisses me off, as it just wasn’t true. There was a practical reason for me taking that photo. Michael had huge hands and I wanted to make the most of them as they were expressive – and a good way for him to embrace the world. At that stage, his whole existence was geared towards healing the world, so having big, expressive hands was a very important way to speak to the people.” The way he communicated with his hands, adds the photographer, “you’d have thought he was Italian!”

Another Funk photo shows Jackson holding a book in front his face. It is an intensely personal shot intended as an advert for the World Book Encyclopedia, which would be distributed to American classrooms. “The art director gave me carte blanche to do what I wanted, so I really wanted to push the limits of what was possible. Michael’s eyes were his most defining feature, way more than his feet. I knew I could capture his soul by focusing on his eyes and that’s exactly what happened with that photo.

But was Jackson actually covering his face due to shyness? “Maybe. But his shyness and introversion never hindered his ability to work with me as a photographer. Michael knew exactly what he wanted artistically, right up until probably the last two years of his life, where he got swayed by the wrong people and got in way over his head.”

This was the time of the This Is It tour, which Funk had been due to photograph. Jackson was all set to play 50 dates in quick succession at the O2 Arena in London. But, 20 days before the opening night, he died from cardiac arrest, triggered by acute anaesthetics intoxication. “As much as I don’t like talking about the end,” says Funk, “I will say he got destroyed by people who only had their own financial interests at heart. I can tell you that a big part of his plans following the This Is It tour was to do charity work and use his influence to better mankind.”

In 2003, Jackson was charged with child molestation, only to later be acquitted. The memory still angers Funk. “All the accusations and crap he went through,” he says. “Let me ask you this: what is a better way to ruin someone who is going to make massive positive changes to the children of the world than to discredit them?” Jackson’s awareness of the power of photography was perhaps best illustrated in the early 1990s, when he asked Funk to shoot him with Elizabeth Taylor and Nelson Mandela, who had recently been released from prison. The image, which Funk describes as the highlight of his career, shows the trio smiling infectiously.

“Mandela was so excited to meet Michael,” says Funk. “He flew in all of his family especially. I was told by the publicists I had no time to shoot, but Michael kicked them all out and let me take my time. I didn’t want a boring photo so I suggested they jump on each other’s backs and hug one another. Liz Taylor said, ‘Harrison, you know I’ve got a bad back!’ And Nelson said he was too old and joked he wanted to put his feet up instead. I tried to capture the joy of this incredible moment.”

Funk then watched as the three went into a meeting room to discuss plans to topple apartheid, improve women’s rights, tackle the Aids crisis, and address crime in Africa. He claims Jackson was acutely aware of how the photo could help Mandela’s bid for the South African presidency.

HE DIDN’T WANT TO LOOK WHITE. HE WAS SUFFERING FROM A CRUEL DISEASE. I HAD TO RISE TO THIS AND ADAPT HIS LIGHTING.

“That image was in something like 400 newspapers. It was real powerful. The next year, Michael went to Africa to shoot the They Don’t Care About Us video. He would have done anything for Nelson – Michael and Liz gave his presidential campaign a very generous donation. I believe he and Nelson got on so well as Michael was like the Mandela of music, in the sense that he too broke down a lot of barriers. Remember, Michael was one of the first global black superstars.”

But Jackson’s image started to change dramatically. Some critics accused the singer of being ashamed of his blackness, and of gaining a dangerous obsession with plastic surgery. In a recent interview, Thriller producer Quincy Jones said: “I used to kill [Michael] about the plastic surgery, man. He’d always justify it and say it was because of some disease he had. Bullshit … He had a problem with his looks because his father told him he was ugly and abused him. What do you expect?”

Funk, however, insists Jackson was actually the victim of a “cruel” media campaign and was suffering from the pigment-destroying skin disease vitiligo (a claim confirmed by Dr Christopher Rogers, who carried out Jackson’s autopsy). “It was all a load of bullshit,” Funk says of these reports. “He didn’t want to look white or find a way out. He was immensely proud to be a black man. Michael was suffering from a cruel skin disease, which changed his appearance, and I had to rise to this as his photographer and adapt his lighting. I think the problem was Michael wanted badly for his skin to look even-toned. I didn’t have Photoshop back then so I lit Michael myself and had specific techniques to make him look at his best.”

Funk, who seems to have an endless supply of Jackson stories, speaks softly in a New York accent, energetically recalling their nine consecutive rides on Space Mountain at Disneyland. Jackson attempted to persuade Funk to ride it for a 10th time but by then the photographer felt sick and his legs had turned to jelly. They would also regularly take the Viking boat ride at Jackson’s Neverland ranch.

“I was sitting across from Michael,” says Funk, “shooting him with my camera, as he told the guy controlling the ride to go higher and higher. I screamed at Michael that he’d make me lose my camera. He screamed back, ‘I don’t want to lose my cookies!” These were in his shirt pocket. Yet, for all the fun they had together, Funk’s most cherished memory of Jackson is a dark one. He remembers sitting with the singer in the home theatre of his Neverland ranch while watching What’s Love Got To Do With It, the 1993 biopic about the abusive relationship between Ike and Tina Turner, when Jackson began to cry. “The scene where Ike beats on Tina was playing and Michael started to tear up. I asked him if he wanted me to stop the film but he signalled to keep it rolling. He squeezed my hand tightly. I really felt his humanity in that moment.

WE PLAYED PRETTY NASTY ON THE THE BUMPER CARS. WE REALLY WENT FOR EACH OTHER...

“After the film ended, we walked out of the theatre and Michael asked me to go do bumper cars with him.” Funk laughs. “We played pretty nasty and really went for one another. He was like a big kid.”

Jackson was not the only star who turned to Funk. The photographer is currently planning a London exhibition of his work, which also includes shots of David Bowie, Tina Turner and Amy Winehouse, though the king of pop will of course dominate. This will be an interesting postscript to On the Wall, the show about to open at the National Portrait Gallery that looks at how Jackson was portrayed in paintings and photography. Funk, who is based in Los Angeles, is quite happy to let his career be defined by his shots of Jackson. While daydreaming, he sometimes hears the singer’s voice, imploring him one more time. “Let’s make magic,” it says.”

AT THIS PIVOTAL TIME !

… for our world, The Guardian is determined to keep delivering factual, independent journalism that is open to all. We refuse to turn away from the escalating climate crisis – instead we give reporting on the environment, nature and pollution the prominence it deserves. And, when progressive ideals are being challenged by those in power across the globe, we’re committed to investigating with courage and reporting with honesty.

More people are reading and supporting our independent, investigative reporting than ever before. And unlike many news organisations, we have chosen an approach that allows us to keep our journalism accessible to all, regardless of where they live or what they can afford. But we need your support to grow our coverage.

The Guardian is editorially independent, meaning we set our own agenda. Our journalism is free from commercial bias and not influenced by billionaire owners, politicians or shareholders. No one edits our editor. No one steers our opinion. This is important as it enables us to give a voice to those less heard, challenge the powerful and hold them to account. It’s what makes us different to so many others in the media, at a time when factual, honest reporting is critical.

Every contribution we receive from readers like you, big or small, goes directly into funding our journalism. This support enables us to keep working as we do – but we must maintain and build on it for every year to come. “

[benjaminenrique30-blog]

Facts, Fiction and Ukiyo E Print Art

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And the manufacturing procedure is such fun! Feel free to talk about your opinion below. Ukiyo E Print Art Help! The hanging scroll is known as kakemono. It's a touching tableau. I should also enable you to know that a lot of my prints are in wonderful condition, because they have been stored in bank vaults for almost 20 decades. This produced a desire for prints of famous and lovely landscapes that were bought as cheap souvenirs. This series started a completely new type of landscape ukiyo-e. The Death of Ukiyo E Print Art So a few years back I chose to publish a string of stories on my own, on a unique web site devoted to them. The fine lines of hair that you've marked in ink won't be observed at the end, which offers you a good idea of how dark you will be going. During upgrade the website is going to be shutdown for one hour. Be sure to check out which everyone else is sharing at the conclusion of this post! 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Ok, I Think I Understand Ukiyo E Print Art, Now Tell Me About Ukiyo E Print Art!

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[iluvtv]

“I Sleep in a Bed but I’m Homeless” and other contradictions in terms

Last month Donald Glover curated a media moment. He hosted Saturday Night Live while his alter ego Childish Gambino simultaneously appeared as the musical guest. All the while (to much social media fanfare) he dropped a music video chock full of divisive commentary on racism in America. In my opinion this wonderfully creative and crucial social commentary rattled the masses far more than I think they should have. I'm startled by the possibility that one could "be here now” and still be surprised that This is America.

Point being though, that during a spring weekend’s naughtiest hours in 2018 Glover did what he did best — worked. And in doing so his art (as it is wont to do) challenged us. In just a little over and hour this legendary genius gave us everything he has to offer. He made us laugh, taught us something and kept up his now signature cocky air. Reaffirming that while he will provide his brilliance for us to share and learn from it is not exactly for us.

In an incredible New Yorker interview by the fabulous Tad Friend earlier this year Glover explains; “If ‘Atlanta’ was made just for black people, it would be a very different show. But I can’t even begin to tell you how, because blackness is always seen through a lens of whiteness—the lens of what white people can profit from at that moment. That hasn’t changed through slavery and Jim Crow and civil-rights marches and housing laws and ‘We’ll shoot you.’ Whiteness is equally liquid, but you get to decide your narrative.” For the moment, he suggested, white America likes seeing itself through a black lens. “Right now, black is up, and so white America is looking to us to know what’s funny.”

But before we go that deep, early in that SNL episode there was his monologue. Through this caricature of himself Glover pokes fun at the man he presents in this interview. By claiming there is  "nothing he can't do" while failing at everything, subsequently puking into a clarinet and repeatedly bringing up his rejection from SNL  many careers ago, he delivers audiences a humbler version of himself. This is notable because even if the farce is egotistical what he's actually playing is failure. Was this by a cast writer's design to mock his arrogance or did he write every word himself?

Neither would surprise me. After greedily consuming Atlanta’s first season (Hulu why must you wait so long to give me new FX seasons?) and then studying the media image Glover presents I see he is his own anomaly.

Confident, worried, scared, brave, untouchable and sensitive. Through his thoughtful creativity he has (for the most part) been given permission to be whomever he wants.

We all will agreeably, eagerly (and even gluttonously) accept all of it.

He didn’t always believe this would be possible. When he first pitched Atlanta he was certain this wouldn’t be the case at all but FX surprised him. In the New Yorker interview the producers explain:

“The parts that you’re worried we’re going to think are too weird—lean into those.”

From its onset I suppose Atlanta can be read as sad. A sort of devastating drama on race and poverty and violence. And while this is clearly a trap story there is  an almost inexplicable, deep seeded sense of satire that feels both simultaneously impossible to pinpoint or ignore.

