#and then these medias become representative of the bigger collective and we just look like a pretty stupid or inferior generation because

[andreabandrea]

I absolutely don't mean this in a bad way, but I think a lot about how Pokemon is a power fantasy for kids. And I know this is obvious because it's a game for children, but let me ramble.

Think about it: you can go wherever you want, knowing you're safe because your Pokemon will protect you. In the later games, you can dress however you want and express yourself freely. You can connect with nature and communities of friendly kids and adults around you. You can make a meaningful, positive impact on the world. You can stand toe-to-toe with adults who, in real life, would ignore or even belittle you because you're just a kid. (And, of course, you have superpowered pets that love you.)

I think about how in the original games, Brock and Misty are presented as kids/young teens and become friends with Ash. But, Lt. Surge presents a difficulty spike-- if you chose Bulbasaur, you can easily sweep the first two gyms with it, but now you don't have a supereffective match up unless you plan more. I think it's meaningful, then, that Lt. Surge is portrayed a big, scary adult man and military to boot. In the anime, he's presented as being condescending and intimidating toward Ash. But, you as the player are able to overcome this intimidating man through the power of your Pokemon. The same can be said for people like Team Rocket and Giovanni-- Giovanni's original sprite in Red & Blue makes it look like he's looming over you, sneering at you.

It can easily be forgotten by adult fans, but you're seeing this world through the perspective of a child. Giovanni looming over you represents how it feels to be a child, powerless, and face an adult who's cruel to you. But you defeat him at every match up.

Satoshi Tajiri would go on to say that Pokemon was inspired by his childhood, in which he'd go out and collect bugs. Miyamoto would say that the first Zelda game was inspired by his childhood in which he'd explore the local area and caves and so on.

It makes me sad to think that, as the world becomes more modern, more urbanized, and (as parents tend to see it, at least) more unsafe, this childhood that inspired these classic games become further out of reach for kids. When I was growing up, I lived in a suburb full of concrete. I couldn't walk anywhere, and even if I could, my mother was too anxious to let me just go around unsupervised.

This is why getting the bike is such a big moment in Pokemon-- you can go so much farther as a kid on a bike! But, I also could only ride my bike up and down my boring street before running into a major street full of cars going 50 MPH that would have murdered me instantly.

This isn't a doom post. I still believe that we can repair the damage that capitalism and cars have done to the world. But, I think that in times like this, it's more important than ever for kids to have access to these power fantasies, these escapes from a world that they have no ability to fix, but still suffer from regardless.

Ironically, I think that when I play Pokemon now, I play it to feel smaller rather than to feel bigger, the opposite of how I played it as a kid. Now, it's comforting to escape from work and stress into a world in which your only concerns are walking to the next town, catching a new Pokemon, and maybe fighting a gym leader. The same can be said of any piece of media that someone is nostalgic for, but I think Pokemon feeds into it well because its design is so baked in the experience of being a child.

When I'm playing Pokemon, especially when replaying an old game, I still remember things like only saving in Pokemon centers so that my character could sleep there in a nice building, or imagining them setting up camp if I had to save and quit on a route. If I had time, I would feed my Pokemon some Pokeblocks or etc. at my little 'camp' so they wouldn't be hungry (which is why I felt like the cooking and camping systems from SwSh were so real for me, haha).

I don't think that there's a 'wrong' way to play Pokemon-- I know people enjoy competitive Pokemon, and strict challenge runs, and stuff. And I can enjoy that, too! But, for me, Pokemon is about childhood, you know?

#bandrea blabbers

[dailykoreanpop]

How hello82 Brought K-Pop Fan E-Commerce to the Top of the Charts & On Tour With ATEEZ

The California media company stood out with amusing, moving, multilingual K-pop content, and expanded into retail by working alongside and shining the spotlight on fans.

To millions of K-pop fans, hello82 has been a destination to watch their favorite idols take on viral challenges, play celebrity babysitter to kids, attempt karaoke in foreign languages and star in other ready-to-share videos. But in the past year, the company behind the multi-language YouTube channels has expanded its e-commerce offerings to better meet its’ viewers’ wants. The results have led to success for the four-year-old company on the Billboard charts and, as of last week, completing their first “tour.”

When ATEEZ‘s first U.S. shows since 2019 kicked off in January for The Fellowship: Beginning of the End tour, the band was selling out arenas but had yet to break into the Top 40 of the Billboard 200 like many of their K-pop peers. While a relationship with Korean management label KQ Entertainment led to the channel’s top-watched video (an 11-minute prank of ATEEZ member San disguised as a break-dancing senior has over 32 million views), hello82 saw an opportunity to better connect to the band’s ATINY fans directly in the States.

With offices in Los Angeles, hello82 spent 2021 becoming a trusted hub for international K-pop fans to shop for physical album imports, merch, and virtual experiences like live events and artist-fan calls during the pandemic after COVID-19 concerns forced the company to expand into different offerings. Physical-album distribution in the U.S. has helped Korean artists soar high on the Billboard albums chart (largely thanks to being issued in collectible deluxe packages, each with a standard set of items and randomized elements). hello82 saw how expanding their e-commerce channels could create a new business opportunity and simultaneously deliver the same communitive aspect they looked to develop with their video content.

“We just wanted to go meet where the demand was with the supply,” says Sang H. Cho, co-founder of hello82’s parent company KAI Media and its current COO, from his Beverly Hills office. “We just felt like few K-pop groups are well represented and were getting the sort of recognition or credit they deserve when it comes to things like charts. Obviously, we’re a business that wants to make money, but we also understand the fans, their psychology, and their needs too. Having them getting involved and getting them to feel the sense of accomplishment and community. And we obviously knew the opportunity was there for all of us to achieve that together.”

What began in 2021 as distributing two ATEEZ albums from a virtual storefront—September’s Zero: Fever Part.3, which peaked at No. 42 on the Billboard 200, followed by December’s Zero: Fever Epilogue at No. 72—turned into larger ambitions for ATEEZ’s The World EP.1: Movement album released this past July. Not only was this ATEEZ’s first release after reuniting with their ATINY fans during their early 2022 tour, but also ignited a new musical era for the group.

“We saw the potential to make it much, much bigger,” Cho says with his team looking to both traditional, big-box retailers alongside local, fan-driven pop-up stores to activate beyond the virtual.

Chain department stores have been increasingly carrying more K-pop content, but almost exclusively by those with label deals or representation in the U.S. While RCA Records under Sony Music signed ATEEZ in 2019, the group had yet to have its music available in retail stores stateside. (RCA declined to comment by time of publication on its relationship with ATEEZ) With Cho’s background in retail finance, plus other internal relationships, hello82 quickly made inroads.

“There are a couple of retailers that understand and know the K-pop market pretty well: Target is one, Barnes & Nobles is another, and we’ve worked with those two pretty extensively,” Cho says. “Those guys don’t necessarily buy from new suppliers very easily—especially when it comes to physical media, but we were lucky enough to know some people that could get us in front of these buyers fairly quickly in an official manner and make sure we check all the boxes to make sure we’re qualified for them.”

The move instantly connected hello82 and, finally, an ATEEZ album into some of the world’s biggest retail giants. The World EP.1: Movement was available online and in Barnes & Noble stores, plus in online stores for Target, Walmart and FYE. “The margins are thin at these big-box retailers,” Cho says. “But they also give you a lot of coverage and you get a lot more fans who aren’t close to places like big cities so we’re happy about that.” There are hopes for upcoming ATEEZ projects to be in actual Target stores.

Yet perhaps the most meaningful part of their chart goals was creating more than a dozen pop-up stores across the country directly alongside fans. With a hello82 rep at each store, local ATINY volunteered (some reaching out on social media before the company could even make the call for help) after being vetted by the team to help work at their local locations that were decorated with photo walls, giveaways and customized merch.

“We knew that we could probably do a few pop-up stores on our own, but we really wanted to activate the fans and make them one of the stakeholders in the entire campaign,” Cho says of the 19 pop-up stores they held in hotspots like Chicago and Atlanta, but also in smaller cities like Yuma, Ariz. and Southfield, Mich. Utilizing cafes and existing stores (some very familiar to K-pop fans like NYC and LA’s LINE Friends stores that sell BTS‘ BT21 and TREASURE‘s TRUZ products), fans could pick up their copy of The World EP.1, an exclusive box version prepared by hello82, and connect with other ATINY in person.

“Doing pop-ups has its own merits; it can be flexible in terms of locations, timing and all of that,” Cho reflects. “I just feel like K-pop fans in certain areas now deserve a place that they can go to to hang out, not just access to all the products and albums. These fans like to just get together. And it’s not just K-pop fandom, I feel like it’s all most fandoms: I’m a big Philadelphia Eagles football fan and I would go to a sports bar just to hang out with other goofy MFers from Philly.”

The strategy broke ATEEZ through with The World EP.1: Movement opening at No. 3 on the Billboard 200 (behind Beyoncé and Bad Bunny) with 50,000 equivalent album units earned in the week ending Aug. 4, with album sales comprising 47,000 of that total, according to Luminate. The set has earned 86,000 U.S. equivalent album units through Dec. 1.

The first week marked a massive jump from the opening sales of Fever Epilogue (which earned 16,000 units in the first week) and Fever Part.3 (13,000). Along with KAI Media co-founder and current CEO Jae Yoon Choi, Cho emphasizes ongoing dialogue with Billboard and Luminate to ensure “we’re doing everything by the book.”

“It’s the first time for us doing it this scale so obviously there were some hiccups but release week was actually pretty calm,” he recalls. “We kind of knew where we were gonna go, but you never know…when we were at the top of the charts, I mean, we were obviously ecstatic. Not just us, but with the fans that we got a lot of ‘thank-yous’ and ‘great jobs.’ Our community manager who talks to a lot of those guys directly also shared an almost tears-of-joy moment on release day, and then, ultimately, when the charts officially came out. So, it was exciting.”

The company kept that energy alive with pop-up stores throughout the 11 dates in the North American leg of ATEEZ’s The Fellowship: Break the Wall tour, the group’s second tour in 2022 and most expansive run yet. Each of seven cities on the trek, along with two that weren’t on the tour route, set up shop for at least two days each as the official pop-up for tour merchandise.

“After the successful album distribution, we are now distributing merch in association with their upcoming North American tour,” Cho explains. “We have always looked at ourselves as a bridge for management companies between South Korea and the U.S. market, where we can help them connect directly with their fans here and create a lasting fandom.”

Stores in LA and Oakland opened ahead of ATEEZ’s Nov. 7 and 8 shows at the Honda Center in Anaheim. Fans could grab new items like jackets and T-shirts while participating in activities like writing sticky note messages for ATEEZ.

By the tour’s final stop in Toronto on Dec. 2, hello82 showcased what may be their most visible project yet when they played their “Project Star 117 – From ATINY to ATEEZ” video played during the show with on-camera messages from fans and the sticky notes written by pop-up attendees. The band themselves watched with a heartfelt gaze and led to leader Hongjoong crouching down in tears. The official upload video has more than 50,000 views in under five days.

hello82 isn’t a dedicated music-service company, but they watch industry trends and consumer behaviors to consider new business.

“The music industry is now sort of maturing into this real combination of on-demand, ubiquitous consumption of music, but also this very active and passionate sorts of fandom activities as well that drives a lot of commerce,” he adds. “I think all of these things have always been part of music business, but it’s coming back with the vengeance now and we’d like to partake in all of that. The K-pop audience, K-pop fans, they’re sort of at the forefront of all of these activities so, we see a bright financial future and our investors do as well.”

Cho notes that the ATEEZ strategies have caught the interest of other artists and labels looking to impact America. However, the company is interested in partners who will engage heavily with fans and “be a little bit experimental.” There are also hopes for the company to take the business beyond North America and “hopefully, eventually expand out to other underserved markets around the world.”

While Cho and colleagues are directly discussing high-level plans with Team ATEEZ (“Credit goes to KQ for having the foresight and ATEEZ for being a great band—they were kind enough to give us the opportunity, and they were willing to risk a lot”), they are also putting in work at hello82’s retail stores themselves.

“We make sure that everybody does a rotation,” Cho says. “The look and joy you see on fans’ faces—especially when you’re pulling the right photo card for them—that’s what makes our day.”

Credit: billboard 

#ateez #kq entertainment #billboard #hello82

[agape-philo-sophia]

➝ Do The Unthinkable — Think For Yourself. 🔑

Do not accept what you have been spoon-fed without question. Question the parents, policy enforcers, professors and politicians. (and keep in mind many are regurgitating their own opinions and beliefs.) You should even question yourself!

REMEMBER: Hand-me-down beliefs and opinions are not necessarily truths. In the past, some of the greatest minds were ridiculed for their theories and discoveries because society wasn't ready to shift to a new paradigm. Whether it was accepting that earth was not the center of the universe, or that illnesses were caused by viruses and/or bacteria, we have to remain open-minded in order to evolve as both individuals and as civilized beings.

Be inquisitive. Beyond asking who, what, when and where, one of the most important questions begin with "why". Remember that life on the screen is edited. Perception is more important than reality because perception creates realit. Keep in mind that one's perception can be manipulated. Ask yourself WHO benefits when considering any truth presented to you. People will lie, cheat, and steal for the sake of profit, power and control. Agendas can and do exist.

Religion can be used to control, just easily as education can be used to indoctrinate. Food can be used to poison, as easily as can be used to medicate. Media can be used to manipulate, as easily as it can be used to entertain.

We've forgotten who we are. You are not just a citizen in a state, living in a county, on a continent.

You are not just an employee with a job title or a business owner with a bank account. You are not a piece of paper, a birth certificate, a social security number, or a driver's license. If none of those things existed, wouldn't you still exist?

You are a sentient human being. You are an individual that is also part of a collective. We are all citizens of a planet called earth, and there is really no such thing as cities, countries, or continents when you step back and look at THE BIGGER PICTURE. They, just like the borders and boundaries that 'exist', are nothing but a construct of the mind.

No one would agree that profit is more important than taking care of the environment, let alone their own bodies. No one would reject free energy technology that would end the hunger and suppression of people of all nations.

Anyone can see that the world needs change. Who is to blame? The Government? Secret Societies? The wealthy elite? What if it's us? What if we're at fault for becoming misguided, turning a blind eye, falling for propaganda, being closed-minded, or becoming complacent?

If it requires your belief to 'exist'.. but it can not be brought before you, how is it real?You cannot point to "Government", just buildings and humans beings.

You cannot point to "law", just books filled with words composed of letters. You cannot point to "police", just a man or woman in a uniform wearing a badge. You cannot point to 'education', just books, classrooms, tests, and people called teachers. You cannot point to money, just paper, or numbers on a screen. You cannot hold in your hands the TIME you SPEND working for that so called money. How can these things have any control or power over you or your life? Belief. In a sense, it is all an illusion. They are 'CONSTRUCTS OF THE MIND'

What we believe, we create. What we create is based entirely on what we believe.

The 'representatives' we elect should be a reflection of US, and not that of corporate greed and any individuals lust for power and wealth. The men and women of government were only given authority that you delegated to them. It is an authority they could not have over you, if you did not have that power in the first place, in order to give it away. They are supposed to work for YOU, and not for mega corporations or billionaires. Dark money and corporate lobbyists should NOT have more influence over politics, which has a major influence over almost every aspect of our lives. It's time for change.

Corporate billionaire and their "donations" should not be able to buy an election, or buy votes on the Senate floor. OVERTURN CITIZENS UNITED.

NO ONE SHOULD BE ABOVE THE LAW - Equal treatment for ALL: Police, politicians, and the wealthy should be treated just like anyone else, especially when it comes to "law and order"

Corporations shouldn't receive government welfare, bailouts, etc, when there are millions of people living in poverty!

It all starts in our minds. What we agree, what we believe, we perceive; we conceive.

Money is a construct of the mind. It 'represents', to the average individual, a means of survival. You trade it for a roof over your head, food on the table, heat and water, and gas in the car. (How much do you spend on transportation to and from work, and why should any portion of your paycheck go towards that commute?) You cannot point to money. You can point to the house, the clothes and the food. You cannot point to 'utilities'. You can only point to a gas stove, a furnace, a light bulb, a shower, etc. Money is not the house, or the food, or the utilities though. What is money?

MONEY IS YOUR TIME AND YOUR ENERGY EXCHANGED FOR BUYING POWER (in the form of paper or electronic digits.)

Do you feel you were meant to work to live, and live to work? Maybe it doesn't bother you because you've climbed the top of a corporate ladder. You worked hard to get there and you love your job. Or maybe your job is just a means to survive, with the hopes of also being able to thrive as well. Maybe you were born into wealth, and cannot fathom what it is like to trade your time and energy for the means to live at least somewhat comfortably. For the rest of us who have to work hard day in and day out, it can be frustrating to lose so much of our time because we are SPENDING IT to "MAKE MONEY" so we can keep on surviving, and just to live another day to do it all again.

Some of us are fortunate enough to make enough and have money to spare. But the truth is without money you will not perish. It is without food, shelter and water that you may cease to be. Why are these things simply not provided? Who loses when someone else gains? Who believes in their hearts that every one should suffer to survive? Yet we live in a world that allows people to DIE EVERYDAY because they do not have the 'means' to survive. Is this okay? It is supposed to be a Dog-Eat-Dog world? Is it survival of the fittest or are these phrases spoon-fed to us so that we will be complacent, and even be grateful to have the bare minimum. while there are those hoarding enough wealth to feed and house the entire world?

Our world has more than enough abundance to provide for everyone! For one example, there exists many technologies that would move us completely away from dependence on oil for energy. Free energy provided by mother nature itself. But "ain't nothing in this world for free" as they say. For the love of money is 'the root of all evil'. BUT THAT IS JUST PROPAGANDA!

The truth is that there is enough land to grow enough food to feed the world. There is enough abandoned empty homes to house every single human being on this planet. Yet if there is enough for everyone to have shelter and food, then why hasn't that happened? There are enough resources for everyone to have a home. Yet for some reason there is suffering and lack. Why is this what our world has become? Continue https://thegreatwork208716197.wordpress.com/2024/02/15/do-the-unthinkable-think-for-yourself-2/

[bcanetwork]

BCA NFTalk Vol.3｜Art Blocks NFTs’ Imagination

Guest Speakers：Host ArthurLou BCA Co-Founder丨Vulcan DAO GP（简称A）

Zero Chen NFT Consultant of FTChinese.com（简称C）

Ting Song AI and Blockchain Artist丨IOAC Asia Ambassador（简称S）

Hesiod 「Theogo NFT Observer」Chief Editor （简称H）

Nico Yang VulcanDAO GP（简称Y）

Background: It's been a few months of a mini-bull market for NFT collectibles, which the frenzied sales of CryptoPunks have pushed up in recent days. In addition, Art Blocks, as a generative art segment, topped the 7-day trading volume list strongly, ranking first with The Art Blocks segment was ranked fifth overall with $498 million. These three segments - avatars, generative art, and solo editions - make up a solid JPEG Summer. In this context, we invite four guests to chat about the NFT imagination beyond Punk.

01

Host A: What do you think of the macro reasons for this 2021 Summer rampage? Share some of the recent Punk-like replica disc projects and NFT collecting tips that you've been following.

C: It's not very surprising that Punk is on fire; its holders or investors/collectors who are bullish think it should be higher priced. Its broken circle has become more apparent, and this mini-bull market is a spurt of an accumulation from the entire NFT market that preceded it. Social subcultures and aesthetic psychology drive NFT and trendy fashion, so its rise and fall may be very different from how technology has evolved and popularised. Compared to traditional art and traditional collecting, this wave in the crypto world should be just beginning. If CryptoPunks do become digital antiques, I believe they will be worth much more than that in the future.

Y: Until 2021, it will be difficult for digital content creators to get their work recognized by the market and to cash in without relying on big institutions with a centralized approach. The breaking of the circle in media and the entrance of money brought by the wealth creation effect have greatly refreshed the perception of digital content. Echoing what Che Guevara once said, "After we leave, they build you schools and hospitals, not because they have shown great mercy, but because we came."

The identity that comes with NFT is only really felt when it is held. The purpose is different, and the logic of buying and collecting can be very different. A scarce NFT is a status symbol in itself.

S: Compared to the art market, which is repeatedly tested and scrutinized by connoisseurs from different perspectives, there is a sizeable speculative bubble in the English-speaking community on Ethereum. A lot of this bubble is in cultural content and projects that lack culture can be short-lived. The works that I want to keep inside my wallet for a long time are the ones that I will be happy to look at even ten years from now.

In this JPEG Summer, I strongly feel that it is similar to 1CO at the end of 17, where all aspects of blockchain project parties were active, but the market turned cold after 18 years. A successful crypto art series is also a successful cultural product that combines technology and art.

Punk is Punk in the same way that an asteroid hitting the earth is hard to replicate, and special times happen like this. How do you ambush the next Punk? 1. Is there innovation? 2. Is the seed community very geeky? 3. Is it a historical level under the megatrend? 4. Can the team continue to do it? 5. are the institutional holders coming in at the middle stage good enough to drive the project forward? 6. can it create a cultural resonance in the circle? These are all worth exploring.

Regarding collection investment strategies, I am very much focused on niche artists from developing countries, especially those with a pure art background or a very pioneering sense of creativity in the contemporary art field and those who respect the blockchain spirit of the blockchain community.

Moderator A: Each Trader (trader) has a different investment strategy, and each person has limited energy to focus on one vertical track. Suppose one is easily influenced by the market and forcibly changes his investment strategy. In that case, it is scary for a Trader, which is equivalent to the whole cognitive system having to be reconstructed.

H: The cost of a physical painting is not high, but it can be sold for hundreds of millions. Therefore, the value of a work does not lie in its materials or cost. Its physical price does not determine the value of Jpeg. In the structure of the blockchain market, Crypto Punks, Art Blocks, and BAYC represent the three dimensions that can be found in the NFT market. Crypto Punks starts from a programmer and is driven by technology; the monkey BAYC is community-driven. The blockchain community may be The base for the survival of the future blockchain; Art Blocks enter from artistic creativity.

From the perspective of social governance, Token is an institutional symbol. Mature NFT projects must create a field and a way of existence, and a variety of hobbies professional life corresponds to the current needs of various communities. I don't see it as a speculative target but rather as a script for building a kind of Metaverse called the respective Metaverse, whose development depends on the evolution of the community.

02

Moderator A: The more successful 10K projects have a cultural tribe behind them, and the ethos can be very different from project to project. How do you see Art Blocks as a clear stream with awe-inspiring numbers? How do you see it breaking out and the appreciation and valuation insights into generative art as a discipline?

S: The group of projects in NFT that are particularly speculative and not culturally good enough are like passing clouds and won't be in the prosperous state they are today when the market is in a bad mood. But two things are sure to go a long way: firstly, good cultural content is never speculative. But anything that has an innovative aesthetic or interest that strikes a chord is not entirely speculative and has its own commercial identity quite typically. The second point, the trend towards avatars and social identities, is unstoppable.

I am very bullish on generative art. Behind it is a respect and exploration of the mathematical logic behind information technology. The methods used are engineering in nature and reflect the cultural identity of a group of people.

C: Generative art started with computer technology and continued until this wave of artificial intelligence, more precisely the application of convolutional neural networks, entered the aesthetic vision of the masses, with a low correlation to the market price of generative artworks. In the past, the general aesthetics of popular art did not break through the traditional class texture (strong mediated aesthetic vision), the blockchain market changed this law, and the same thing is now entering the NFT art collectibles market.

H: NFT is a fuse to the art market, not a monopoly on art history. When the financial operation goes to an extreme, it is decoupled from the actual value creator. Although Art Blocks has a centralized organizer, it is isomorphic with the state-of-the-art community. Generative art will present different visual effects depending on the materials used. With the rapid development of technology and speculation, it is possible to join the first-line NFT.

Y: Art Blocks is the same thing as the explosion of CryptoPunks. Looking at the top 20 Crypto Punks holdings, the most intuitive data is that there is a very high degree of overlap with the big Art Blocks accounts, with the smallest of these holdings holding more than 50 Art Block NFTs.

More generally, a large percentage of the first blockchain explorers to make a large fortune were programmers. The culture that Art Blocks carries is precisely an aesthetically pleasing phenomenon from a programmer's perspective.