In imagery and experiences (which more often than not trend more towards metaphors than reality) Atlanta challenges me. I just can’t get enough but I also can't help but feel like most of the time I don't totally get it. And this is just the tip of the iceberg in the long series of anomalies which like Glover himself comprise Atlanta. At the end of the day am I just too white, slightly too old (and more to the point un -hip) or was this confusion just the purpose?

FX Chief John Landgraf explains to the New Yorker, “Donald and his collaborators are making an existential comedy about the African-American experience, and they are not translating it for white audiences.”

There is a consistent underlying dichotomy in all of Atlanta's odd stories and part of it I suppose is an assumed understanding between the white coastal viewer and Glover that we are only partially in on the joke.

Presenting this dichotomy, Atlanta begins introducing Earn (Glover) and Van’s (Zazzie Beetz) relationship which while terribly charming is equal parts fleeting.  Seconds into a relaxed and loving scenes their relationship just as quickly turns contentious.

We watch this pattern repeat again and again.

The pilot episode continues in this vein introducing relationship dynamics before revealing a storyline or history.

We meet Earn’s fed up parents. Friendly enough but annoyed that their adult son is always asking for money, oh and also that he doesn't flush.

Earn: "That wasn't me."

Mom: "That was you. I checked. You better start eating some real food and not all these candies and cookies..."

We are introduced to my favorite character, Darius (Lakeith Stanfield) wearing only an apron while baking cookies. He also has guns and a butcher knife.

We witness the first of many racial power dynamics as Earn takes his cousin Alfred’s (Brian Tyree Henry) tape to a white DJ “buddy”, hoping if he can get Al’s alter ego Paperboi radio time he'll be able to convince his cousin to give him work representing Paperboi. It is here we see some dumb white kid front as though he is "hard" using language he would never use in front of any black man he found intimidating. Because Earn is not intimidating. In the face of this obnoxious DJ Earn is unassuming, friendly and essentially desperate all the while ignoring the terrible behavior of a stereotypical white millennial’s crude attempt to impress his "nigga" while completely refusing to throw Earn a bone by spinning Paperboi's first single. It is noteworthy throughout this season just how child like un-intimidting the character Glover has created for himself is. 

Later when Earn manipulates things in his own favor he asks an older black janitor if this rude white DJ has ever said "nigga" in front of him.

The janitor is stunned by the very thought!

But this is who Earn is. Friend describes it as such: “Atlanta” broke rules that most viewers hadn’t quite realized were rules. In comedies, jokes are underlined by closeups, but Atlanta’s camera stayed aloof, serving not as an exclamation point but as a neutral bystander. The characters didn’t have histrionic reactions to the problem of the week; they just gave up a little more. Earn was an antihero, as is now customary, but, unlike Don Draper or Walter White or Olivia Pope, he wasn’t an expert in anything. He wasn’t a great manager or a great part-time boyfriend or, for that matter, a particularly promising human being. Curiously boyish in shorts and a backpack, he wasn’t even active, the minimal standard for television characters. He didn’t seem to do or want anything. He just watched and flinched and got yelled at to grow up.”

The episode ends with the show's first of many very obvious forays into existential surrealism. The way Atlanta plays with fantasy is very fresh and new and brave and often completely impossible to fully comprehend forcing me to wonder why I only took a handful of philosophy courses in college?

But aren’t those courses just an antidote of the privileged white youth’s confusion?

That and marijuaina.

Again, Friend  addresses this discussing Glover's complete willingness to fail where other black television revolutionaries are wary.

“This sensibility is singular yet recognizable. Just as John Cheever’s epiphanies and apologias were stamped by drink and Paul Bowles’s hallucinatory quietude by hashish, so “Atlanta” ’s vibe is molded by weed. There’s a goofiness to the action, a dreamy awareness that reality is untrustworthy right now, but hold up, try this edible. Recognizing that quality, Lakeith Stanfield told me, “I decided to play Darius as a high version of myself. And now he’s become all the fantastical elements of Atlanta condensed into one person—this gateway to Freakville.”

Half way through the pilot we find Earn on a bus with his sleeping daughter opening up to a well dressed black man in a suit about feeling like a loser. "Am I just there to make things easier for winners?”  he asks.

The man sits listening patiently on this bus seat, all the while making a Nutella sandwich. "Just a symptom of the way things are," he explains to Earn "actual victor belongs to those who simply do not seek failure."

He forces a bite of his chocolate bus sandwich on Earn and then just as quickly disappears, only the tub of Nutella remains.

And abruptly the episode closes where it began, realizing the reason why the first scene was so confusing is only because it was actually the end. None of these characters were lying or being intentionally evasive, rather the drama which opened Atlanta had not yet ensued. And while it is still rather unclear, on some level even the whitest and most sheltered kids (those who can comfortably say the N word around very specific audiences) understand this rhetoric just enough and those who grew up in the trap world of Atlanta could probably write their philosophy dissertations on the scene.

As an audience we continue to ride out their drama into episode two. Conveniently, the coinciding moments of Alfred's arrest and his radio debut have vaulted him to instant fame all while housed in the relatively newsless space of jail.

When Darius comes to bail him out even the cops ask if they can pose for selfies with Paperboi. A beautiful moment of social commentary on race, class and most importantly fame.

Meanwhile, not-famous and mostly useless Earn stays stuck in jail which lends itself to one of the saddest satirical series of scenes I have ever seen. Think  Orange Is The New Black but really, really funny or maybe really, really miserable and also just so exactly where any of us (even the more privileged white girls) might end up for a few hours after a really, really bad night.

Fortunately I never have but I will take Atlanta at it's (sur)real(ist) word.

When Earn is told by the guard he cannot sleep he is baffled.

“Everyone sleeps."

To which he is told, "If you wanted to sleep you should have thought about that before you came to jail."

This dysfunction is further magnified by the token insane guy who apparently gets locked up on a near weekly basis. While his absolutely pathological behavior at first prompts laughs from the rest of the men waiting in lock-down they also  all just sit there and quietly watch as the guards kick his ass and drag him off to solitary.

To the repeat offenders this is normal behavior.

Earn, like myself seems less comfortable with this violence.

Meanwhile, Alfred due to newfound Paperboi fame is suffering his own violent satire.

On a walk through his projects he sees a kid with a toy gun shooting at his friends. They are playing a game of pretend in which the male child is Paperboi.

Alferd observes this. The kid, through clear admiration of his alter ego pretends to shoot down his little girlfriend. She feigns death just as the children's mother comes out to yell at the children, asserting to these small black bodies that they should "just say no to guns"

Overwhelmed, and clearly experiencing a myriad of emotions from the last 24 hours Al approaches the family and argues to the children that "shooting people ain't cool." At first the mother is stand-offish and annoyed at his presence but once he admits he is the very same rapper whom they are make-believing about the mood shifts. Instantaneous hilarity ensues as she is suddenly very interested in this infamous man. Momma comes on hard posing Al with the family for photographs. She is genuine comic relief "now one with my head on yo chest," she says as she snuggles in. And even Al who was out for a walk to escape the fresh madness his single has suddenly created seems calmed -- his comfort level with being viewed as violent has shifted now that it is getting him some pussy.

Likewise, the mother is now completely comfortable with the children playing “guns”, clearly sending the message that fame and more specifically hip-hop fame excuses violence.

This hypocrisy so clearly mirrors that of the prison guards from earlier and sadly represents America’s reality. If everyone from the single Mothers in the ghetto to the police are down with rappers using guns it must be OK, right? And folks were even remotely shocked by Gambino’s music video which debuted nearly two years later?!

The episode closes when Van finally bails Earn out of jail. It is unsurprising really that it is left on the woman to pull through and protect the men. I find that this aspect of American reality is more often acknowledged in African American and other ethnic popular culture than in white. This is too bad really, as it is a remarkable reality which women are tremendously under-appreciated for. I too have bailed a boyfriend out of jail. I watched him walk out of the police station arms in the air, proud of his day.  He also never came with me to Salinas to collect the title of my car which I lost to the county in the bail process (its a complicated when you are only 21 and haven't owned anything or held a job for longer than 2 years).

Appropriately, the credits run to Bill Withers' "Grandma's Hands," subtly noting the importance of the matriarch through a beautiful song. This also solidifies Atlanta's role as one of the best television soundtracks I (the generally music ignoramous) have ever bothered to notice.

As the audience grows more comfortable with the odd (yet perfect) stylings of Atlanta we venture into episode three armed and ready to address poverty as it pertains to immaturity. In real life Donald Glover and I are the same age but somehow he plays Earn much younger. Pop Culture Happy Hour Pod Cast discussed this episode at length, pointing out that the pathetic date Earn organizes to impress Van is actually just a very young man's attempt at romance. They argue that this scene would likely play out quite differently for the couple ten years later. Then again, Glover himself might come back at this  this theory; pointing out the story he is trying to represent here is "the trap" and the assumption that the only thing which keeps Earn so completely suffocated by an up-selling, self-serving waiter is time is just a white, educated NPR audience being only marginally clear on the concept. I can see both sides to this particular coin while (as a white, educated NPR listener) also continuing to ascertain that Earn's overall behavior reminds me more of my 20 year old sister’s than my clique of 30-somethings (whom I consider millennials only due to some made-up falsehood of a technicality -- we are very clearly The Oregon Trail Generation).

Anyhow, this frozen-in-time youthfulness (as a means to escape poverty while actually perpetuating it) is already well established in our protagonist and immediately reinforced as the episode itself opens with him ordering a kid's meal at a fast food joint. No dice:

“I Didn’t get title of daytime manager by passing out discounts," the proud black girl behind the counter explains.

He begs for a water cup instead and settles on stealing diet coke from the fountain -- eyeing the hispanic janitor with a daring glance. He walks away in his short shorts in the rain and backpack, emphasizing either his pathetic-ness-- or just child-ness.

And as I so often did 14 years ago in the middle of the day he heads to Alfred's where they smoke blunts and play video games.

OK I didn’t play video games but my productivity level was essentially on par.

And somehow while reliving our own boring youths through this mundane existence of an ordinary day audiences are still terribly entertained.

Darius, our scene stealing, wonderful guru of a roommate irons in his bathrobe, pulling a gun out of a cereal box. "Just so you guy's know there's probably a bullet in here somewhere, “ he warns.

 A drug selling story arc evolves between Alfred and Darius which in a more mature moment Earn is wary of due in large part to his cousin’s new-found notoriety (but how else are they supposed to make money?)  however, because I am a white girl and the drug story in this episode just gets so fucking dark and also I can only bombard you with so much information I will instead focus in on the terrible date which Earn attempts in hopes to assuage Van's whining about his irresponsible behavior.