Any art form first evolved from technology, and the value of NFT relies on the programmer-led blockchain revolution to provide sufficient wealth to support it. Crypto Punks represent a new class of people, the last piece of the puzzle in internet development.

03

A: The bigger the wave, the further back you look; what should be the kind of work that can be called classic or digital antiques? What is the view on the future of NFT?

C: If we look at this from a long-term perspective, three points need to be considered. Firstly, there is a characteristic of any cultural investment product that performs more similarly to financial assets in a bull market and can be less liquid than financial assets in a bear market, with a liquidity black hole. Classic core assets can find counterparties no matter when they are traded. Broad consensus and acceptance are the hallmarks of traditional investments, and a sense of scarcity and value is formed over a long period.

Secondly, whether crypto art or generative art, continuing to move forward requires special attention to fit in with other cultural and sub-cultural trends, the spirit of the times.

Thirdly, the artist is a profession, not an inoffensive one. One might as well consider the NFT market giving artists such opportunities as a form of nourishment. If it does not produce investment returns, it is still making its contribution to the art market.

H: I encourage artists to get involved in art that may not be very romantic because there is a massive demand for essential art waiting there. A good NFT project is hardly successful without the creation of artists, and NFT offers a vast blue ocean for artists. Calmness is always within one's heart, maintaining a sense of rationality in the course of a bear or bull market, no matter how noisy it may be.

Host's summary: Since I entered this track myself, there are still times of anxiety and confusion, but things are still in the making. I hope that I can do something genuinely long-term like the four excellent teachers.

#nftart #cryptoart #nftcollector #nft marketplace #nonfungibletokens #nftcommunity #MetaOpus

[miraculousfanworks]

How To Analyze a Character

Have you ever been reading a fic and found the character is not recognizable that causes you to say “I don’t know who that is in that Marinette suit but that’s not Marinette.”

Or when you’re writing there’s that one character you need and you just can’t get inside their head to save your life. 

This essay is going to delve into how to analyze characters and how they work in stories. It will help you both articulate why you do or don’t like a particular character or their interpretation, and help you in your own writing of that character.

Characters, as well as other elements of a narrative, can be broken down into collections of  recognizable elements often called “tropes.” (For the comprehensive taxonomy see tvtropes.org.) These commonly recurring literary and rhetorical devices, motifs or clichés can be combined in unique ways. They exist as recognizable and namable concepts because the same patterns are used over and over again in the creation of stories. We can use named tropes to describe what we are seeing in one story and relate it to other instances of the same phenomenon. 

The advantage of recognizing the tropes that describe a character means that we can import into our understanding of them all of the other instances of that trope we have come across, and then compare and contrast these characters. 

For example, both Chloé and Adrien exhibit the “Well Done, Daughter/Son!” Girl/Guy trope, desperately seeking the approval of a distant and withholding parent. (Faramir in the Lord of The Rings and Shinji Ikari in Neon Genesis Evangelion are also prime examples.) Knowing that they are both participants in this kind of relationship we can see how it plays out differently. 

Gabriel seems like a deliberate ass, but occasionally manifests approval as when he played the duet with Adrien before sending him off to  the Kitty Section concert in Capitan Hardrock.  Audrey is entirely un-reflexive in her horribleness, dismissive rather than demanding and only ever recognizes Chloé’s worst feature as admirable. Kagami is also a “well done daughter!” girl and it informs how she relates to Adrein, Chloé, Marinette and Ladybug, providing both for character connection and thematic contrast.

On the production side, tropes can be used deliberately to construct a character to achieve a particular purpose. Adrien was created using the standard tropes of the fairy tale princesses beauty, musical talent, kindness to all creatures (even Chloe), kept looked up by an unloving parental figure. By creating a stereotypical Disney princess but swapping the gender it causes us to think harder about the assumptions we make about Princesses.

Symbols work the same way. We use symbolic images and language in media because it allows us to reference all the other ways and places that symbol is used. It becomes a shorthand for much bigger units of meaning. Pure originality would be completely unintelligible.

For example, Marinette displays two flower motifs on a regular basis. One is the cherry blossom spray across her shirt. Commonly this is associated with both love and passion, as well as purity and transitory beauty. In China, the last three are more closely associated with the Plum blossoms that decorate her purse, chair, and diary. Along with the additional significance of  perseverance and hope, we can see that her dreams for the future, however heard she works for them, may not turn out as she plans. 

The cherry blossom, in China, is a symbol of passion, strength, and feminine power and sexuality. As Marinette has this symbol peeking out from behind her jaket on the left side of her shirt, it represents how her civilian persona hasn’t fully come into the power she displays as Ladybug. Adrien’s kwami was chosen to be a Black Cat specifically to call up all our associations with them and bad luck as a counterpoint to Ladybug and her Lucky Charm.

Pikachu, I Choose You!: Artistic Decisions

You would think this wouldn’t need to be said but remember, remember, remember: these fictional characters are not real people. Why does that matter? Because everything you see on the screen or on the page is the result of a choice made by the writer or artist. 

Images and dialogue may be selected deliberately, thoughtfully, thematically, instinctually, carelessly, haphazardly, or stupidly, but they are there because the authors and illustrators and creators selected them to be there. 

Remember that the characters only exist to serve the story and everything about them ideally should serve to move the story toward its conclusion.

This is especially pertinent in an animated–and especially a computer animated–show because everything has to be made specifically for the show and they are expensive to make(MLB costs ~$460,000 an episode). That’s why you get only one outfit for most of the characters, except when absolutely necessary.

Saving their production budget for other things is  why Theo Barbot has all of the odd jobs in Paris, there seems to be only one cop, Sabrina’s dad, and Alec and Nadja are the only people on TV. If you take a look in Bubbler, the first episode aired in the US, you can see that the school, the bakery, the hotel, and the Agreste Manor are all within one block of each other.

CallMeDale posted this to the Miraculous Fanworks Discord. Source unknown. Image originally from Bubbler.

What this production cost means for analyzing a character (or anything else) is that everything we see in a visual medium is important. Everything about a character has been picked for some reason. How they look, how they move–even how they stand says something about who they are as a person, who they are in their relationships, and who they are as an element of the story.

I did a fairly comprehensive essay on Chloé as a character so I want to walk through some of the things I looked at in order to write it.  

Character at First Sight: 

First impressions are vital. Because Marinette is picked to be our eyes as the OP starts (“In the daytime I’m Marinette,”) we know she is supposed to be our heroine and point of view.  Everything that happens after that is to be judged in relation to her. The first time we see Chloé in the show is a whole 5 seconds into the opening, when she and Sabrina walk past a face-planted Marinette. Immediately afterwards, Chloé runs back in to glomp Adrien and push Marinette out of the way. 

From these few brief seconds we know that she is both rich and domineering, Sabrina is walking just behind her with a huge designer purse and bookbag, obviously in a subservient role. Chloé laughs at Marinette, which establishes her as an antagonist to the Heroine. Chloé pushing Marinette out of fram when she comes back shows that she exists in part to block our Heroine from Adrien, our Hero, whose expression shows he really doesn’t appreciate the attention.  

Not even three seconds of screen time and we already know who Chloé is in relation to three people: Marinette, Adrien, and Sabrina.

How much time a character gets in the beginning of a story also sets up how much brainspace  we allocate them and our expectation of their importance. This is one reason I prefer Bubbler as the “first episode’’ (US viewing order) over Stormy Weather (South Korean/International Viewing order). Stormy Weather spends the first few minutes on Aurore, Mirielle, and Alex before getting to  Mari, Tikki, Manon, Alya, and Adrien. Bubbler in the same first minute sets up Marinette, her parents, Adrien, Alya, Chloé, and Nino and all their relationships.

By choosing your descriptions carefully you can get the reader to think of other things without directly mentioning them. Ladybug’s costume, mode of travel and name all callback to Spiderman (she even does the upside down hang in Dark Cupid), and even though the iconic phrase “with great power comes great responsibility,” is never stated its influence is felt in the persistent characterization of Ladybug as ‘all business’ in fic, even though she is more playful in canon. Master Fu is modeled after classic inscrutable mentor Mr. Miyagi from the original Karate Kid movies, it gives him an air of perhaps more wisdom and knowledge than he actually possesses.

Come on Let’s Vogue: How the Look of a Character Informs Us

Now let’s look at what we get from the elements selected for Chloe’s character design. Slender, pale, almost-white blonde hair, sunglasses on the top of her head, lots of blue eyeshadow, yellow jacket over a black and white striped shirt, white capris and black and white flats. All of this says she is the top of the social heap at her school. Combined with her glomping and trying to kiss Adrien and we can guess she is–or at least wants to be seen as–romantically “experienced”. Yellow is a happy color, it’s what makes a printed picture look bright. Often, though not always, it is associated with success and general goodness (i.e. a heart of gold) so she is initially portrayed as a person who doesn’t have any cares. White jeans and shoes point to both her status as someone who doesn’t have to work and a certain level of naivete. 

But she also has this very gothy studded belt around her hips. It is very obviously not holding up her pants. This hints at the darker emotions and experiences at her core. The black and white stripes of her undershirt hint at the way she is held prisoner by her past. 

Because we have been set up to see Chloé as the spoiled,rich bitch with everything she could want, when the facade cracks and we see just how awful her mother is it hits all the harder for us. Chloé’s invulnerable image is destroyed.

“What’s in a Name?”: Tagging as Character creation

Names are also a good starting place for getting into a character. 

Bourgeois comes layered with the connotations of wealth, but not too much, and shallow conformity. Chloé is derived from the Greek Khlóe, or ‘young green shoot’ (of a plant), which can also be interpreted as meaning 'blooming.’ Khlóe is an epithet, or nickname, for Demeter in her aspect of the Lady of Summer. We know the writers know and are thinking of these meanings because of these lines in Sandboy.

Nightmare Adrien: Marinette, for your birthday, I’m going to buy you flowers—

…

Nightmare Adrien: —hortensias, roses and Chloés. (Marinette shrieks)

Not only does her name sound like that of a Homecoming Queen/Cheerleader/trust fund baby, but it also indicates she is immature but with potential to become something more.

Queen Bee is also laden with meaning as it is a term used to describe girls in their teens who are at the top of their social pecking order (see Queen Bees & WannaBes). It perfectly describes bothe how Chloé acts but also how she perceives herself.

The Things You Do to Me: Character Action

Characters in a story are what they do and more importantly why they do what they do. If Marinette becomes Ladybug for the first time because someone needs saving (first Ivan, then Alya), and Adrien becomes Chat Noir in order to escape the gilded cage that is his house, Chloé dons the Bee miraculous in a desperate (and unsuccessful) bid to catch her mother’s attention. 

Attention seeking is part of every subsequent time that her hero persona appears in the story. Consider the implications of the fact that the signal on her roof is a Bee signal, not a Ladybug signal. The gestursal tic she has of always examining her nails, often with the other arm folded over her chest, is a visual shorthand for both her self-absorption and that her unpleasant personality is a defence mechanism. 

Dialogue clues are also important, especially things that come up more than once. Chloé’s persistent lack of remembrance of the Concierge’s name (Jean-whatever) shows her to be dismissive of the people she believes to be “beneath her” which becomes horribly ironic when we find out her mother doesn’t seem to remember her name. That Marinette is always  Dunain-Cheng, emphasizing her parents status as tradesman and that Marinette is not pure French operates as a persistent put down.

Chloé is a Hero with an F in Good, primed by the writers for the Face–Heel Turn which happens in Miracle Queen. They telegraph this event by the choice to echo her “once a monster always a monster,” line from Stoneheart, in the S3 midseason Stormy Weather 2. There she mocks Aurore with “once a villain always a villain.” Highly ironic given the number of times Chloé has been akumatized and prompted it in others. Her bad heroing serves to show that actions and motives are not always aligned and to highlight the selflessness of the other heroes. 

A great example of showing character through dialogue is Nino’s conversation with Gabriel in Bubbler. Nino was given a very distinctive, persistent, and casual speech pattern (“dude” in English), It’s so distinctive that Alya immediately recognizes that he is Carapace. The fact that he makes an effort to suppress it when he is trying to persuade Gabriel to let Adrien have a birthday party shows how much he cares about giving Adrien this gift. It’s part of what establishes him in our minds as such a great friend for Adrien (King of Bros!). Giving characters individualized vocabularies and speech patterns is one of the best ways to help distinguish them in both your, and the reader’s mind.