No dice

She's wary from the get. Even tries to refuse his invite at first but he begs:

“Can I at least buy you dinner and watch from the other side of the room? I can even get one of those corny ass dudes you like to eat it with you.”

He continues, mocking the guys she likes by mimicking her (always a good strategy when you’re trying to prove you are the preferred choice): “‘I love your energy. Your dreads are in a bun’ “

The two accuse each other of being their own worst black stereotypes.

“I’m in a bed but I’m technically homeless and love it,” she mocks back.

They giggle. Something about their terribly unromantic connection is just so terribly romantic. Or maybe I just really, really like when guys make fun of me?

There's a brief scene involving the gun between Darius and Alfred where Darius solidifies himself as my favorite character, absolutely proving unequivocally that the most simple men are also the wisest. He explains to Alfred that his “assumed perversion of the word daddy stems from his own fear of mortality.” sheer and idiotic genius. An utterly true and hilarious savant.

Meanwhile, the date Earn has finagled is not going according to plan. WIth only $63 in his bank account and promises of a decent happy-hour dashed he is just in a hipster restaurant in a bad neighborhood, springing for a valet, with a date who is luxuriously lapping us each and every ploy from their server to raise their check.

When Earn, trying to lower their overall bill in spite of Van's pricey picks asks for a "Miller High Life in a can," the waitress responds,"ooo we've got a hipster!"

Yes, us educated, white NPR listeners sure as fuck did try to appropriate poverty through the hipster movement, didn’t we?

You can get a $17 trotter hot dog at the bar around the way from my house.

Likewise, Darius and Alfred's drug deal has also gone all wrong. They have been led to the middle of nowhere only to find a gang of black men with chains, drinking Hennessy and hanging out in front of a luxury camper van chilling around a campfire. Here the woods are a stark juxtaposition from their familiar life in the projects and yet the forrest is surprisingly more menacing. Nothing safe about unfamiliarity -- particularly when guns are in the mix. However, even with a tied up guy crying in the corner there is this unshakable element of satire, ever present yet so difficult to explain or maybe even understand. An impending doom of hilarity is the omnipresent mark of all Atlanta scenes.

But just as the episode grows darker and all of our protagonists’ immaturity increasingly complicates their situations the resourcefulness these young men have learned growing up without means also manages to save them.

At the end of the day nobody wins -- and the best laugh is when the homeless guy working as the restaurant’s (off market) valet runs into the fancy restaurant to warn a random white man in an expensive suit that his car is being towed prompting the two polar-opposite gentlemen to race outside in excited collusion.  This sudden impromptu camaraderie is just a downright hilarious aside.

But in a true test to it’s sitcom roots, Atlanta holds to the rule that come episode four nothing much is really permissible to change so in spite of tremendous havoc nobody really loses. At the end of the day Earn solves the problem of the expensive date by reporting his debit card stolen and Darius and Alfred don't die.

Maybe even the homeless valet got a tip.

In both a sitcom’s writers room and in the trap, everybody's just trying to survive.

The following episode The Streisand Effect continues this exploration of survival. We peer through the lens into  fame and notoriety wondering if success built through any means necessary, driven by the sheer desire to survive can ever really be deemed ethical.

Oddly, the querry reminds me of one tackled by a completely socially unconscious show — the Friend’s episode where Phoebe and Joey argue the existence of  truly selfless good deeds in The one where Phoebe hates PBS.

The Streisand Effect centers a similar debate through a racially ambiguous asshole internet "celebrity" (aka troll) who causes an all out twitter feud (which Alfred brings to real life).  Meanwhile  an interesting story line between Darius and Earn play out as the two explore what one’s existence means when you are truly just surviving pay check to pay check.

There are other episodes I love more and will focus more energy into analyzing but here are a few of the very best, most stand-out lines:

Old bartender: "Guy was Smoking a swisher with no weed. He gave me the creeps."

Darius: "Chinese people short because of Genghis Kahn, look it up!"              Earn: "In what? The racism book?"

The aforementioned troll (Zan) to Alfred (who is accusing his internet game of being pretty fucked up): "All a gang, we all just hustling"

Alfred: "I have to rap, I'm making the most of a bad situation."                          Zan: "You’re exploiting your situation. All of us are exploiting to make money"(hilarious scene ensues with Zan filming a paid child to spout filthy rhymes and deliver pizzas).

And if you are interested, this moment is discussed in greater depth on Fresh Air where, Brian Tyree Henry explains what this trap means to him.

We close with Earn teaching Darius that poor people don't have time for investments they need to eat today. This is a poignant moment where their friendship is solidified, poverty is explored and human nature vs. exploitation is left undecided.

Personally, I tend to agree with both Alfred and Zan’s views of exploitation though admittedly Alfred’s actions are certainly carried with far more integrity.

If you are particularly dense but have made it all the way to episode five, Nobody Beats the Biebs, you will no longer be able to ignore the absurdist tactics this show is employing to fuck with our perceptions of race, appropriation, stereotypes and popular music culture. 

The episode takes place mainly within a high school gym at a celebrity basketball fundraiser for Atlanta’s Youth. Paperboi has been invited to participate in the charity game and Earn of course attends as “representation”. Noticing a gorgeous successful news anchor there to cover the event, Alfred ditches Earn and sets off to pursue a date (or at the very least an on-air interview). She immediately staves off both advances, letting him know that she knows him as “the guy who shot someone.” He insists that isn't really who he is and invites her to get to know the real him, "I'll let you interview me someplace real fly like Bennihana," he offers to which she retorts that she and her fan base aren't into the “gangster thing”, and blows him off fairly easily as the commotion of "Justin Bieber's" arrival has distracted the masses.

At first I assumed that Justin Bieber was one of the white guys in this entourage but as a feud ensues between Alfred and JB you realize that in the fantastical world Glover has created Bieber is in fact just black. Or at least appears that way to us. After watching the whole episode I can't definitively pinpoint why Glover created this racial fluidity. Was it a point about racial appropriation, common perceptions and stereotypes? Or was he just trying to fuck with his audiences? I can only assume that most of Glover’s surrealist style is designed to achieve all of the above (and more). Anyway, this Bieber who may be just as black in appearance as Paperboi, is definitely not just one in the same. Other than his outward appearance the Bieber Fever is the same douchey, successful, unapologetic and handsome man I assume him to be in real life (admittedly I know zero about Justin). In Glover’s world though he can pee on the floor in front of everyone and the general opinion of him is not even slightly affected. He is the Golden Boy pervious to social optics and to him (much like to the pretty newsgirl) Paperboi is "a nigga who blew  other niggas brains out…” although he adds the operative “cool!" to the end of this statement. As the episode develops Alfred's hatred towards this pop sensation grows and they wage war on the court. Afterward Bieber offers  a press conference full of "sincere" apologies for the fight. All really just a marketing ploy for his new song called "Justice," (a title with more irony than I care to unpack here).

Meanwhile, Earn and Darius are also confronted by stereotypes and racial profiling. 

Earn encounters a successful music agent who mistakes him for a different black man whom she believes destroyed her career. In an attempt to seek revenge on this man she at first is very kind. She invites Earn into an elite circle of producers it is all very posh and excellent for networking and Earn laps it up, happy to play along with her confusion as long as this woman’s racism serves his needs. The rewards are seemingly high enough that Earn can turn a blind eye, joining a very specific brand of self loathing by embracing  the fact that he is participating in one of the most frustrating and oldest stereotypes out there: "all you people look the same.” It isn't until she accuses him of undercutting her and pledges to ruin him that he tells her he is not in fact Alonzo to which she retorts. "I'm going to make sure you die homeless." He certainly seems to be on this path.

Darius' day is equally bizarre and yet also totally conceivable. His storyline is so unique I can't help but marvel over where the inspiration came from. It seems safe to assume it must be rooted in someone’s real life experience. Perhaps a news story that was mostly overlooked? I digress, he paints a dog (which it seems worth noting that in addition to being quite the homemaker Darius is  a talented artist and his room is full of these supplies). Darius rolls up his painting and goes to the shooting range where he uses his art for target practice. Harmless enough, right? Not quite, a collective panic ensues. A white man calls Darius “psycho for shooting a dog” and tells him he has to leave, to which Darius explains that “a human target is just as specific as shooting a dog.” Which just seems pretty accurate to me. A Mexican guy joins in the bickering, he points out to the white guy that he shoots at Mexican targets. Stating more truth spurs further anger and an uprising is vowed. Darius tries to explain that dogs in his ‘hood are “fucked up (not cuddly pets)” but the range’s manager interrupts the men’s arguing with a shot gun,

“I told you rules before you got here ain’t gunna let you start no shit” he leads out a very patient Darius.

This scene is so fucked up.  Its rhetoric on arbitrary rules and categories is so important while remaining on brand with the show’s satirical edge. It magnifies the fact that the laws of a black man with a gun are so, so different than that of a white man with a gun takes a very different and slightly less sinister spin on the all too familiar police shooting unarmed black men storyline. We also get a close look at how Darius is observed and judged. A recurring theme of Atlanta is the simultaneous invisibility and hyper-visibility of the impoverished and minorities.

The episode ends with Black Bieber's aforementioned ”sincere" apology, explaining he's been trying to be too cool lately which has lead to hanging with the wrong crowd. He offers his new-found commitment to christ and uses autotune to premier his new song, Justice. In the back of the crowd, frustrated and over it Alfred returns to his day’s start and gives picking up the anchor another go. She returns with the lesson we’ve witnessed all of our protagonists scrambling to learn for the past 30 minutes” “let me give you some advice, play your part. People don’t want Justin to be asshole they want you to be asshole. You’re the rapper. That’s your job”

So, in sum this episode features….

Black man kicked out of shooting range

Black man mistaken for other black man

Black rapper unable to escape media’s perceptions of murderer in spite of being recognized as an “Atlanta Celebrity”.

All the while a rich white musician is able to chameleon himself into an infallible black superstar for a bit of extra street cred.

There is a lot to dissect here, but I’ll let an ethnic studies course can take it from here...

Episode 6, aptly titled Value is the first one to really feature Van's story and give women a voice. I was immediately interested to see if a woman took the reigns in the writer's room on this one because even the tone is so different.It didn’t take much digging to find this from Joshua Alston over at the A.V. Club. 

“Glover started off strong before a single frame was shot by bringing in staff writer Stefani Robinson to assist on the script, the first to give a writing credit to someone whose last name isn’t Glover. It seems like a little thing, but it makes such a huge difference to know that someone with insights about how black women communicate contributed to an episode that mostly consists of black women communicating and miscommunicating.”