All Together Now!

As you read and experience more stories, you will recognize more and more common elements across the characters, places, events and ideas that make up the stories you read. As you recognize these building blocks, and how they can be combined and manipulated, they will help you understand better why certain characters do what they do in the story. You can then deliberately select them as you create your own stories to highlight desired themes, set up conflicts or call cultural resonances to your readers’ minds.  Remember what you write is a conversation between you, your reader, and the world around you. The more of the world you can bring into your writing the deeper it will impact your readers.

#tag: guide #tag: submit #submission

[ddaenghoney]

chapter twenty; finale.

masterlist link in blog description.

As a successful songwriter, you want nothing more than the acknowledgment that the chart-topping musical pieces are your own creations. But contracts, relationships, and the difficulty of facing the stakes involved head on, keep your mouth shut until pressure builds too much.

Pairing(s): Park Jimin x Y/N, Min Yoongi x Y/N

disclaimer: any characters depicted do not represent the actual personality of the respected idol in real life.

Series warning(s)/genre(s): Chapter-based written fic, Slow-burn relationship(s), Fake-dating, Unrequited love, Songwriter/producer!oc, idol!Jimin, idol/songwriter/producer!Yoongi, friends with benefits, drama, romance, smut, angst, fluff (updated as needed)

Chapter warning(s): none.

Word count: 5558

if you enjoy please, please let me know!

“SoundWave Disclosed” trends within an hour the article releases. Briefly mentioning Jimin cracking the company’s glass by his brash statement in front of the most popular summer festival, the reporter you spoke with made sure to leave no detail forgotten. Like a proper interview, the article is not focused on literary conjecture, but instead the words you said verbatim. Unaltered, remorseless, and eloquently you state the bigger picture of the truth.

“When I think back on it all now, I’m angry at myself. I’m angry that I didn’t give my efforts the value they deserved by giving away my name. I shouldn’t have ever allowed myself to lie, but when I wanted to tell the truth, so many other careers were held over my head to keep me quiet. Either way I went wouldn’t be painless, but at least now people can decide for themselves what they think of me with the facts out in the open.”

You look at the public’s commentary with this reveal. Wanting to face the results head on, regardless of positivity, you scroll through various feeds, peruse videos, let the words find you in the height of spreading smoke. Wandering through the volume of opinions blindly, you believe it easier to find your way about when this article is unabashedly your perspective.

The frustration and petty verbiage thrown in your way clogs your ears, but the ground you step along is smooth like each step will undoubtedly be solid beneath your feet. It’s the apologies of YouTube idol news accounts that speculated on your intentions with Yoongi, the comments giving SoundWave’s manipulative dealings proper attention, and the familiar voices ahead of you calling for you to keep walking that let you feel confident in your strides.

You wear a cap and keep the large plaid shirt lent to you close to your skin while you sit with dangling legs. A bright pink type of flavored lemonade is half full in front of your loosely crossed arms. Namjoon’s voice speaks incoherently in the background behind you as the streaming site playlists blurs the ambiance of his cafe into a state of lulling energy.

“To be honest with you,” Seokjin’s finger scrolls the web page depicted on his phone that’s flat atop the bar. “I wish you took a picture for the article. I would’ve gotten you some kind of designer jacket or something so you could really tell everyone ‘fuck you’-- I’m the best of your friends in that regard, you know?”

“I already have people following my social media because of that article, I’m sure they can just see some pictures of me on my Instagram.”

“Admit I’m the best of your friends-”

“I think the one whose dorm room she crashed in for two years straight in college deserves that title, Jin.” Namjoon grasps his glass of water when he returns to you two. You huff as Seokjin nods his head admittedly in silent agreement. A sudden scowl escapes Namjoon’s lips when his neck arches to get an upside down perspective of the words Seokjin reads on his phone. “Don’t encourage her to look at comments. Lots of idiots out there.”

“A lot of people think I wasn’t the worst of the whole situation though.” You smile at Namjoon, and take a quick sip of your drink when he narrows his eyes at you with an unsatisfied gleam in them. You swallow the beverage and glance to Seokjin who swivels in his seat to look towards the front windows. A tiny nod brings you back to Namjoon and you meekly speak, “But I shouldn’t have been staring at them all for hours yesterday. You’re right.”

“You called me saying you made the worst decision of your life-”

“In her defense, she was four glasses deep in wine when she called you to say that.”

You point a finger to Seokjin’s sentence and nod. “In my defense.”

“All I’m saying,” Namjoon lightly chuckles as he leans against the counter behind him. “Worry less about them. It’s going to be crazy for at least a couple of weeks, so try not to look up all the commentary like you’ve been doing.”

“Yeah, go on dates with your boyfriend instead. Can’t he rent you a boat to cruise around the river on or something?”

“I could rent a boat.” You roll your eyes, shrugging. “Actually, that’s not a bad idea. He’s been pretty stressed between my problems and figuring out all the aspects of starting up the company with Hoseok.” You rest your jaw on your hand, staring absently at your drink with pursed lips as you consider the option of a relaxing evening spent on the river.

“Just take a fishing rod with you for him. He sucks at fishing, but he likes it a lot.” Seokjin says, glancing back at a small group of young adults that chatter amongst themselves as they go to a table. After a moment of assessment he faces back towards you and Namjoon who look at him with narrowed eyes. “I was just making sure they weren’t stalking-”

“How did you become friends with Yoongi in the first place?” You blurt out in bewilderment, while Namjoon nods in agreement with your question. “You were friends with him before I even knew him, but never mentioned how.”

“He happened to be on the same fishing boat with me like a year ago.” Seokjin shrugs, reaching for his fork to continue munching on the half finished slice of cheesecake. “I may have knocked his expensive sunglasses into the ocean.”

Namjoon bursts into laughter as you raise an eyebrow. Seokjin ignores you both to stuff a large bite into his mouth.

“And you somehow befriended him instead of making him hate you like I probably would’ve if that’s how we met?” You ask with a tilt of your head, and Seokjin takes no time to properly swallow his food before speaking to you again with one cheek stuffed,

“Clearly, I have a way with people, Y/N.” You smile and shake your head, accepting the answer as you go back to sipping your drink. While Namjoon presses for more details, you click onto the internet typing in a search for evening rental cruises. Staring at the various options available and filtering them to a short notice, you can’t help smiling softly as the idea of an exuberant date goes through your mind. Such a public endeavor as well, though there would be ample space between the two of you and spectators, you won’t have to worry about any of them seeing the two of you. The simplicity of it feels relaxing on its own.

A startling familiarity enters your ears. Like ballads sung before the ambiance is similar, but lyrics new as you recognize the voice playing from the cafe’s speakers as Jimin. You look up from your phone, looking nowhere in particular, but focus on the words-- the song he wrote on his own from you with a hopeful intent of somehow putting it onto radios somehow. You bite your lip as the bittersweet melody crosses your senses and the gentle request he sings, “I want you to be your light,” brings a tightened and tiny curl to your lips.

“I could change it.” Namjoon speaks up and takes you out of the moment. You shake your head, refraining from any laughter at their worried expressions as they gauge your reaction to the song.

“No, it’s a nice song.” You say softly, meaning your words.

Jimin’s career is entirely up in the air at this point. With the release of this very song as a rebellious act towards SoundWave and him admitting that he hadn’t written any of his other songs, he finished the festival to receive a surprisingly loud applause from the crowds, you heard. Nonetheless, the internet itself isn’t as optimistic as the evening was for Jimin. You’re hopeful despite it all, but you can’t over estimate the ability of SoundWave and Jimin’s simultaneous scandals to beat every odds against them.

Though you avoid dwelling on the worry, knowing ultimately that you’ll find out through the media, and can simply hope.

---

You sit criss crossed on your desk chair, perusing a boat rental agency leisurely and without much interest for what’s before your eyes. Your mind is further away, pondering words in your head in a medley of arrangements. Hoping some combination will strike you into an inspired mood, you simply scroll onwards on the page of various yacht sizes and at this point the action becomes more robotic than conscious.

Your head perks downs the direction of your front door beyond the wall where you sit in your studio. As you glance to the clock at the bottom of your screen, you refrain from gasping at the ten o’clock reading, having not realized how much time went away from you in the monotony of the day after leaving Namjoon’s cafe.

“Angel?” Yoongi’s voice calls out as you hop off from your chair to greet him.

“I’m in my studio!” You say out in return while shimmying your second foot into the pair of slippers and heading for the doorway. You open it fully from its ajar state and exit, but immediately scuff the floor as you halt to a stop so as not to bump into Yoongi. “Oh-”

“Careful-” Yoongi says, reaching for your arm so you don’t hit it against the framing, then chuckles softly. “Guess I interrupted something?”

“Not really,” You say sheepishly and sigh softly. “I just didn’t realize it was already this late.” You admit as you collect his hand within yours to lead him back into the studio space. “I was going to try and mess around with lyrics, but couldn’t think of anything, so I was trying to do something else while I mulled it over, but Joon keeps getting on me about looking at social media too much--” You shrug, turning to him to mumble admittedly, “Which he’s right about, I guess.”

“Guess,” Yoongi repeats with an amused smile as you ignore the teasing tone to sway your hands between you. He hums, glancing beyond your shoulder to the large monitor displayed on your desk. “Thinking about becoming a boat captain?”

“Oh!” You quickly turn from him to click an exit on the internet window, “What boat?”

Yoongi laughs, sliding into your desk chair as you click around to open up a clothing website instead. “I was looking for clothes, actually. An ad must’ve come up for yachts-” You sentence cuts off from a tiny squeal escaping your mouth as Yoongi pulls you back to sit atop his lap.

“That’s a pretty luxurious ad, babe.” When you whine in disagreement, Yoongi simply smiles a small kiss against your cheek. “Okay then. Ad then. I’ll pretend to believe you.”

“Pretend to be surprised if you ever end up on one for an evening too, please.”

“Okay.” Yoongi hugs you while you giggle from the ticklish ministrations he dances along your jaw. “Hey, guess what.”

“You’re going to let me keep this flannel?” You voice murmurs before placing a sweet, chaste kiss to Yoongi’s lips before he has time to react to the silly request. When you pull away, he glances down to the attire of yellow plaid worn on your figure and his head tilts contemplatively.

“Because it looks nice on you, I’ll let you keep it for now.” Your pouting lips used to plead do nothing to stop Yoongi’s warm smile as he kisses you again and says quietly. “Hoseok and I decided on a building.”

“Really?” The tone of your voice rises as your eyes widen with a happy surprise. Yoongi nods with an utterly bright smile adorning his face, accepting the quick peck you place against his expression and continuing on with bubbly interest, “Where at? No-- actually, what’s the name going to be anyways?”

“The building’s actually only a couple of subway stations from Namjoon’s cafe, so I guess you can visit him more often than now.”

“He’ll get sick of me.” You say, shrugging off the tiny shake of Yoongi’s head so you can press on with the subject at hand. “I can’t believe you both found a place so quickly.”

“Well, maybe that’s the easier part. Figuring out everything else will take awhile still, but a couple of investors are interested, and I think I’ve found a person that can do a better job at leading everything overall than Hoseok and I can.”

“So you’re both not going to fight for the CEO title?” You ask, fiddling with the hair on the back of his head as Yoongi just scoffs gently at the teasing inquisition. He shakes his head while his hands situate on your sides to help shift you on his lap as you turn slightly to better see him.

“That’s not something I’m interested in, no. I just want to make music.”

You smile at Yoongi fondly, unintentionally causing a little flush to peek on the tips of his cheeks. Considering the option to be in joint-leadership over the entirety of their company is so obviously available, you find it slightly jarring that Yoongi doesn’t feel any need to reach out for the position. Though you think his answer best suits him, especially when you remember that the manipulation of his image is what stopped him from being the musician that he had wanted to be for so long now.

Squeezing your waist with his hands, Yoongi kisses you softly. A hand of yours falls to his shoulder while the other remains interweaved in his hair to hold him close as the kiss lingers. Breaking away after a minute, Yoongi’s head tilts, appearing curious as he gently inquires, “What are you thinking, baby?”

“I’m just really happy for you.” Your voice trickles simply, though the sincerity causes Yoongi’s lips to tighten into a bashful smile while he just nods and lets his eyes glance downwards from the radiating endearment in your eyes. You take note of more pink decorating his skin, and just hug onto him tightly, mumbling sweetly against Yoongi’s cheek. “You’re so cute. I can’t wait to see whatever you produce next.”