It feels easy to  proclaim that the tone employed in Value lacks the humorist sensibilities applied to other episodes but I have to wonder if that’s an oversimplification. Perhaps I just found Van's story so horribly relatable (she seems to have the same dumb (re:bad) luck as myself and the series of unfortunate events which befall her here may just feel less satirical when you’ve felt the hardships yourself? Maybe a black man from the trap in Atlanta wouldn't find other episodes this season as funny as I did? Maybe I'm being sensitive? (Though that doesn't really sound like me to be honest). Or, maybe while very, very good this episode just wasn't meant to punch the gut in the same manner a jokey man-centric 30 minutes does. Maybe Glover isn’t ready to tackle female satire. I'm not sure and it seems like all these assumptions could get me in trouble so in the interest of not putting my foot in my mouth (or pulling a Van) I’ll move on....

This episode centers around the drama which ensues when Van's old friend comes into town. Actually, in this case (as is often true with childhood girlfriends) frenemy is a better term. This gal-pal plays companion to NBA players which subsequently allows her to lead a very posh lifestyle. She is baffled by Van's far more humble life and makes her judgements very clear by stating straight off the bat the following three rather insensitive points:

“Sometimes I wish I had a kid and then I'm like ew, no." (preach sista!)

“Back in the day you would have made fun of yourself for still fucking with Earn.”

and 

“Black women have to be valuable. NBA players fuck with me because I provide a service. I am worth it. I am cultured, intelligent...."

the implications here are thick and seem to cut very deep.

Anyway, as a passive aggressive fight inevitably ensues Van's girl does eventually bribe her back into frenemy territory, insisting they make up over a joint. They hotbox the bitch’s fancy-ass car and at first seem to be reliving the good old days but as is apt to happen when you hang out with narcissists (particularly in our social media obsessed times) eventually Van finds herself being forced into snapping pic after pic of her social-climbing friend who is dead set on getting that absolute perfect insta-shot. I have zero patience for this behavior. Actually, every girl who has ever made the mistake of forcing me into this game has quickly fallen out of my good graces.

Ultimately, the mess that ensues for Van because she casually decided to hit a joint a few times with her disaster of an old friend is totally comparable to multiple series of my own disasters. Fortunately for both myself and Van (we’re similarly industrious and independent young women) we do manage to pick ourselves up by our bootstraps and move on. But, for a minute suspend your disbelief that I too could create this sort of disaster and let's discuss Van's mess:

She awakens the next morning to a cell phone reminder that today is “drug test day.” This of course prompts an insane rampage as she attempts to figure out where to get “clean urine.” When both Old Friend and Alfred fail her she realizes she has a whole garbage pail full of her baby's diapers. A true renaissance woman Van creates a complicated process to extract the pee and tapes a condom full of her daughter's urine to her own thigh. In a flowy dress she heads off to school (making it clear for the first time that she is an educator of some sort).

The storyline then takes a quick veer from the very normal baby-pee-condom situation prompted by a basketball “prostitute” to a  fellow teacher who approaches Van. This woman is beyond frustrated with one of her student’s. A  brief aside ensues regarding a black child who has come to school in white face to fuck with his teacher (who is so mad she begs Van to help her deal with him so she "doesn't get arrested for beating his ass,”). It is a sharp return to the previous episode’s discussion of cultural appropriation, reminding viewers how inescapable race wars are for Glover.

Van declines to help her friend, she is on a mission after all. But of course, things don’t quite go as planned. A bit of physical comic relief ensues when she can't untie the condom of pee. She tries to rip things apart with her teeth which of course results in pee spraying everywhere (except of course in the cup for urine sample).

Desperate Van just admits to the principal that she smoked weed.

This is definitely something I would do.

When you’re honest no-one can fault you, right?!

Wrong.

Dissapointed, the principal explains that the county can’t afford quarterly drug tests anyway so after the initial one required for hire the samples aren’t actually sent anywhere.

Of course.

She levels with Van, “everyone smokes weed. The system isn’t made for these kids to succeed and you gotta shake it off somehow. I get it. But unfortunately you’ve admitted your drug use to a government employee and now I have to fire you. To cover my own ass as well as the schools’”

She gives Van a hug and one weeks notice.

Defeated Van, an inexperienced druggie tries to get more weed from Alfred who tells her she's “sloppy as fuck.” Which after the day she has had is just truth.

The episode closes with the same kid still in white face smirking now in Van’s class.

Again, somehow the female battle of race and class explored in this episode feels more sad to me than the male saga we’ve seen play out thus far

The closing shot of the sinister child in white face and my own history is undoubtedly playing into my interpretation. I will admit here that I have two equally stupid stories of being fired for absolutely absurd things that make zero sense. Once for rolling a blunt by request for my boss. A swisher of marijuiana which I didn't smoke and only procured because he asked.  Another time a 28 year old woman claimed I was sexually harassing her. In neither case was I truly guilty and yet somehow believed that an overcompensated apology could fix things with the higher-ups. At the end of the day though everyone is just interested in covering their own asses. Again, this probably could be presented far more satirically and at times I am able to give these stories a bitingly funny spin — but not with the regularity one might assume.I suppose what I’m getting at is I know what it's like to essentially be so inexperienced with getting in trouble that you can't tell when to just shut your goddamn mouth. I also think that this assumed guilt is such a female burden. It is a subsequent and frequently overlooked side effect of the ancient historical annals of sexism. Perhaps if we can learn anything from “mansplaining” it is to always just take the position that everyone else just doesn’t get it. But then also just keep our mouths shut.

Episode 7, B.A.N has got to be the most hilarious, perfect, wonderful episode of Glover's premier season (and pretty much of all television of all time). I feel fairly confident saying its everyone's favorite. B.A.N which stands for Black American Network is (simply put) a fictional television episode called Montague; a black spin on a Donahue-esque late night “news” show featuring Alfred as one of it’s guests. The "fake news" premise on this show delves into the complexities of identity in our touchy PC culture and is in its own right more than enough to ensure side gripping hilarity. However, it is the commercials interspersed throughout this episode that really cinch the deal.

But I’m getting ahead of myself.

The subject of the Montague episode, “how accepted sexuality is affecting black American Youth and Culture” features a panel made up exclusively of Paperboi and the head of “Trans Issues.”  Ummmm..... really? I’m already laughing

Alfred is being called out by Montague and asked to explain a comment he made on twitter, quoted by our host as such: “y’all N words said I was weird for not wanting to F word Kaitlyn Jenner."

He is asked if this makes him transphobic? Alfred is complacent, admitting that while he gets what they're saying she (Jenner) just isn't "important to me".

The white trans expert explains Paperboi is coming from a culture of exclusion and power; the black community has issues with power and masculinity more than transphobia. She calls him out on the layer of fluidity in his raps to which he uses the same line he used in response to the challenges posed earlier by the racially ambiguous internet celebrity, Van: "I'm just trying to get paid." The ultimate premise of this show is, after all, escaping the trap life.

Cut to commercial break.

And here is the gold:

Commercial 1: Black guy in a bodega being up-charged for a can of Arizona Iced Tea. The tagline: Arizona: price is on the can.

Commercial 2: A masquerade party filled with fancy black people drinking Mickey's forty ounce bottles out of champagne flutes. Tagline? Mickey’s: You're drinking it wrong.

Yes! This appeals to all my senses. I remember when I was 19 and 40 ounces, Conan O’brien, Swisher Sweets, 7-11 sandwiches and a bit of homework were evening staples.

Now back to our regularly scheduled programming:

A Montague correspondent is reporting on scene regarding a “trans-racial” black teenager (I kid you not) who self-identifies as, yes, a 35 year old white man. Ummm..... I hope you’re laughing now too.

As a black teenage boy he had always wondered why he wasn't getting the respect he deserved, "then it hit me,” he tells the reporter, “I'm 35 and I'm white."

Obviously.

We cut to scenes of our trans-racial teenage adult pretending the projects are the suburbs of Colorado.

He explains his Mom just  doesn't get it. Cut to her explaining, "I'd love to wake up and say I'm Rhianna but I 'aint"

Which as a white woman I’m going on brand with the appropriation I mentioned earlier and I just have to say: “preach sista!” If I get to come back as anyone in my next life I sure as fuck hope its Rhianna. Sometimes I ask myself what would Rhi Rhi do? and then I remember to just do me.

But I digress, our teen’s response to his mother’s dismissal is to explain that they don't "realize race is just a made up thing" and he doesn't believe in labels. Unwilling to accept this “reality” he is presently working on getting (yes) racial transition surgery while also stopping trying to convince others he's not "us". Ummm....

Rather than argue he tries to show his community he is not one of them by doing incredibly stand-up white male things like turning black guys into the cops.

This episode came out years before the recent onslaught of social media documenting black people having cops called on them  for doing very questionable things like sleeping in their own dorms but I still challenge you not to be laughing hysterically by this point.

As great as this storyline is though, who can complain when it's time to return to commercials?

First up a commercial break for Swisher Sweets (looks like I too was a trans-racial teenager). In the commercial all the actors are emptying the guts of their swishers to enjoy in between filming sets. Duh.

Quickly though, I want to admit that I am not doing this insanely perfect 30 minutes of remarkability justice —please watch! In the meantime though I return to Montague’s panel….

Paperboi admits to the audience he is afraid of being persecuted by the audience and does not feel comfortable speaking his mind. Our female white expert accuses him of being unable to have intelligent dialogue without spewing profanity (proving his point, of course). Montague continues by asking Al if he hates trans people because of his lack of a father.

If your head is spinning and you’re feeling ready to throw down you aren’t alone but Alfred handles the insanity with unbelievable levels of eloquence. He explains, ”It is hard for me to care about this because no one cares about me as a black man. Kaitlyn Jenner is just doing what white men have done since the dawn of time which is whatever the hell they want. Why should I care?"

He goes on to question where the tolerance is for him?

And yes, this is the crux of it.

It is far easier to speak out against intolerance when you are privileged.

The white expert agrees with his point but as is talk show nature Montague  keeps egging for the drama.

All getting a little too real? No worries, we have a commercial to lighten the emotions.

Or is it just more sad truth?

First up we have a commercial reminiscent of the 1-800-psychic infomercials of my youth. A perfect example of selling an ideal to the impoverished rather than a reality, and media assumingThe poor are an easy target as they are so desperate for a solution out of poverty they can easily be taken advantage of. Sadly, gullible.

Or maybe it is me that’s sad and I just don't believe in magic-- perhaps my cynicism is the problem?

A man (I believe the same guy from the bus in episode one) is offering us “the answers we deserve.” He goes on to talk about chakras and crystals and the power to make his customers rich.

"Call now and you get a free juice and Nutella sandwich" he proclaims.

And now I'm even more in love with this episode.

Cut to a Dodge Charger commercial concerning divorce settlements which is too complex to describe but also totally accurate and finally the episode’s piece de resistance -- a fully animated Coco Cruncherz commercial with a “black Trix bunny" being beaten up by a cop because he is trying to steal the kid's sugary morning treat (which is of course just for kids). As the kids plead with the cop to stop he argues that age old tag line Coco Cruncherz is for kids -- harking again back to my youth and Saturday morning cartoon days when the innocent commercials with a rabbit stealing breakfast was not nearly as menacing (or realistic).