“You should help me with a couple of the songs, angel.” Yoongi murmurs while smiling at your actions, rubbing his hands along your sides as you squeeze onto him. “I really liked working together.”

“We’re a good team, I think.” Yoongi hears the twinge of a bashful hesitancy in your words, making him have for force back an endeared sigh and replace it with a nod as you start to continuously press tiny kisses against his face to further yourself from the embarrassment you feel for the mushy words.

“I think so too-- what is your face so red for?” He laughs outright, not allowing you to hide away your rosy expression by catching your jaw gently with a hand. “You’re flustered for no reason.”

“It just felt like such a cliche thing to say-” You barely manage to mumble the sentence before Yoongi’s cutting your lips off with his own against them. Humming in thought as he pulls away and ignores the small pat of your hand against his chest for teasing you, Yoongi speaks with a smile,

“But it’s the truth, so it’s okay. You can be a Hallmark card all you want, and I’ll still love you-”

“Don’t tease me.” You attempt to sound firm, but nonetheless smile at the soft admission at the end of his sentence. Yoongi bites back any further jokes that you’re sure he’d enjoy to say, instead of giving you the quiet moment to wade off some of the meadow on your skin. “Can’t believe you came here at ten in the evening, by the way. When you’ll just have to leave soon to go home-”

“Who said I was going to leave soon?”

“Who said you’re allowed to stay over?”

Yoongi chuckles, reclining so that his back rests properly against the chair as you try to maintain your defiant expression. It’s utterly useless considering how there’s a playful smile etched into your face, so Yoongi just shrugs. “Tell me to leave then, baby,”

Refraining from laughter you instead bite your bottom lip, and cross your arms while Yoongi’s head tilts to wait for your reply with a coy gleam in his irises. Instead of a verbal reply for the moment, you scoot off of his lap, beginning to walk past him as he spins casually on the chair for his eyes to follow your movements. “If you’re staying, then you’ll have to sleep on the couch since I don’t have a guest bedroom.”

“You’re so,” Yoongi exhales like bits of laughter, shaking his head as he gets off the chair to catch up to you before you’re able to dip around the corner. A small squeal leaves your lips as Yoongi’s arms wrap around your waist to pull you back against his chest. Immediately he lays a buttery trail along your cheek as you laugh at his reaction and place your hands over top of his wear they fiddle with the buttons of his shirt that you wear, “If I’m staying on the couch, then I want this back, sweetie.”

---

In early February a small celebratory party causes Seokjin’s club to close its doors to the public. Though Yoongi told him over and over that the gesture was unnecessary, his worries were ignored by Seokjin who stated that he wanted to help give a nice evening to his friends and recognize the accomplishment of the official opening of Sope Ent. that would occur at the end of the month.

The employee pool was nowhere near the size of SoundWave at its peak the years earlier, but everyone working for Yoongi and Hoseok’s company were hand-picked and a feeling of camaraderie flourished throughout the months beforehand of work to become organized. The building was mostly finished, but a handful of office spaces and studios were still in the process of being completed, leading to you and some others opting to work from home while all the preparation continued on.

Because of your home studio being the location where you did practically all of your work originally, you had little care for the fact that you’d find your way to the building later than the majority of employees. The excitement of working with the artists that signed so far was a far more important focus to you, and in some instances surprising like when you noticed Jinsol’s name appearing on a list of accepted trainees (though Namjoon was more surprised as it meant he would need to find a replacement for her part-time position at his cafe).

Ultimately, you’re enshrouded in anticipation for future months and beyond of working as a recognized songwriter and producer. Yoongi’s unoften worried mentions that he’s apologetic to the fact that you’re in some regards starting from the bottom up are easily squashed by your vibrant energy assuring him that you’re nothing but happy to be able to continue working with the career you had always wanted.

Beyond that, you’re proud of Yoongi and Hoseok’s ability to get everything together in a considerably short stretch of time. Though it meant Hoseok’s plan of releasing music was pushed back so that it could be released under their company’s name, the wait ended up being worth it as it allowed media to cause an interest in what would come.

The weeks immediately following the article you released caused a dramatic shift in SoundWave’s perception in the public. With your name getting dragged early on for participation despite the manipulation, so many people decided to stop supporting the company and artists by association that they went through understandably hard times. Every group and soloist offered apologies, but the currents changed only when Yerin publicly apologized and stepped down from her position as CEO, with the board of directors promising for change.

You realize she was simply a scapegoat because the board did have a larger hand in what went on throughout SoundWave, but you manage to find satisfaction in this method, because the majority of artists came out with their careers still intact. Though trust has to be regained, at least they were able to have the chance.

The name you’re still curious to hear about in the future is Jimin. It was late in the year, only days before Yerin resigned, that news of him leaving SoundWave circulated loudly in every social media site available. More than anything, fans expressed utter sadness, demanding an answer from SoundWave to understand why he left when the majority of the public sided with him after his public apology acted as the first crack in the company’s secret crumbling. Which is why everyone, including you, were nothing but confused to hear that his leave was completely at his own discretion with the company evening expressing that they attempted negotiation to keep him.

“It just felt weird for him to be there.” Jeongguk told you during a small friendly lunch between him, Hoseok, Yoongi, and you. “With all of the history that went on.” You recall him biting back further information on that statement for the sake of the present. “Anyways, I’m sure he’ll be back to music eventually.”

As you look on from the bar stool you sit on, you smile as Yoongi finishes a speech egged on by the crowd of happy employees enjoying the evening. Hoseok cuts in with a cheery tone and his glass raised high in the air, while Yoongi remains beside him for the moment and simply sends you a glance that tells you he’s at minimum shy of all the attention currently on him. All you can offer is two thumbs up to which you watch him bite back a sarcastic smirk.

“Your speech was good.” You assure him with a grin as Yoongi returns to you after the loud cheers mark the end of the melodramatic speeches and the restart of music. He shakes his head at your words and takes the seat beside you,

“Thanks. I don’t know if I believe you, but thank you, angel.” Yoongi says with the usual gentleness of his voice making you so much more fond in that moment, especially as you take in his hand finding yours without hesitation to entwine the fingers. “You really look beautiful.”

“You said that already.” You comment though your heart beat skyrockets from the genuine tone he speaks with. Softly, he smiles and nods his head, finally finding your eyes again,

“And I’m probably going to say it again at least ten more times tonight, sweetie.” Yoongi’s teeth peek with his grin as he fondly watches you avert your gaze to the two of your glasses left on the bartop when he went to go speak. “Look at me, please.”

Inhaling quietly from all of the emotions amplified in your chest from the evening’s joyful ambiance, you eventually cast a glance back to him with enough time to see the sweet light in his eyes before he kisses you softly. Where your hands hold together, your free hand encapsulates the top of his hand to gently squeeze as Yoongi lets the kiss linger on a few seconds longer than you’d expect from him with the surroundings somewhat crowded.

“I know it’s only been a few hours, but can I take you somewhere?” Yoongi asks against your lips, so quietly that you almost miss it with the music that plays all around you. Though it takes you only a couple of seconds to respond, your mind captures a considerable amount of wonder for where exactly he intends to lead you to. Still though, you simply peck his lips once more to earn a smile from him as you nod,

“Yeah, wherever you want.”

Despite what you expected, Hoseok simply only grinned and waved the two of you off when Yoongi mentioned you would both head out. Seokjin similarly smiled as you told him a thank you and goodnight as well, and considering those two of your friends are quite close with Yoongi, you don’t stop yourself from a playful question as he settles his coat around your shoulders upon exit of the nightclub.

“I’m guessing they already know about where you want to take me to?”

“Well, it’s no fun to give any kind of hints, angel, so you’re not getting them from me.” He says, letting you hug onto his arm while using the other to hail a cab. “It’s kind of different leaving Jin’s club this time around, isn’t it?”

“A good different.”

“Yeah,” Yoongi nods as he opens the door to the taxi, smiling down at you before letting you enter inside. “Really good different.”

Outside of Sope Entertainment, you can’t help lifting up your head to take in the view of the small tower that you’d be working in from now on. Yoongi exits the vehicle after giving a tip to the taxi who drives off once the door slams. You turn your attention to Yoongi as he takes hold of your hand once again to lead you inside the sparsely populated building.

A security guard allows the two of you in after the flash of identification cards, and by the time you reach the elevator you’ve begin rubbing Yoongi’s arms to fuel circulation and warmth. Your actions result in a fit of chuckles from his lips as the elevator doors open wide to allow the two of you inside.

“I’m not that cold, angel.” He assures, but does nothing to stop you from hugging onto him as the elevator shuts. Shimmying the two of you a step forward he manages to finally click a floor number as your body clings onto his to give warmth.

“Please, you hate cold weather.” You retort and place a kiss on the underside of his jaw. “Is this where you take me up to the roof and we look dramatically off at the city?”

“No, it’s way too cold for that.” Yoongi quickly admonishes the idea, causing you both to laugh at both the severe way he spoke, but also the implication that he is more cold than he lets on. “But maybe in the summer or at least the spring that would be a fun idea.” He says, watching the floor number climb as he rubs little trails on your back and your cheek settles against his chest. “C’mon, angel; this is the floor.”

You pull away from him to look at the number and know it to be the name one his and Hoseok’s studios are on. You exit out of the elevator with him quickly pressing a switch opposite of the elevator to turn the hallway lights on.

“Oh, is this about the song you’ve been telling me about lately?” You ask with a growing smile that’s excited from the idea. Yoongi huffs and pouts as he turns his head to look down at you,

“I said it’s no fun getting hints, angel.” His high-pitched rumble makes you laugh gently as you squeeze his hand. Coming closer to his studio, you hum and reconfigure a guess of what he wants to show you despite his protests, “Is it that you decorated your studio finally-”

“Hey,” Yoongi calls out as he stops a pace behind you to bring a halt to your stroll. Turning towards him, your eyebrows knit in confusion because his studio is a few more steps down. The confusion builds more as Yoongi just smiles before flicking his head to gesture to the room you both stopped in front of.

Turning to look in the direction, you see a door just the same as all the others and you’re about to question the significance of it before your eyes catch the polished metal plaque with your name engraved on it. In your stupor, you release hold of Yoongi’s hand to turn with widening eyes towards the door. Taking a step, you feel words escape your mind as you can only think about the obvious insinuation of the plaque, and turn your head back to Yoongi as though silently asking him to verify.

With a proud, soft smile he nods his head, stepping beside you to press a series of numbers into the lock on the door. “It took a little while longer than I expected to get it set up, especially without you realizing considering you walk down this hall so many times.” He chuckles only a little before pushing the door open to hold it ajar with his hand. Yoongi returns his gaze back to you as he happily admits, “But this studio’s yours, Y/N.”

After a moment to let his words sink in, you take another step to press your palm against the richly stained wood of the door and push it wider to enter inside. Following behind you, Yoongi presses the switch to turn on the lights that illuminate the rectangular space that you walk further into. A desk is already positioned on the far wall with monitors and equipment all arranged similarly to the way they are at your home studio. Shelves around the room are empty, and the couch against one side is free of pillows or throw blankets. The space is completely fresh to personal touch, but the door alerts anyone who reads it that the room is your own creative area as an acknowledged employee.

Turning back towards Yoongi who’s quiet yet clearly eager from his position beside the closed door, you walk to him and trust him to catch you as you practically jump into a hug that his arms catch you from tightly.

“Thank you so much.” You mumble against the fabric of his shirt, clenching wrinkles into the clothing on his back as well. Yoongi smiles as he rests his chin on your head, rubbing soothingly against your back as a tiny whimper leaves your lips.

“You’re welcome, angel, but this is really something you deserved all along.”

“But,” You pull your face from his chest to look up at Yoongi despite the tears welling in your eyes from gratitude. “Without you, I wouldn’t have gotten here the same way, and I wouldn’t have been able to do everything with someone like you to be beside me through it all. Yoon, you’ve really helped me do so much and everything was so crazy to get here, but I’m glad that it happened how it did, because I really love you. I can’t believe I got to meet you and fall in love with you.”