And just like that with a seemingly sweet cartoon we have jumped the line from dangerously sinister satire to downright sadness. Nobody wants to see a cartoon cop beat the shit out of  a black cartoon  bunny especially in front of a bunch of cartoon kids.

And yet its still so funny and important.

Close commercials and we circle back to our black teen dressed like a white man. Alfred can't stop laughing at him "You look like Fellon Degeneres!"

But don’t feel sorry for this misunderstood teen to soon. When the trans expert welcomes him, the kid uses his new platform to spew his own stereotypes, explaining that marriage is meant for a man and woman and men can't turn into women. So while he believes in racial fluidity he is totally close-minded to gender fluidity.

Obviously.

This episode and how it speaks to acceptance of other cultures is fantastic but the commercials and the garbage peddled to lower classes and minorities specifically is crucial. If I was an American Studies High School teacher I think I could develop an entire semester’s worth of curriculum on these 20 minutes.

Episode eight, The Club features our motley crew at a club and clearly miserable about it. As a woman whose personal anthem is George Thorogood and the Destroyers I Drink Alone I couldn't possibly find this more relatable. The only reason why Alfred, Earn and Darius are even at the club in the first place is because Paperboi is being paid for the appearance.

Since I’ve already managed to drone on for close to 10,000 words and supplied an overwhelming amount of both series and personal anecdotes, for this episode briefing I’ll do my best to just take a moment or two for a quick review of a few standout moments and trust that you, dear reader, now have obtained a certain level of Sylvie’s Mind Mastery to elaborate on the now all too predictable consensus:  this episode is just as fabulously funny, sad, complicated and littered with omnipresent issues of social status as the next.

And now in side-splitting surrealist summation:

Earn on the dance floor with subtitles for his thoughts: "somebody smells like Wendy's Double Stack.

Darius showing the crew instagrams of a famous guy in the ‘hood who has a very fancy invisible car. Noteworthy: I thought Darius was just gullible at first but I clearly underestimated Glover’s dedication to metaphor. If you’re still confused by media’s dark comedy, magical realism, social commentaries on race (a new and now thanks in large part to Glover a very dominant genre) don't worry so am I.

Earn gets drunk enough to feel powerful and demand the money owed from the owner for Alfred's appearance and subsequently vomits all over him (sounds about right).

Darius has trouble getting through security after he steps out momentarily to blaze. Rather than put up too much of a fight he goes home to eat cereal and play video games (I'm pretty sure we will get married in season 3). 

Alfred and Earn go to beat up the club owner for trying to rip them off (by now vomit free). After the boys finally obtain what they are rightfully owed they leave the club, at last drunk enough to be  in a decent mood. While laughing and talking about getting food  they are startled by gun fire. People start to run but most of the crowd is maimed anyway as a man seated seemingly on nothing floats by (in an invisible car, clearly) and mows down the crowd.

This is so complex -- Donald Glover has completely lost me and yet I am obsessively curious. What does this mean? What does it say about our culture? Did he just think it was funny? Does the invisibility represent the utter bullshit of an expensive car? It must somehow tie back to status and violence but what is he saying exactly? I’m wary to even venture a guess.

Either way, The boys escape to Waffle House for a post mortem with Darius. The men are still drunk and laughing, moods still surprisingly upbeat though if you know anything about Southern Culture the very fact that this restaurant is still serving speaks volumes of the gravity (or lack thereof) of the violent incident. Things shift toward somber though as the local news streams through in the back ground. A story reporting the incident clearly lays suspected blame  on Paperboi. 

"Fuck the club," says Alfred.

Indeed.

Last year Juneteenth was finally brought into the average modern white person's rhetoric through a "holiday special" for the masses from the very funny (and carefully cultivated to expand mainstream America's mind) Blackish.

Atlanta's take on the holiday is of course slightly more subversive. Certainly due to its non-network and later time slot it is more carefree and able to cater less  to the masses. Nonetheless, I am certain that Atlanta’s episode managed to bring a bit of awareness even if the show -- unlike Blackish -- made zero attempts to educate the ignorant on what Juneteenth is exactly.  It doesn’t matter though, because well... Wikipedia... Glover is smart to assume that his audience is woke enough to use their pricey smartphones to look up whatever they don't already know. Maybe I should learn to employ a similar tactic.

Anyway, on Juneteenth Earn leisurely wakes and bakes in some random girls' bed. When his alarm goes off he is rushed into reality, panics and dashes out. Cut to him and Van in the car where she is very unimpressed that he is stoned which plays out in a passive aggressive fight over the automatic windows in her car. Although we don't know where they are going or why, it is made quite clear that this is an important outing for Van, and that Earn is complicity playing along basically because they have a child together.

They arrive at a fancy house, with a fancy valet and a fancy black woman named Monique answers the door. "happy Juneteenth," she proclaims and then proceeds to humble brag her home "we have so many bathrooms!”

Her white husband Craig makes a grand entrance also proclaiming "happy freedom day."

This is already a very strange party.

Earn retreats for drinks which he orders from a very condescending bartender in an African print bow tie.

"Emancipation Eggnog?" asks Earn "It's June!"

To which the Bartender replies "nigga do I have to explain alliteration to you?!"

Earn takes his beverage and wanders through the looming home finding the white husband, Craig’s office does nothing to alleviate the strangeness. The room is full of black art which Craig painted based on one of his favorite Malcolm X quotes. He explains to Earn that black musical artists are a product for white American consumption and appropriation. He pours them some Hennessy and is baffled that Earn hasn't been to Africa and also does not know where exactly he is from.

Just a side note all this has inspired my own bit of spinoff commercial satire: We all know by now that gene testing companies can provide a great deal of knowledge for White Europeans but usually lack the same insight into an African person’s roots and thusly all their televised advertising features a white person drinking whiskey in the Irish pub of their forefathers or celebrating an ancestors Viking victory. I think it’s high time someone (Preferably Glover and not me because I’m clearly far busier) wrote a commercial with a black person talking about the slave ship he learned his great great grandmother was shackle on etc etc.

Anyhow, Craig employs a specific style of appropriation (seemingly bred from his own white insecurity and guilt rather than ignorance or hate) to black shame the unassuming young man he has invited to drink in his home.

Earn retreats, whispering to Van that the party feels "very eyes wide shut." (Which I myself hadn't yet noticed but once brought to the periphery realize  could not be more accurate). Frustrated that Earn hasn't embraced her thing she asks him to “just once pretend that they aren't who they are so he doesn't blow this opportunity” for her.

He responds by bringing on what I’d like to classify as his very best "douche" (I know , I know, this is not the PC term) in order to impress the "very cultural" uptight, wealthy black people this party is full of.

Van seems to be binge drinking which, as is apt to happen eventually leads to a retreat for a bit of an overwhelmed bathroom cry.

Afterward she winds up outside with Monique who finally starts to reveal actual elements of her own humanity. "You don't think I know how crazy my husband is? Treating black people like a hobby?" And there it is — the thing I have been grappling with as I’ve attempted to blog this season of Atlanta over the course of a three-plus month period. At the end of the day it is safe to assume that the best I can really do is just repeat their story and really I have no shot at successful analyzation. Craig’s overwhelming analyzation is enough.

Van asks Monique if she wishes she had someone to confide in to which Monique responds with this equally telling quote. "It is redundant to be both black and sorry in the world."

With nowhere else to go they return to the party to find Craig performing a poetry slam on Jim Crow in front of his black guests’ and this is when shit hits the fan....

The party’s crew of valets find Earn and attempt to give him their sister's underwear to pass on to Paperboi (I can't even begin to understand why a brother would agree to this for his sister and I refuse to believe my ignorance is cultural). The gesture may be gross but it is relevant to this story's evolution because they have outed Earn as Paperboi’s “manager.” Monique's husband increases the awkwardness by bringing up the shooting. Oddly if memory serves this is the first time since episode two that the series opening incident has been directly referenced. Or maybe it isn't weird at all, maybe the whole point of this surreal show is nothing can be taken seriously enough to carry over to the next episode. Isn’t that the rule of thumb for sitcoms anyhow? Needless to say for the time being the fact that Earn is somebody and not the nobody Monique had assumed seems to make her quite uncomfortable to which Earn responds with spite. Fed up by a full day of clear hypocrisy he proclaims the very real observation that “this is all wack, its not real life and they are all dumb.”

Van rather emotionless attempts to drag her partner away, making it clear she knew  this all along.

“Stop stunning on me about culture,” Earn shouts. “I’m not going to go back to Africa to discover my roots cuz I’m fucking broke. Stop being so black-able!”

We cut to Earn driving home. He promises Van (with eyes closed next to him)  to call Monique in the morning to apologize.

Van opens her eyes demands he pull over and when he does she climbs on top of her man and starts banging him right there in the drivers' seat. In spite of it all they are young, have a baby and I think most importantly she is more attracted to his authenticity than the party's grandeur and faux behavior. The screen zooms out on the lovers in the middle of nowhere with the haunting lyrics of Chain Gang from Sam Cook and nothing seems so well earned and genuine than the freedom these two young black humans have to express their complicated love outdoors in Atlanta in June. Or maybe I'm just being romantic. So far as I know no one is actually  allowed to have sex in their cars outside of their own garage.

The season finale like many episodes starts with Earn waking up in someone else’s home. While this is a recurring start I somehow missed the trend until now. Perhaps that is attributable to the fact that our finale stresses the relevance of Earn’s homelessness. In this scene he is uncomfortably situated in a bean bag chair and being chastised for fucking up whomever's house he has crashed at.

“Where's my jacket?" Earn manages to ask a few times but the homeowner is too distracted with the destruction Earn has caused. So Earn leaves and calls Alfred who also has no idea where the jacket is. This is clearly a bummer for Earn but great news on my end. The missing clothing means we have some 20 odd minutes  ahead to enjoy Earn retracing the steps of a wasted night. This is a plot premise I have adored ever since Ashton Kutcher spoke to my very sensible 17-year-old- stoner- humor in Dude Where's My Car. I haven't watched the film in years and I know it gets a bad rap but I'd be hard pressed to believe that it doesn't stand the test of time. Since this is Atlanta though the surrealism is even more omnipresent than similar story arcs. 

As Earn travels through his home-town (True to its name Atlanta has remained one of the most crucial characters throughout the season) he notices that everyone is dressed as cows. He asks a stranger why the costumes "Free chicken sandwich day nigga,” he’s told

Duh.

So Earn gets his sandwich and in true Dude form heads to the strip club to see if his jacket might be there. Maybe Glover was also a fan of this fine film— we are the same age after all.