Cupping Yoongi’s face, you pull him down into a kiss as he moves his hands to better hold you against his chest. Following the kiss, Yoongi can’t help but lean his head against your shoulder, for a moment overcome by emotion due to your admission. You smile, rubbing his back as he squeeze you a bit tighter and exhales.

“You know, angel, if I hadn’t ever met you I’d still be practically a puppet to my old management team.” He kisses your cheek briefly before straightening up to properly look down at you. “I love you so much too. Whether you realize it or not, you really inspired me to finally fight back against them too, sweetie. I really am so proud of you and everything you’ve done.”

Yoongi kisses you gently once more, finding himself completely content as your arms wrap loosely around his neck to hold the two of you in place. When he thinks about it, receiving the recognition you deserved really was the only suitable outcome for everything that you’ve been through. Everything feels correct, even if realistically there are still trials to overcome where the company itself is concerned. At least there’s undeniable optimism in the future.

You hold his hand as you break apart to walk back around the studio space and explore the room. Coming up to the computer you go ahead and turn the power on just to see it and be shown that everything is as real as it seems to you. Yoongi stands behind you, wrapping his arms around your waist to rest his chin against your shoulder. The computer brightly flashes with a screensaver already saved to a picture the two of you took on an evening boat date months earlier. You laugh at the sight of it and turn towards Yoongi whose eyebrows furrowed in confusion,

“This is what I get for letting Hoseok plug everything in for me.” He mumbles as you press a sweet kiss to his cheek. “You should change the passcode from what it is so he can’t come in here whenever to spam your studio with pictures or other pranks.”

“If I change the passcode, maybe I’ll keep it a secret from you too.” You ponder aloud, earning an expected poke in your side to tickle you from Yoongi. As your body jerks from the ticklish feeling, he simply hugs you tighter, pressing a kiss against your cheek in retribution. You eventually sigh as you smile and relax back against his chest, admitting softly, “But honestly, if Hoseok’s going to print out cute pictures like this one, maybe I’ll just keep the code the way it is.”

“Angel, the code is 1111. Please don’t do that.”

if you enjoyed please, please let me know via ask, comment, rb with tags– however ! i’d just really appreciate feedback 🥺 i hope you enjoy the series, i worked really hard on it! And if you’ve read thank you so much! below are some fun facts and final words about the series!

tag list: @jaiuneamesolitaiire @tsvkino-usagi @xionysus​ @baebyjoonie​ @honeyoongles​ @betysotelo18​ 

Fun facts:

Jinsol, Seulgi, and Jihyo the only non-bts named character that are supposed to be their real-life counterparts (from LOONA, Red Velvet, and Twice respectively)

To be honest??? I picked the name Yerin because it sounds so pretty to me

This series is as long as NOVEL! Deadass a fucking NOVELLLLL! like what??? I can’t believe I managed to write roughly 100k words wtf.

Seulgi was initially going to be considerably more important as an antagonist, but then it felt like it was going to be feeding too much into Hoseok’s character than help the actual story progress so I did away with her history with Yoongi (and Hoseok)

The spotify playlist for the series is actual set up into three different parts (four songs, an interlude, four songs, an interlude, four songs) and the purpose of this was to separate the songs into characters. The first four songs are about Jimin’s character growth, the second set of four songs are about Y/N’s, and the third four songs are about Yoongi’s. In some ways, if you looked at the lyrics for the song you may have been able to gauge a lot of the plot that way.

The name for the series, Veil, comes from the idea that something is covered by a cloth that is not completely opaque, but still blurs the perception of what is beneath it. 

I don’t remember exactly how I got the premise for this idea, but I knew that I wanted to make a Yoongi story. So that being said, this was always intended to be a Yoongi story, I wasn’t swayed in one way or another to pick the ending couple.

Although, my friend told me recently that after hearing about my plans for Jimin’s character in the last few chapters that she wanted him to end up with Y/N LOL; I think that’s mainly because, in this story’s universe, the song Jimin released at the festival was Promise, and in this story he wrote that song with the intention of supporting Y/N and also telling her that he wants her to be her own power source through all she’s gone through (I want you to be your light, baby, you should be your light)

Because I’m actually really fond of Jimin’s character, I was thinking about making a one-shot prequel about him and Y/N’s relationship long before Yoongi.

The Audi that Yoongi drives costs about $200,000. I needed to tell you that, just like I needed to give him that expensiveass car. Why? It’s h*t.

I couldn’t rationalize Yoongi or Hoseok becoming the CEO of the company they made together, because ultimately they still want to be performers lol. They’re more like founders, and have a lot of say in the board. 

Jeongguk, in this story, is a part of a band with Yugyeom, Mingyu, and Minghao. What a combination lol.

Taehyung is a lawyer for idols generally, but he starts to work more for Yoongi and Hoseok’s endeavors by the end.

In my mind, Jimin eventually went on to get signed at the same company Jeongguk and Seulgi work at. He would’ve been pretty successful there.

Also, I doubt that Y/N’s royalties with her songs at SoundWave would’ve been kept by the end of the series. Realistically, she would have to be credited, but she would no longer receive money for them, so she really did have to start over in a way.

Yoongi’s hair was always blonde until that scene where he went to dye it back to his natural hair color; this was a very freeing moment for his character.

In Y/N’s conversations with Yerin and Jimin, Yoongi was consistently just..,.,,,.,. chilling in the background..../., in the case of Jimin conversation he was making pancakes lmao. What a guy.

Again, if you’ve read this whole story thank you SOOOOOO MUCH! You’ve basically read an entire book in reading this fic, and that is unbelievable to me who never would’ve figured I’d have been able to make this entire thing! Thank you again so much for reading! See you in the next story! 🥰❤️

#yoongi #yoongi imagines #yoongi series #yoongi au #yoongi fluff #bts #bts imagines #bts series #bts au #bts fluff #all #series veil

[stone-man-warrior]

Timeless

https://twitter.com/BBCPolitics/status/1329803055051788290

The Pope's Crucifix and use of it for saying and plotting terror updates, commands, marching orders:

There is a shire called Liecester in UK, and another one called Gliecester there too.

So, for this, specifically, Liecester & Glieseser are places that represent positions on the vertical axis of the Pope's Crucifix. There is a range that exists between Liesester & Glieceter.

Liecester = "The people who lie"

Gliecester = "The people who sing"

Gliecester are whistlebowers, reporters of crime & terrorism to law enforcement. Liecester are the people who the whistleblowers in the Glee Club of Gliesester are reporting about.

The liars of Liecester don't like being reported about, they don't like songs written about them.

On the vertical axis of the Pope's Crucifix, the liars of Liecester plot the depth's of knowledge about them, and other information about Liars and Singers in the Glee Club, so that other Liars can stay out of trouble, in Liecester.

The Glee Club does not have suitable representation at places where the Pope's Crucifix can be viewed.

There could be Tweets of the past to look at, to find instances when the range that exists between Liecester & Gleicester becomes smaller. If the Gliecester Glee Club has ever been reported to have performed in Liecester, that was bad for Liecester's Liars. The result may have been that the Glee Club from Gliecester could have been boo'ed offstage, or Worcestershire, tomatoe throwing could have happened. If tomatoes are thrown at the Glee Club while in Liecester, there is no way for the Glee Club of Gliecester to survive the incoming tomatoes when hurled by skilled liars of Liecester.

When things turn to the Worcestershire, then they start to go sideways, onto the horizontal axis of the Pope's Crucifix, for plotting. Worcestershire sauce, is made of fish. That's right, little tiny sardines are what the Worcestershire sauce is made of. Tastes good, somehow, but is made of old, fermented fish. It's fish wine, non-alcoholic, is like coffee without the caffeine, decaffeinated. So what is the point of having Worcestershire fish wine if it has no alcohol?

They will gladly show you the Worcestershire  points, when it gets sideways at the Glee Club Concert from Gleicester, performed to the Liars of Liecester.

They pour the Worcestershire sauce all over the Free Range Chicken.

After the show, a Ox driven cart rolls through the streets of Liecester, picking up the debris left from tomatoe fight. The cart is driven by a Mongolian man who speaks Russian. There  is a Japanese slave who is chained to the cart, picking up the remnants from the Choir Concerto. The Japanese man has a Hibichi bar-b-que on the cart, but no matches. The Ox, is a Canadian named Bleau. The Organ Grinder plays the bellows while his monkey collects valuables left by the crowd. The monkey ties the items onto the sides of the Ox Cart, as it goes clanging and klunking through the cobblestone streets of Liecester, until it's out of view, but can be heard, as it makes it's rounds.

This is the part where Catsup, is supposed to turn into Ketchup. Unfortunately, the Ketchup continues to lose ground to the Catsup at the store. It's Different Sauce. Happens when things get Worcestershire in Liecester. https://www.youtube.com/watch?v=MBUu5HwIr8k

Bydio, the Ox Cart, happens at 11:12: (To read terror comm better, learn these titles to these songs, close your eyes, listen, and see the music in your mind. Let the London Symphony Orchestra, guide you.) (why are the Russian composer's titles all in French language? Hint: There is no Russia. There is Quebec, and, there is Mongolia. One has nothing to do with the other.)

================================

https://twitter.com/ReutersUK/status/1329848272568131584

The air-money is visible, cresting.

A crest is a crown. Sssshhhush, it's a secret.

Ever play air-guitar?

Air-money is like that, for Royals.

Monopoly money.

Have you ever been to an auction?

They have "lots" there. You can buy 'em.

You have to compete with other bidders, unless no one wants a lot. The auctioneer, says: "all this for one money" as he points to the lot. Then, real quick: "Going once, twice, souled!"

Someone gets a lot, for one money.

The auctioneers are "Yoddelers"

They sell someones baby, the estate where someone lived. They are "Baby Yoda-lers"

The baby Yodalers sell the baby, lots of them, all for one money. There is a Ox Cart that comes by, filled with air-money, to pay for the baby lots at the auction.

Someone sees that the money is fake, is air-money, chases the Ox Cart. The Ox Cart goes to the JP Morgain Chase Bank, the place where the air comes from, to turn up the gain on the air-guitar hi-gain crunch channel on the Pope's Flying V Guitar Rig, for air-guitar performance, through a stack of Marshall’s. The Pope, is  the spokesperson for "The King", turns loose some lions where the chase happened.

Bit Coin is born. The Pope collects the souls, with a different Ox Cart. The auctioneers celebrate, they have a parade, and give thanks to the Pope and the King.

The have a feast. Thanksgiving to the Pope.

Then, there is an auction, where there are lots for sale, you can buy 'em.

===========================

=================================

https://twitter.com/ABC/status/1329911713295179776

Mayfair = Mayflower

A boat.

The boat is filled with pirates at the Malls of America, where there is a circus, a carnival, Ferris wheel is inside there, has a theater, can get some pop corn if you want, and a large Soda for me and my friends and family on Black Friday. AAAaaarrgghhhhhh!

Wisconsin = wind; cons; sinning

https://www.youtube.com/watch?v=Vxd4Hjun--s

===============================

Must be a space auction.

Air-guitar.

Comes with a Cole Clark Angel, natural blonde, Acoustic Guitar from Zzounds Music, with a crooked tuning machine on the headstock at the small E string.

(See Tumblr post from a couple of days ago for more about the Air Guitar Bit Coin Money Machine. This is a bigger terror event than most. It’s important.)

(Tumblr made me do this space addition twice so I could show you how terror is communicated, they don’t like it when the Glee Club sings songs about them or their friends in Leicester)

=====================================

Things to consider include that Space Blonde Angel has been up there for about twelve years, and no one has noticed. You have to trust your own memory for that, they purged all of the information, photos and videos of her from the internet.  In fact that whole mission happened about twelve years ago, was presented again as new. The purpose for the rerun is that the information contained in it, combined with a plethora of other reruns on twitter, are Global Domination attack orders that already worked good in the past, so, rather than reinvent the wheel in the sky, they just do a rerun, while insisting it’s all new, just happened, is fresh, when more than a decade has passed since the introductory command order presentations of attack plans. Twitter news media, powered by Google from Verified Accounts makes it happen.

===========================

https://twitter.com/CBSNews/status/1329936822231822336

Go find the things I wrote about “Space Karen” and how “Space Karen Trending” on Twitter was a set-up of communication from Twitter, so that terror operatives associated with the Wisconsin Mall Event could find further comm, about the planned event, to use for yet more comm, after the event, contained in a Tweet made by Bill Karins. who is the real space Karin that Musk Space Karen was pointing to.