A wonderfully awkward and funny scene ensues where Earn tries to describe one stripper who might have his jacket to another stripper.

Largely unsuccessful (how does one describe one generic stripper to another?) the girl is more preoccupied anyhow, her focus being on getting herself cast in a Paperboi video.

Defeated, he defers to last night’s snapchat stories to recall where he went next. Had this technology existed 15 years ago maybe the Dudes also could have found their cars in 27 minutes.

Frustrated by his snaps, Earn instead goes to chastise Alfred for his inappropriate "stories" but Al explains social media is important work. "Rappers make money on appearances" to which Earn reaffirms it is a bad idea.

Darius chimes in "That's black people's number one problem, they don't know how to have fun."

"I don't think that's our number one problem," Earn says to which I laugh out loud. 

And then I laugh again just reading my notes on this episode. And then again during editing. I am proud of Earn for this comment. For the most part he tends to be slower than his buddies when it comes to off the cuff quips.

In a stalemate, Earn defers to ridesharing apps. And even though I'm pretty sure Uber does not actually work this way Alfred is able to call last night's car to try to locate Earn's jacket. Yes, this affirms it, late 90's technology or the lack there of is the only thing that made Dude realistic (to which of course I  understand it still wasn't at all but... y'know....).

Alfred agrees to pay the 50 dollars the Uber driver demands for the chore but is annoyed that he is back to bailing out his cousin. They sit in the car stoned and discuss Jamaican food in a relatable way that will make any stoner smile.

Then something big finally happens for Alfred. Something that could carry over to season 2 or slide into another dream like fantasy never to be mentioned again (both viable options given the strikingly realistic and terribly fantastical world Atlanta has created). Earn gets a call from a famous rapper, Senator K, requesting Paperboi open for his upcoming tour

But before they can get too excited Alfred says "something here is off" and tries to bail. Just then an undercover van pulls the group over.

The group of black men are then patted down for seemingly no reason and asked if they are tring to purchase illegal things from the driver.

Just a jacket they claim.

A small chase scene ensues and the Uber driver is shot down.

And now there is a dead man wearing Earn's jacket.

Earn looks devastated he tells the cops he left something “in there. Can they check the pockets?”

No dice.

So Alfred tries to cheer him up, gives him a roll of cash -- his 5% on the tour deal, affirms that Earn finally “did good.”

But Earn just awkwardly walks away, defaulting to his defeated little kid look in his short shorts and his backpack. He Stops briefly to dump a rock out of his shoe and then goes to Van's and cooks a family dinner. It is a brief sweet moment, interrupted by a friend stopping by to drop off Earn's key. "I've been looking for this all day." he tells him. The proverbial “car” has been retrieved.

Finally at ease Earn and Van retreat to the couch where he gives her the roll of cash. He really does want to support her. There is another sweet moment as the two lie on the couch laughing at how bad of a drug dealer he would be and she asks him to stay but again like a kid he and his back pack leave.

There is something sweet and promising here. A rarity in this funny but often self-defeating show.

Rather than use his friends and family Earn steps out— finally on his own for the night.

He goes to a storage unit and opens it with the key he spent the day looking for. We finally see that Earn is not entirely without a home. This lonely unit with a couch is what he has and clearly why he is consistently waking in other people's spaces. He takes off his shoe, and we realize he wasn't dumping a rock at all but using his sneaker as a bank. No matter, weather shaking out a pebble or stocking cash taking his shoe off in the street earlier must have been Earn’s first sense of relief this season.

#bill withers #donald glover #this is america #brian tyree henry #lakeith stanfield #zazzie beetz #tad friend #the new yorker #atlanta #childish gambino #hulu #fx #john landgraf #saturday night live #dude where's my car #40's #trix #swishersweets #marijuina #nutella #oregon trail generation #fantasty political satire

[davidanderson7162]

Pantyhose as well as Nylons Proclivity Personals - Just How to Locate a Day

Anybody can have a pantyhose and also nylons fetish. It is, nonetheless, most usual among guys. If you have such a fetish it is entirely likely that you would wish to enjoy it with a partner. Locating fetish buddies is rapid and simple. It can be cost-effective and also, in some cases, completely complimentary. The following couple of paragraphs will inform you specifically how to locate hundreds, maybe thousands, of fetish friends with relative simplicity.Pantyhose Fetish Videos

The first site to consider is a paid specific niche dating site. If you go into a search into Google for pantyhose as well as nylons personals or dating you will certainly discover several dozen appropriate sites. There is a cost-free alternative (described in the following paragraph) yet these sort of sites may suit you if they have a great deal of individuals in your location. You can generally get a totally free account as well as search the members and afterwards decide if you want to pay the subscription fee.

A choice to the certain fetish dating website is getting a complimentary subscription to a general dating site. This can really work out better. The benefit of the big, preferred dating websites is they have a lot of participants. You will certainly almost certainly locate hundreds or countless members in your location. They additionally have advanced search and match-making software application which makes look for pantyhose as well as nylons playmates simple.

If you join the general website, load it your account (it takes around two minutes and requires you to get in a totally free e-mail; no credit card is ever before required), after that most likely to the search web page. Select your location as well as enter the keywords pantyhose as well as nylons right into the keyword subject form. After you hit enter you will certainly be presented with a checklist of possible partners with your very same fetish. You can after that add them to friends and message them Nylon Stocking Fetish.

Another way you might locate a companion with the basic site is to make use of relevant key words in your account. The matching software will certainly let the sex of people you want to fulfill who have a pantyhose as well as nylons fetish that you have simply signed up with the website and are offered. This will send a flooding of people your method who fulfill your requirements.

Fetish and Nylon Panty Hose

Since E. I. du Pont de Nemours, Inc. revealed the innovation of nylon in October 27, 1938, the elegance of nylon stockings made seductive photographs all over from magazines to calendars. It has produced a different type of stimulation in regards to texture, its touch is calming, remaining and also can boost self-confidence to womanhood as a whole.

Photos of females outfitted in soft nylon stockings or hosieries are usually acceptable as attractive bed room posters. In the Internet, they are harmless adequate however carefully knit as adult images. Why? It is since nylon equipping pictures might be associated with fetish orientation Nylon Stocking Fetish.

It is not a mystery why nylon stockings are included from items related to fetishism. Fetishism is sexual stimulation sparked by particular items. It is partly a genetic characteristic in nature and also has psychological background usual to specific individuals who experience arousal upon seeing particular items. One of the most desired challenge cover all of it is a set of extravagant footwear that accompanies attractive feet. Not surprising that why in 960 to 970 Sung Dynasty in China affected generations of ladies even if the prince has proclivity for tiny feet. During those times, it made marital relationship setup arduous if girls feet had actually not been bound as imposed Nylon Stocking Fetish.

An additional prominent and favorite things is keeping sets of nylon stockings and also different hosieries, underwear and the like. The majority of the other items of passion are called as non-living objects or particular parts of the body. Fetishism just becomes a condition the moment it begins to trigger risk to others. General disposition to its practice is not an ailment yet as a result of environmental aspect, though taken into consideration an unusual positioning

In the Web, images of women in nylon stockings had produced fantastic earnings from soft pornography to hardcore porn. Females posing with nylon stockings as additional props look also sexier than being nude. Although psychology as well as publications had actually made scientific descriptions on how pictures of ladies in nylon stockings develop effect to mainly male's aesthetic satisfaction, it is still complicated inquiry why it has actually formed a deeply rooted effect on a child's advancement that a fetishist do not need a human companion to please themselves himself.

Nylon Stocking Fetish

A proclivity is defined as any kind of object or activity that gets the individual excited. This can occur to males or women as well as those that can't obtain enough of it will constantly locate a method to satisfy that impulse.

Take for example a man that likes to check out ladies putting on nylon stockings. Some more than happy by just considering the legs while others delight in an entire clothing from top to bottom. Things similar to this might be seen on the magazine of Victoria's Secret or Christian Dior given that there are various styles being provided to the consumers.

A few of these require the woman to put on a garter while others can be rolled up without dropping. The great about the directory is that the designs that have actually the images taken wear these in different shades.

If the individual is currently not pleased with the catalog, there is one more place to satisfy the advises of the person. There are pornography websites that include women putting on these sexy outfits posturing around or doing it with somebody else Nylon Stocking Fetish

In addition to images, the person might also see the female walking around wearing the nylon stockings given that there are also video clips now offered in the web site.

Those who have a nylon-stocking proclivity do not pay much focus to the brand name worn by the versions. Things that turns on these individuals is exactly how it is put on and how the body of the woman moves.

There are some individuals who may find the images disgusting however those that are happy will constantly return for more when updates are offered. Not all of these websites are totally free but this has not stopped those that have a nylon-stocking fetish to pay the subscription fee and continue having a good time watching.

Studies have revealed that a fetish such as nylon stockings is not that harmful as long as the person has the ability to control it and does not do anything violent after such as tracking the girl.

Those that may have an issue must get aid as well as counseling considering that this can develop into something worse.

Feet Sniffing Fetish.

It is an odd, unusual world available nowadays. There are proclivities for everything and also everybody. One proclivity that seems to be breaking into the fetish scene is Feet Sniffing. Currently foot proclivities in general have been around for rather time. Actually it was assumed by Freud that foot binding was a type of foot fetish. A Foot Sniffer is just as it appears, someone that sniffs feet and enjoys doing so. Feet smelling normally brings about other foot proclivities, such as foot licking or toe sucking. It is rumored that most foot smelling is done by gay males. However, I have actually located lots of foot smelling websites for ladies in my journeys Nylon Stocking Fetish.

This foul-smelling proclivity is right up there with underarm sniffing. Some people truly like feet, various other simply truly like the scent. It is something that just drives them wild. Feet smelling is not brand-new, however it is recently ending up being recognized. There once was a lady in 1989 who smelled 500 feet in one day. Molly Albrecht even made her regional paper for this foot sniffing attraction. She claimed that she smelled so others would certainly not have to. She likewise said that she greatly took pleasure in the odor of a ranges of cheeses. Whether her proclivity due to the fact that sex-related is unidentified.

The procedure is easy, the sniffer grabs his or her companions foot as well as places it near his or her nose. After that the sniffer takes a wonderful large whiff of foot and takes pleasure in the odor. Some like to scent feet that have actually just been bathed, various other insurance claim that feet that remain in nylons are the best smelling ever before. Whatever the situation this is an extremely smelly proclivity that does not appear to be vanishing anytime quickly. Its simply one of those unusual points that is something that some people really seem to enter into. I mean this is generally why the remainder of culture calls them fetishes.

Lingerie - A Lady's Best Friend

What is a female's buddy? Well, the usual solution would certainly of course be rubies. But is it actually true? Possibly it is, but there is an additional friend and also this is a pal women will spend their own cash on. What is it you ask? Underwear, naturally!