Here, we see that the Wisconsin Mall event happened in Wuawatosa Wisconsin. That is the connection to Bill Karins and his terror crew at nbc/Universal/Comcast on Twitter as @BillKarins.

The connection can be seen in my previous observations and in depth reporting here on tumblr from a few days ago, where I pointed out that there was a Wah-Wah and a Hua Hua contained in information about a “Greek Hurricane” in nicoragua called “Iota”.

I suggested that “You have to bring your own Chi” about the Hua Hau that was happening in nicoragua at the time, per Mr. Karins, the real Space Karin for this Space Auction Yodelling at the Mall of America.

It all boils down to physical slaughtering of people somewhere on earth. We cannot know where the slaughtering is occurring by reading the information on Twitter, because it’s all old reruns, all of the news was presented long ago, the exact same tweets were reposted as new more than twelve years after the first introductory posting of them.

How are we to determine where the actual current Global Domination slaughtering is happening now?

You have to go to Rockefeller Center, find Lester Holdt, and make him talk. That’s how. Find David Letterman, and Jay Leno, make them talk.

Do that tonight before the show is over. Bring your own hospital. Bring your own Chi.

=======================

Observation of the Mall of America Black Friday pre-show includes that CBS posted two 25 second clips of remarks made by the officer there, in rapid succession, one after the other. The two clip’s are identical to one another, but the text of the Tweeted information is different.

Worcestershire sauce happened at the Mall of America Black Friday Pre-show event. There were Free Range Chickens involved, I am confidant.

Other observation includes that the familiar “Schul Schut” news conference arrangement, stance, formation of multiple Public Safety Offices Representatives, is not present that I can see, so far. That translates to: “no ground was gained”

My assessment of those arranged news conferences where the representatives all stand in formation around a central speaker, is that what ever event that occurred and was being reported about rendered some ground somewhere. The more agencies present, then the more overtaken by Global Domination terror army is the geographic area of subject, which may not be the location of the news event. I want to advise that such events are arranged ahead of time for taking over substantial targets, such as entire LE offices, courthouses, schools, hospitals, county, state and federal buildings, so the staff at those places can be replaced with SAG Actors at the management and leadership levels, and Canadian terror soldiers who compose the majority of staff replaced.

I also want to advise that these kinds of takeovers have been going on for more than fifty years, so, over time, there are fewer real pubic safety, and increasingly more fake public safety, making very dangerous conditions for the remaining real public safety personnel.

Some speculation that may provide advantage to the real public safety is about Google and Sundar Pichai, and the news that is about Mr. Pichai. Sundar

Sunned Aarrgghhh!

A blessed terror leader, blessed by the Sun, the Pope. Both, are pirates who say: AAAaarrrggghhhh!

Pichai

Pitch. To throw. “The throw before the toss” from Ronnie James Dio and “The Last in Line.

AI = Artificial Intelligence. That means “Imposter Police” and the information such police say, command, order, carry out... all bullshit, Sundar is a major contribute to the bullshit presented by imposter police.

When the news stories are about the Google parent company called Alphabet, the news is somehow about orders from “The Text”, the Vatican, the one who blesses Sundar Pichai, Pope Francis, The Bergoglio.

Bergoglio

“Berrrrr but it’s cold here.”

Gog is short for Google.

Lio is the Lion, the King,

The Bergoglio is at the Vatican, controlling Google, with stings attached to Sundar Pichai, the Pitcher at the Baseball Ballgame.

They take US Military bases with use of the nitrous gas weapon, and mideaval tactics that are greatly enhanced with modern technology, commanded from the Vatican and Britain House of Lords. The orders reach Hollywood Terror Command at Screen Actor Guild, where the orders are transformed into workable planned screenplay ahead of time. Canadian terror army soldiers are provided to the SAG for carrying out the orders to attack, and take, valuable strategic targets without being detected.

Watch out for news about Alphabet.

“The Alphabet” when used openly in terror speak, is the conglomerate of all of the public safety agencies combined. FBI, nsa, ATF, USMC, USAF, USn, USPS even fits in there along with DHS (Dept. of Human Resources; Department of Health) and EVERY other agency where rules and regulations are generated, and enforced, so, DEQ, DMV, and the dog catcher, are inclusive of the proverbial terror alphabet.

==============================

=========================================

https://twitter.com/Pontifex/status/1329763925190172672

This looks like commands to purge old embarrassing and revealing information from the internet to me.

The Papal Panty Raid Like is another indication of the same terror comm. The order was preceded by a advisory statement to the Papal Pirate HQ from Epiphone at Hollywood terror command HQ, who saw that there was a problem, and made the advisory through promotional email from the music industry, Vatican Choir HQ. Before that, the advisory came from other, lower ranking members at Chicago Music Exchange, where the advisory seems to have been originated from. The logo for these is the one Epiphone normally reserves for there student models. It's a pair of girls panties.

This below is the same terror message presented with Different Sauce.

https://twitter.com/BBCNews/status/1329984769069899776

https://twitter.com/ReutersUK/status/1329862169022894080

These and other ways to say the same thing seem to be a call to Sundar Pichai to purge specific information from the internet, not just from the search capabilities, but to seek and destroy particular terror evidence from the internet.

[tswiftdaily]

New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era

Snakes begone. The 29-year-old superstar is back with a new album and a new outlook on life. We go inside the pop monarch's latest chapter.

THE PALM TREES ARRIVED IN FEBRUARY, seven in all, set against a pastel blue backdrop with superimposed stars. It appeared that a new Taylor Swift era was upon us — that the old happy-go-lucky Taylor was not, in fact, dead. Or did it? It wasonly an Instagram photo, just one more picture in an infinite content scroll. But it also came from a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig.

As expected, the summery post sent Swifties sifting through each detail with a fine-tooth comb. What did the trees symbolize? An overdue vacation? A recently purchased beach house? A secret palm-frond collection? Or maybe, as many surmised, it was new music. One Twitter user predicted that the number of stars in the background of the photo hinted at a single drop: “There’s about 60/61 [stars]️. There’s 61 days until April 26, FRIDAY, a SINGLE RELEASE day!” Another said it was the unofficial announcement of her next LP: “Okay so in this picture there are 4 palm trees on the left (4 country albums). There are two palm trees on the right (2 pop albums). There is one large palm tree in the middle. This represents her new album.” These may sound like ludicrous conspiracy theories — for the record, they were mostly correct — but they fit firmly within the Taylor Swift Musical Universe (it’s like the Marvel Cinematic Universe but with more guitars and fewer Stan Lee cameos).

“I posted that the day that I finished the seventh album,” says Swift about the photo. “I couldn’t expect [my fans] to know that. I figured they’d figure it out later, but a lot of their theories were actually correct. Those Easter eggs were just trying to establish that tone, which I foreshadowed ages ago in a Spotify vertical video for ‘Delicate’ by painting my nails those [pastel] colors.”

It’s now April, and the 29-year-old pop star is in a Los Angeles photo studio, giving her first sit-down magazine interview in three years. She wants to discuss the art of placing hints inside her work, as well as the upcoming record, which she recorded as soon as she finished the Reputation Tour. She’s also keen on detailing her own obsessions, talking up the TV shows, books, and songs that help shape her outlook on life.

Over the past 13 years, Swift has perfected the pop culture feedback loop: She shares updates about her life and drops hints about new music, which fans then gobble up and re-promote with their own theories, which Swift then re-shares on her Tumblr or incorporates into future clues. It’s like a T-Swift-built Escher staircase of personal memories and moments that tease what’s next. “I’ve trained them to be that way,” she says of her fans’ astute detective work. Swift is a pop culture fanatic herself (see: the jean jacket she’s wearing on the EW cover) and has an innate understanding of the lengths her audience will go to be a part of the original creation. “I love that they like the cryptic hint-dropping. Because as long as they like it, I’ll keep doing it. It’s fun. It feels mischievous and playful.”

Through this approach, Swift has designed the ultimate artistic scavenger hunt — and it’s easy to get swept up in its drama, even if you don’t listen to her music. Her moments aren’t always hidden, either. Sometimes Swift highlights aspects of her world just so fans feel like they’re on the journey with her. Like the time in March 2018 when pop singer Hayley Kiyoko was accused of shading Swift after mentioning her name during an interview. On Tumblr, Swift re-shared a fan’s post, adding commentary that defended Kiyoko, which immediately dispelled any conflicts between the two artists; Swift’s post subsequently received more than 29,000 notes. Four months later, she invited Kiyoko on stage during the Reputation Tour to sing her hit “Curious.” Kiyoko returned the favor when she had Swift join her that December at a benefit on behalf of the LGBTQ organization the Ally Coalition to perform “Delicate.” Fans of both artists were elated by the mutual support.

The feedback loop also extends outside of music. In October 2018, Swift broke her silence about politics by publicly endorsing two candidates for office in her adopted state of Tennessee, while encouraging her followers to register to vote. She kept up the civic momentum through Election Day when she asked fans to post selfies after voting; Swift then eagerly re-promoted her favorites on Instagram stories.

This practice of sharing and re-sharing and sharing again is why listeners consider Swift one of the world’s most accessible pop stars, someone willing to not only interact with her audience but invite them to secret listening sessions, or make the occasional surprise visit to their wedding or prom. It’s a symbiotic relationship, one that, as Swift tells EW, helped her dig out of the darker era of reputation. “It’s definitely the fans that made that tonal shift in the way I was feeling,” she says. “Songwriters need to communicate, and part of communicating correctly is when you put out a message that is understood the way you meant it. reputation was interesting because I’d never before had an album that wasn’t fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it’s actually about love and friendship, and finding out what your priorities are.”

Then, during the Reputation Tour, she had an epiphany: that despite the caricature that she thought had been created of her, there were many people who saw what others had simply refused to. “I would look out into the audience and I’d see these amazing, thoughtful, caring, wonderful, empathetic people,” she says. “So often with our takedown culture, talking s— about a celebrity is basically the same as talking s— about the new iPhone. So when I go and I meet fans, I see that they actually see me as a flesh-and-blood human being. That — as contrived as it may sound — changed [me] completely, assigning humanity to my life.”

At tour’s end, she channeled that positive energy into the studio, recording the new album in just under three months. But the fast pace won’t mean a short LP. Swift confirmed that her seventh record (she hasn’t announced a title yet; the working nickname among fans is TS7) will include more songs than any of her previous releases. “I try not to go into making an album with any expectation,” she says. “I started to write so much that I knew immediately it would probably be bigger.”

The project will also feature a mix of old and new collaborators (on the candy-coated lead single “ME!” Swift brought in Panic! At the Disco frontman Brendon Urie and coproducer Joel Little, both of whom she had never worked with), but she is unsurprisingly coy about doling out much more information, as if doing so would break the carefully honed T-Swiftian feedback loop. “There’s a lot of a lot on this album,” she says. “I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing…. You get some joyful songs and you get the bops, as they say.” There’s also, she adds, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

She gives us one more clue: The true distinction between TS7 and reputation is in the delivery. “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

The past month has seen a deluge of Swift activity, from the release of the new single to dropping more hints in interviews about the record and its title, which is apparently hidden somewhere inside the “ME!” music video (current fan guesses include Kaleidoscope and Daisy). But if the Easter eggs from the pop star seem like a business-as-usual routine, she says this album does indeed mark a new era of her life, where she’s been better able to prioritize what’s important to her.

“Our priorities can get messed up existing in a society that puts a currency on curating the way people see your life,” she says. “Social media has given people a way to express their art. I use it to connect with fans. But on the downside you feel like there are 3 trillion new invisible hoops that you have to jump through, and you feel like you’ll never be able to jump through them all correctly. I — along with a lot of my friends and fans — am trying to figure out how to navigate living my life and not just curating what I want people to think living my life is. I’m not always able to maintain a balance, and I think that’s important for everyone to know about. We’re always learning, and that’s something that I also had to learn — that I’ve got to be brave enough to learn. Learning in public is so humiliating sometimes…. Do I feel more balanced in my life than I ever have before? Um, probably yeah. But is that permanent? No. And I think being okay with that has put me in a bit of a better position.” Strong words to live by, to quote, to re-share, to tweet back to her, and see if she’ll respond.