Why the tourist attraction of women to underwear? It is very basic. Underwear makes you really feel good and also look excellent.

Lingerie is and also always has been about something as well as one thing just. To make the lady's body appearance luring. This is for the specific function of stimulating men. In the days of old, lingerie did simply that. By emphasizing the areas that the aesthetically oriented guys were attracted to. These areas being a lady's busts and also naturally her bottom Nylon Stocking Fetish.

The lingerie of old days was rather uncomfortable and as a matter of fact was sometimes downright painful to wear. But things have actually transformed and today, it is both comfy and also hot.

Lingerie benefits the lady in other ways than just promoting men. Wearing it provides a woman a sense of her own sexuality and makes her feel sensuous and also desirable.

How do we understand that lingerie is a woman's buddy? Maybe we can ascertain this by the amount of cash she invests in it. For example, according to a 2006 record by the French Style Institute, French women invest almost 20 percent of their annual clothing spending plan on lingerie. This 20 percent of apparel purchases being dedicated to "underwear" reveals that ladies are voting their love with their pocketbooks. A similar research study revealed that British ladies invested an even higher portion of their apparel budget plan on lingerie.

Underwear is expected to highlight a woman's finest functions while minimizing her much less preferable attributes. This is completed by choosing underwear in different styles as well as shapes. Underwear ought to be comfortable to put on also. There are numerous fabrics to choose from so make certain to choose the materials that will be comfortable to your skin.

[cupofgab-blog]

thoughts: bts.

i've been a massive fan—a stan, or an army, is what they call it—for two years now. i never liked kpop. it wasn't discrimination but it's just that i'm extremely picky with music, with my least favorite genre being pop.

what attracted to me was their music video of dope. and i thought they were amazing.

then i stumbled upon their practice for their first concert and i was hooked. memorized. a bit guilty. slightly envious. and at awe of their hard work. i, myself, am someone who you could call a jack of all trades and i have a broad range of interests. but i was always too lazy and too doubtful of my abilities to fully pursue my passions. when i watched them, i felt incredibly amazed at how they put all their heart in every segment, how they weren't afraid to act silly and broke masculinity norms, how they put 999% of all they had into every single detail. i already knew kpop was full of talented and struggling people. but bts took it to a whole new level. i started to watch more and learn their story. i started to do my research. and not only did i fall in love, but they changed my life for the better.

i unconsciously started to do things with more vigor, bts in mind. i started to elevate myself and think, "they struggled through all that. they've been through worse, i can do this."

their story isn't some fairy tale. it's ugly, sad, full of many disappointments and unfair treatment, as well as dispair. bts' journey was one of struggle. they were edited out of shows. they were ignored. they were spat on. they were critisized by the general public and the music industry. they've gone through poverty. they've been attacked and stepped on so many times but they did not collapse. namjoon and yoongi's experience in the underground rapping scene of korea created distorted perspectives of women and hip hop. they've apologized profusely, called themselves out on it, which many do not even think to do in kpop, and learned their lessons by consulting different experts on women's studies, politics, and other issues. all while not mentioning it to the public. they did not do it to redeem their image, they did it solely for self improvement and the need to not hurt anyone through their self-composed lyrics again. quoting hoseok's words, "bts is a team that will not break. it is a team that can conquer hard times and trials."

yoongi said it himself that their group has done the most out of all the groups they've debuted with. they talk about societal issues, politics, women empowerment, mental issues, struggles of today's youth, temptation, and many more. they break the kpop stereotype and they do not hesitate to create music that generates a movement against the conservative norms of korea. they produce and compose their own music. they actually do try to make complete songs, not like those people who say they produce or compose after creating a single progression or a few lines. they stay humble, never failing to show their gratefulness. bowing not only towards fans who some artists think are beneath them, but also towards reporters and paparazzi. they stay true to their korean roots, declining opportunities to debut in america with english, while some try to break in the us music sphere with english lyrics and still fail. bts never tried to enter the us, they aimed for global success. whoever it was—disregarding race, ethnicity, or culture—they didn't just want to increase their popularity and garner fame, they wanted to unite people and make their lives better and happier. they did all this and more while keeping the rigid kpop culture of high self-maintenance, overbooked schedules that keep you awake for days at a time, image preservation and management, and difficult choreography. bts is known as a group that not only has fast and complex steps but they are also in-sync. they still sing live despite this, unlike many other groups. they have so much passion and a great deal of grit and tenacity. there is nothing to not love about them.

while the world now knows their name, i will never forget who they were. and i'm sure they will always remember as well. they were seven boys who slept in one room on the floor with nothing more than cheap and thin mattresses. seven boys who now consider themselves brothers. seven boys who've gone through poverty so bad, seokjin had to frequently borrow kitchen utensils and food from his mother bc they never had enough money for food. seven boys whose living room was once the size of half my bathroom. seven boys who wore fake designer clothing even in shows bc their no-name company was poor with a crumbling reputation.

they each have their own struggles, even worse than the ones stated above. and yet they maintain such a positive disposition that i can't help but sit back and think about how absolutely incredible their journey is. i know they have their own mental issues despite their fame and fortune, they've stated so before. but their fans—army—will always be there to help them, including myself.

the unfair treatment in korea continues on to this day. when they were #1 in all categories for mama—a large (corrupted) asian award show—1 million votes were removed from them, putting them in 2nd place. they never seem to get on the front page instantly, fans needing to resort to rioting in order for them to do so. newspaper columnists have admitted that they were being pressured by big companies to not write about bts.

as someone said, kpop became viral for being a circus. as entertainment for the international audience. if it wasn't bc of their upbeat catchiness, the choreography, the humor, the over-the-topness setting of the music video, then they wouldn't have gone viral. even now, foreign music is still looked down upon. but bts isn't some one hit wonder. it's the reveal of their growing popularity overseas. they've always had it, but no one ever really noticed until now. they are recognized bc of the group themselves, their message, and their music. they did not get famous overnight bc someone found one of their videos funny or weird. some don't even consider them as kpop. they look solely at bts, not that they're just some korean group. they are acknowledged for being themselves. and they don't even have to try. (i'm not gonna call out the other groups who have copied bts' social media habits and concepts since then. or their choreography. or their style. i'm not gonna call out the other companies who have continuously tried to break in the us market yet still failed. i will not. i will not stoop that low.)

no matter, if they will not appreciate bts, the whole world will. analysts stated that korea's itunes market increased from approx. 15-20% to 44% only because of bts. only. because. of. bts.

i’ve seen bts live. paid and waited a great deal for my royalty ticket. i almost passed out due to dehydration from waiting in line but it was all worth it. the fancams and hq pictures don’t do bts justice. i watched them from the front of the stage during soundcheck and the concert itself. they sing live perfectly and even if they had so many concerts before mine, they still gave it their all. i rewatched my videos and i could see the sheer amount of effort they placed into every part of the concert. it was wild. their facial expressions and dancing were on point and i’m not even exaggerating when i say their skin was glowing gold. they weren’t pale or tired, on the contrary, they looked absolutely ethereal. my respect for them skyrocketed and i couldn’t help but compare their concert to one direction’s, where i was also in front of the stage. they didn’t just goof around and sing, it was a whole package. the complete epitome of a performance.

i can't even explain how fulfilling it is to see people who's suffered so much succeed to this extent. it's fulfilling, satisfying, and the pride in myself will forever continue to soar.

and this is coming from a pessimistic girl (i'm working on the positivity) who's interested in mainly lo-fi, underground, indie, and hip-hop music. this is coming from someone who used to avoid kpop and from someone who used to judge people who pursued their passions and not succeed.

the true rise of bangtan has just begun, and it will not stop here.

let that sink in.

#bts #i just saw their show on ellen and im very emotional sorry #bangtan #kim namjoon #kim seokjin #min yoongi #jung hoseok #jhope #park jimin #kim taehyung #v #jeon jungkook #suga #fuck ilove bts so much #bts army #army #don't come for bts or i will smack the fuck outta you they do not deserve any negativity #i love bts #cupofgab thoughts #cupofgab

[sfarticles]

What’s in your favorite chef’s refrigerator?

You can’t judge a book by its cover, but what can you tell about a chef by what is in their refrigerator?

Chefs are intriguing in what they cook, perhaps in how they dress and by what’s in their home refrigerators. Their creations shape food culture and become an indelible part of our experience from their restaurants to our kitchens. They make food delicious and create works of art beyond our wildest dreams. But what happens when the chef hat, jacket and checkered pants come off and they’re at home? Are their home fridges stocked with exotic produce, hard-to-find meat and fish and high-end condiments, similar to what you would find at the restaurant? Or, is it the opposite, filled with just the basics, or perhaps some items they might even be embarrassed to mention?

One of my favorite features in Food Network Magazine is the kitchen “tours” of famous chefs’ kitchens and pantries. In my Chef du Jour columns, where I interview chefs, it is always interesting to find out what local chefs keep in their home fridge. I was thrilled when “Chefs’ Fridges: More than 35 World-Renowned Cooks Reveal What they Eat at Home,” by Carrie Solomon and Adrian Moore (2020, Harper Design, $40) was published. In one book, I can satisfy my craving for taking a look into some of the world’s most esteemed chefs’ personal kitchens. In a couple of days, I was able to “travel” to the kitchens of Alice Waters, Jean-Georges Vongerichten, Daniel Boulud, Jose Andres and other esteemed chefs. Having met Carla Hall at a food conference, I chose to feature her chapter here.

Some of you might know of Carla from “The Chew,” where she was co-host, or from when she won over audiences on “Top Chef.” She has appeared on “Good Morning America,” creating recipes from her cookbooks. Hall has been a judge on Netflix’s “Crazy Delicious” as well as “Bakeaway Camp with Martha Stewart” on The Food Network. The accountant turned runway model turned celebrity chef found her culinary calling as she ate traveling through Europe while modeling.

Each chef’s entry contains an essay that sheds light on his or her personal and culinary background; photographs of the contents of their refrigerators to see what they really eat at home; a Q&A; an informal portrait in their kitchen; and a recipe or two. You’ll feel as if you are having a conversation with a great chef as they stand before an open fridge, deciding what to eat.

Here are some excerpts from Carla Hall’s chapter.

Current hometown: Washington, D.C.

Show that made her: “Top Chef.”

Signature style: Cooking with love — and her Southern-influenced food.

Best known for: Cooking with Strahan and Sara; her co-hosting days on ABC’s “The Chew”; and her cookbooks including “Carla Hall’s Soul Food: Every Day and Celebration.”

Fridge: Liebherr.

Something we’d never find in your fridge? “Honestly even if I had canned cranberry sauce in there, if I want it and I’m buying it, it’s OK. I can’t be food-shamed.”

Where do you go food shopping in New York? “Trader Joe’s around the corner, Fairway, the farmers market on Wednesdays at Union Square. One thing I have never done is order my groceries online. Another thing I don’t do here is order delivery. When you are not from that mindset it is strange. I do a little carryout, but I can count the number of times I have done it here. In D.C., I shop at Whole Foods, as it’s close to my house, and a daily farmers market. I like shopping there because I can taste. I can get onesies — just one of something.”

What is next to your refrigerator? “A standing pot rack. I have to do a lot of recipe testing, so I need a variety of pots and pans and I got this pot tree to make it easier. Now when I’m cooking for myself I use them more often, too.”

Any clever uses for leftovers? “For me if I cook a soup, I will eat it every single day until it’s done. I have no problem with leftovers. Sometimes if I make a pureed soup I will later use it for a sauce.”

Any New York City food memories? “The first time that I came to New York, I went to see Bubbling Brown Sugar and that changed my world — it was after seeing it that I imagined I wanted to be an actress. After the play, my other grandmother, Thelma, made fried chicken at my uncle’s apartment in Harlem. Because he didn’t have anything in his fridge, she went out and got flour, salt and pepper. It was the best fried chicken I ever had.”

What were your biggest crowd-pleasers during your catering years? “I would say curry chicken salad on croissants and also biscuits with smoked turkey. I still make the same biscuits.”

Guilty pleasure? “Chocolate sauce over ice cream. Although I don’t have any right now.”

You said you really like oatmeal. Do you prefer steel-cut or quick oats? “I don’t like quick oats. I love toasted steel-cut oats. I make the oats with half fruit juice and half water. I also love savory oats with spinach and kefir — yes! There is a store here called OatMeals. I eat a lot of oatmeal and I can talk to people for days about oats.”

What are your favorite things to snack on while you cook? “I usually eat the ends of the vegetables I am cutting. I snack on nuts and grapes, too.”

Shrimp Wedge Salad

The headnote says, “I like this dish, inspired by Laura Prepon, because everything cooks in a packet (which basically poaches the shrimp in its juices), the pan stays clean, it’s ready in eight minutes, and your place won’t smell like fish. The lemon slices are the secret to not overcooking the shrimp.”

For the shrimp:

1 vine-ripened tomato

1 pound extra-large shrimp, peeled and deveined

2 scallions, sliced on the bias

2 garlic cloves, thinly sliced

1 teaspoon lemon zest

1 tablespoon lemon juice

1/4 teaspoon salt

1/8 teaspoon chili flakes

2 lemons, sliced

For the salad:

1 head romaine lettuce

2 tablespoons crumbled feta

2 tablespoons chopped Spanish olives

1/4 cup minced flat-leaf parsley

1 tablespoon minced chives

For the shrimp: Cut the tomato in half. Squeeze the juice from one half in a bowl. Reserve the other half for the salad. Add the shrimp and all ingredients through chili flakes to the bowl. Mix well.

Prepare a parchment packet: Cut two 15-inch squares of parchment paper and one of aluminum foil. Lay the parchment paper on top of the aluminum foil and then line it with the lemon slices. Place the shrimp mixture on top of the parchment paper. Fold all the ends together firmly to make a tightly sealed packet.

inside Carla Hall’s fridge

Recipe and images courtesy of “Chefs’ Fridges: More than 35 World-Renowned Cooks Reveal What they Eat at Home,” by Carrie Solomon and Adrian Moore (2020, Harper Design, $40)

#Carla Hall #Chefs' Fridges #shrimp wedge salad #celebrity chefs

[smallzilla]

The Best Ideas for water Photography

Love photographing water, whether within the sort of waterfalls, streams, ponds, or coastal scenes. Leak photos are fun and straightforward if you recognize the way to roll in the hay right. To assist you to get the foremost out of your water photography, here are a number of my top tips and concepts for creating great water photos.

I photographed this rushing spring stream with sunset light on the trees within the background, allowing me to capture colorful reflections within the water. Great Smoky Mountains Park, USA. Canon 5DII, Nikon 14-24 mm f/2.8 lens with Canon adapter, polarizer filter, ISO 50, f/11, 3.2 seconds. Use long exposures for a satisfying blurred water effect Moving water often looks best when captured using long exposures. If you employ a brief exposure, the water will appear frozen, like ice; by adding some motion blur you'll improve the design of your water photos. Typically, shutter speeds of 1/30 second or longer will start to blur moving water. Shutter speeds longer than several seconds will create a “misty” look, with detail and texture within the water beginning to disappear. Often, something between 1/8 and 1 second will yield the foremost pleasing results, blurring the water yet retaining some texture within the water, but results will vary counting on the speed and volume of the moving water. Experiment with different shutter speeds and review images on your camera’s LCD screen until you achieve the specified motion-blur effect.

During an extended exposure, swirling foam beneath a waterfall creates interesting shapes. Cascade River State Park, USA. Canon 5DIII, Canon 16-35mm f/4 lens, polarizer filter, ISO 200, f/11, 13 seconds. Reflections add color to your water photos Photographing water may be a great source for reflections, so find how to use reflections to feature a touch of color and impressionism to your shot. Still, water can act sort of a mirror, producing an ideal reflection, while moving water produces a less distinct reflection, often nothing quite a surreal blur of color.

I made this photo of a hippo floating within the water, surrounded by colorful reflections of foliage on the far bank of the river. Lower Zambezi park, Zambia. Canon 5DIII, Canon 200-400mm f/4 lens with built-in 1.4x extender, ISO 800, f/5.6, 1/200 second. A favorite technique of mine is to photograph sunlit foliage reflected in water, usually with interesting objects (such as boulders, logs, or water plants) protruding of the water. this system usually works best when the reflected subject is within the light, and therefore the water is in shadow.

I waited until the colorful autumn foliage on the far bank of this pond was in direct sunlight. Acadia park, USA. Canon 5DIII, Canon 100-400mm f/4.5-5.6 lens, polarizer filter, ISO 100, f/22, 2 seconds. Get your feet wet! I don’t like limiting my options to only what I can photograph from the shore. getting into the water is the key to finding unique angles and getting the composition you would like. Sandals, wading boots, or fishing waders can are available handy; once I am working in very deep or cold water, I will be able to sometimes put during a wetsuit or drysuit.

A photographer wearing chest waders to securely get within the water for a waterfall shoot. Shenandoah Park, USA. Canon 5DII, 17-40mm f/4 lens, polarizer filter, ISO 400, f/11, 0.4 seconds. Stay safe and faraway from potentially dangerous water. Also, remember that surfaces underwater are often slick, uneven, or muddy, so watch your footing. Be especially careful if working near deep or fast-moving water, or coastal environments where waves are high (and always keep an eye fixed out for exceptionally large incoming “rogue” waves).

I came to the water wearing chest waders to capture this attitude. Brúarfoss, Iceland. Canon 5DIII, Canon 16-35mm f/2.8 lens, polarizer filter, ISO 100, f/11, 0.5 seconds. Waterfalls Waterfalls are a landscape favorite. Overcast light typically works best; the soft, diffused light reduces contrast within the scene, helping to stop distracting “hot spots” from forming within the water and on rocks. it's best to photograph waterfalls right after a soaking rain because it can make streams and waterfalls more attractive by filling them with water, darkening rocks, and intensifying the colors of foliage. When working in dry conditions, I spend a couple of minutes splashing water over rocks within the scene to wet them down and replicate the drenched look found after a soaking rain. A polarizer filter is beneficial when shooting waterfall scenes, to get rid of glare from wet foliage and rocks, enhance contrast, and intensify colors.

A light, soaking rain darkened the rocks around the waterfall. Grand Portage State Park, USA. Canon 5DII, Canon 24-105mm f/4 lens, polarizer filter, ISO 50, f/16, 0.6 seconds. Look for a stimulating curve or zigzag during a watercourse and make this a component of your composition. Get in on the brink of foreground elements, like small rapids beneath a waterfall, to make compositional interest and a way of scale and perspective. Eddies and swirl pools also make very interesting foreground features. Waterfall and stream scenes look best when surrounded by color, like spring or autumn foliage.

I like to incorporate colorful foliage when photographing streams and waterfalls. Los Glaciares park, Argentina. Canon 5DIII, Tamron 24-70mm f/2.8 lens, polarizer filter, ISO 100, f/11, 1.3 seconds. Coastal Photography The key to successful coastal photography is to seek out a satisfying convergence of land, water, and sky. Coastal areas often have unique landforms, like arches, sea stacks, and sea caves; also keep an eye fixed out for interesting features or patterns in rippled sand, tide pools, creeks flowing into the water, and marine life washed abreast of shore (such as shells, seaweed, or starfish). Get low and shut to interesting foreground features, like rocks emerging from the water.

Sunrise and sunset light are especially important for coastal scenes; the colorful light at these times brings coastal scenes to life. Shoot towards the foremost colorful a part of the sky to maximize the reflected light within the water.

A beautiful sunrise is reflected in churning ocean waters, Assateague Island National Seashore, USA. Canon 1DsII, Sigma 12-24mm f/4.5-5.6 lens, ISO 100, f/22, 1/6 second. When working during a tidal area, always check tide times before photographing, as coastal scenes change dramatically with the tides. Some scenes work best with low tides, others high, and even others somewhere in between. Tide information is obtained online, and tide chart apps for smartphones are readily available, supplying you with instant tide information at your fingertips.

Low tide revealed a boulder that I used as a foreground for this ocean sunset. Osa Peninsula, Costa Rica. Canon 5DIII, Tamron 15-30mm f/2.8 lens, ISO 200, f/11, 1 second. Protect your gear Handle your equipment with care around water. If necessary, store cameras and lenses during a dry bag or waterproof container, only taking them out once you can shoot. Pay extra attention to tripod placement when fixing in moving water: you've got to take care that the present or waves aren’t strong enough to comb your tripod away or send vibrations up your tripod legs to your camera, which may cause blurry photos, especially during long exposures.

I swam to the present “sea cave” along the coast of Lake Superior with my camera and tripod safely nestled within a dry bag. Pictured Rocks National Lakeshore, USA. Canon 1DXII, Canon 11-24mm f/4 lens, ISO 100, f/11, 0.5 seconds. Catch the wave! Waves make excellent foreground elements for your water photographs. Long exposures create streaking lines, adding visual interest and energy to your compositions. Use an electronic shutter release to trigger the shot precisely when wave action is at its best. Outgoing waves are often particularly effective for coastal photos, especially when water rushes around objects emerging from the surf.

I triggered the shutter as an outgoing wave flowed around a boulder. Reynisdrangar, Iceland. Canon 5DIII, Canon 16-35mm f/4 lens, ISO 160, f/11, 0.5 seconds. Photograph splashing water One time to use a quick shutter speed is when photographing large waves crashing against the shore, or when an individual or animal is moving quickly through the water. That way, you'll dramatically freeze the water droplets as they fly through the air.

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