(x)

#taylor swift #ew #interview #article #ts7

[letterboxd]

Locked In.

The director of new documentary Spaceship Earth on snark, queer cinema, the survival of our species, and the ten films he’d take into a biosphere.

In 1991, eight people entered a vivarium to conduct a two-year experiment on whether humans could become fully self-sufficient inside a closed system on this—or any other—planet. Calling themselves the Synergists, the small collective, led by a charismatic chap named John Allen, had backgrounds in theater, art, science and business, and they became media superstars for a short period of time.

With much of the world sheltering in place in cramped apartments, many of us can only dream of being locked-down inside a human-scale terrarium complete with lush gardens, creative friends and a cook as inventive as Biospherian Sally Silverstone. Biosphere 2, which still stands on a ranch in Arizona, looks really inviting right now.

But there are complexities, tensions and controversies in an experiment like this, as documentarian Matt Wolf explores in his new film Spaceship Earth, which blends fantastic archive footage and present-day interviews to bring those two years to light.

Biospherians (left to right): Bernd Zabel, Taber MacMullen (top) Mark Van Thillo, Jane Poynter, Linda Leigh, Roy Walford (middle), Abigail Alling and Sally Silverstone (bottom) posing inside Biosphere 2 in 1990. / Photo courtesy of NEON

Wolf talks with Letterboxd’s editor-in-chief Gemma Gracewood about the lessons we can learn from the Biospherians amidst the Covid-19 pandemic, the ten films he’d take into a biosphere with him, and the dangers of ignoring young people.

How (and where) are you during this pandemic? Matt Wolf: I’m doing well. I’m in my living room in the Lower East Side of New York, where I am every day, and I’m doing okay because I'm throwing myself into this film release. It’s been a real relief to have something to do instead of just reading the news and being trapped at home. The timing is uncanny, but I’m seizing the moment. I’m very happy to be participating and doing lots of virtual events and promoting the film so that people will watch it, because I hope that it will give some perspective for what we’re going through.

That’s the next obvious question: how did your work on Spaceship Earth prepare you for this extraordinary moment, and what advice do you have for those of us sheltering in our own tiny biospheres? It’s funny. My producer Stacey Reiss says the Biospherians were in their world for two years; we were in our filmmaking bubble for two years, too. And so, we could relate in that way but we never thought we would relate so vividly to that experience. And I think, you know, talking to the Biospherians, something that they relayed was that it really was a transformative experience, because they were responsible for creating their own atmosphere, for producing the food they needed to eat, and they really couldn’t take anything for granted—even a breath of fresh air. So when they came out they felt a renewed connection to the larger world, and a different sense of responsibility and consequence for their actions.

I hope that in some ways we all feel transformed by this experience, and it allows us to engage with the world in a different way, because we’re going to have to think and act differently now that we really understand in a visual sense how fragile the world really is.

The exterior of Biosphere 2. / Photo courtesy of NEON

Yes, it feels like the Earth is breathing. It’s such an interesting time. Yeah. I think we need to make a connection between climate change and what’s happening now. If we don’t change how we behave, the threat of long-term catastrophe is inevitable. Not to take this to a dark place, but it’s true.

From a filmmaking perspective, we’re living in a time where, with social media and smartphones, we are creating our own content every second of every day. One thing that’s endlessly fascinating about archive-based films like yours, is how lucky we are to have had people—who were not necessarily filmmakers themselves—document these extraordinary experiences. What was it like when you first started diving into that footage? I’m actually always on the lookout for stories that have a strong basis in archival material that can help activate them and bring them into the present. I was certainly determined to tell this story; it was extraordinary and I knew there was a great deal of media coverage. But when I went to meet the Synergists at their ranch, I was brought into this temperature-controlled room that had hundreds of 16mm film canisters, analog video cassettes, thousands of images; it was astonishing that they had had the foresight to not only document what they were doing but also to preserve it in such a meticulous way.

To me it was an indication that they recognized that what they were doing was history, but also kind of poignant because nobody had taken an interest in that archive and tapped into it, so it felt like an incredible opportunity, but also a responsibility as well. It would have been a much less potent film had we not had that material as well as the video diaries that Biospherian Roy Walford shot inside.

For me, it is unprecedented to be able to tell a story—particularly a story with so many narrative twists and turns—that has archival footage that covers literally every beat of the story. I don’t expect that to happen often in my filmmaking career! This was an extraordinary situation.

Biospherian Linda Leigh and tourists. / Photo courtesy of NEON

Okay Matt, you’re heading into the Biosphere, with no internet, and you can only take ten films with you. What are the films that you’d pack to take? To help you choose, we’ll give you some guidelines. What’s the movie you’ve watched the most? I would say the movie I’ve watched the most, ever, is Todd Haynes’ movie Superstar: The Karen Carpenter Story. It was a movie made with Barbie dolls about Karen Carpenter’s life. I have just watched that movie over and over and over again, and it’s a bootleg movie because the Carpenter estate suppressed it. It’s one of those things made of lore, in which people exchanged low-quality file transfers, and I got my hands on a high-quality restoration recently. I love showing it to people who haven’t seen it, and it’s a total joy to watch that movie. That is the movie that I would definitely need to have access to if I could never see anything again.

Can you name a favorite documentary; one that has meaning for you? Every once in a while I watch this documentary that really is in some ways my favorite. To me it’s like taking a bath to watch this film, a bath for my brain. It’s called A Skin Too Few: The Days of Nick Drake. I’ve only been able to find it on YouTube; it’s not in distribution. I’m a fan, but the film is just made in such a delicate and visually precise way. It represents the type of filmmaking that I really love. It’s seemingly straightforward as a documentary, but I think in its subtlety it is really just a soothing and absorbing film.

What’s the film you’d take to entertain your fellow Biospherians on a Friday night? One of my favorites from when i was a kid that I think would be fun to watch on a Friday night is Troop Beverly Hills. If you want just like cotton candy, that would be my version of that.

Shelley Long and her Wilderness Girls in ‘Troop Beverly Hills’ (1989).

A film for the inevitable long, lonely, insomniac nights? If I was feeling depressed and lonely, and like really leaning into those feelings of isolation, maybe like Fassbinder’s Ali: Fear Eats the Soul. I remember that as being a film that was at once devastating but also comforting. Just about human connection and human alienation. I just think it’s so deep and true.

What about a film that you like to impress people with because of the way it looks, or makes you feel? One of my favorite movies that I just love to show to people because it’s so amazing—well, there’s two that fit into that category, movies that are fun to show people because they are unbelievable and true. One is Hail the New Puritan by the artist Charlie Atlas. It’s a documentary about Michael Clark, a kind of punk ballet dancer from London in the 80s, who collaborated with Leigh Bowery and The Fall. Charlie, the filmmaker, made it in the model of A Hard Day’s Night, the Beatles vehicle, and it follows this gay punk ballet dancer on his nightlife and pseudo-celebrity adventures through 80s punk London.

And then my other film that is too good to be true is A Bigger Splash [the 1973 Jack Hazen documentary, not the 2015 Luca Guadagnino feature], which is a similarly constructed documentary about David Hockney that feels like a fiction film staged with all the characters from his orbit during the height of his popularity in swinging London. It’s such a great depiction of an artist’s life and it’s completely baffling how the filmmaker was able to generate such access and to construct a film that feels so dramatized.

What film has had the biggest impact on you, whether for its meaning or for its execution? One of the films that had a big effect on me and that I really think the communal experience is central to, is Derek Jarman’s film Blue. He made it when he was dying of AIDS and it’s a lush soundscape with a kind of like non-linear stream of thoughts coming from Derek Jarman, and a beautiful soundscape, with material from Brian Eno. It’s a feature-length film where the screen is just blue. Every time that film screens in the cinema, I take the opportunity to go because it’s almost a religious experience. A cinematic religious experience. I feel really moved by it but it also is something to share with other people, in an unusual way.

And a film that’s stuck with you since you were young? American Family—the documentary series that gave birth to reality TV. In the 1970s Alan and Susan Raymond made this epic PBS cinema-vérité series that followed this upper-middle-class San Diego, Californian family. In one episode, their son Lance Loud moves to New York and is living at the Chelsea Hotel and his mum comes to visit and he comes out of the closet. It is a unique, different world, many of the Andy Warhol superstars are there. It [felt like] the first time a gay person had appeared on television and the drama unfolds over many episodes.

It was this huge controversy, people thought they were disgusting and perverse for putting their lives on television like this, but it also is kind of mundane and boring, just like a lot of the early cinema vérité, but it really laid the groundwork for what would become reality television, except it’s not constructed for the camera in the way that we expect these shows to be. I like watching serialized family stories like that, and this is the foundation of it.

What’s a recent queer film you’d take in with you? There’s this movie I was obsessed with. I just thought of it the other day: Saint Laurent, by Bertrand Bonello. It came out a few years ago and it’s a completely narcotic, kaleidoscopic biopic, and I think it’s so rare that biopics actually inhabit the psyches of their famous protagonist and that the actors don’t just feel like they’re doing pantomime. This film really captures not only the disintegrating psychology of Yves Saint Laurent, but also the context of the gay subcultures of Paris in 1970s and the 80s. It’s this super-vivid depiction of subculture, but through a very narcotic lens. I just was obsessed with that film. It’s not really considered ‘queer film’, I think it’s more considered a biopic, but to me it’s one of the more interesting depictions of queer culture in recent years.

Gaspard Ulliel as Yves Saint Laurent in Bertrand Bonello’s ‘Saint Laurent’ (2014).

And finally, a fond, family-viewing memory? I always loved Willy Wonka & the Chocolate Factory. I mean, I wouldn’t say it’s one of my favorite films but every time I see it, it’s like, “Oh, I get why I was obsessed with that as a kid”. I love the visual world and Gene Wilder is so bizarre and a little creepy. If you look at it as an adult there’s something kind of perverse about it, but I love a kind of analog fantasy world! So that film is, you might say, delicious.

You could say Spaceship Earth is a kind of analog fantasy world—the Biosphere itself is a living fantasy. I’m interested to know what you’d say to younger film lovers of today about what they might get out of seeing these avant-garde theater-makers-turned-Biospherians of yesterday? This film is more targeted towards younger people. I feel like there is a certain cynicism amongst adults that completely discounts young people and their ability to reimagine the world in creative ways. This is something I really dealt with in my film Teenage, the history of the invention of teenagers: adults always try to control young people. They corral the inventiveness of young people and the languages that they speak and invent. Young people all fight back, trying to define the world on their own terms, and this is really a film about a group of people who came together in their 20s and decided to reimagine and redefine, literally, a new world. There are all sorts of forces of establishment that tried to stop them and question and discount them.

We live in a world that’s pretty cynical and brings a lot of skepticism to people who try to do things differently, and I think as a 20-year-old you might see yourself in the idealism of these unusual people. Don’t you think that’s true? That, like, 20-year-olds aren’t as snarky and cynical? I feel like 20-year-olds are earnest and sincere and idealistic. Maybe I’m out of touch, but that was my experience and part of what I’ve observed in other young people.

I just feel like that ‘snarkiness’ that is often represented in the media is the cynicism that comes with the bitterness of life experience. And when you’re young and don’t have hardships and disappointments that have maybe hardened you with a certain kind of cynicism, it is possible to think more expansively and more optimistically about the world. We really need to tap into that energy. It’s not really helpful at this moment to, I don’t know, to shoot down anyone who’s trying something new. I hadn’t thought about that, but I'd be really curious what young people think of the film.

That’s a useful perspective, and makes me think of how, over the last couple of years, we have seen so much grassroots activism from young people, and now with the global lockdown there’s been a quieting of the youth climate movement, at least out there on the streets. You’re totally right. It was this big loud wave of activity and now with the pandemic it has really been washed over. But what they're talking about is long-term consequences, and if we don’t address the underlying issues that have related to the collapse of our society as a result of uncontrollable environmental factors, the survival of our species is threatened.

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‘Spaceship Earth’ is available for virtual screenings and on streaming services now. Our thanks to NEON.

#matt wolf #spaceship earth #biosphere ii #biospherians #john allen #documentary #queer film #queer filmmaker #letterboxd #NEON #virtual screening

[path-of-my-childhood]

New Reputation: Taylor Swift shares intel on TS7, fan theories, and her next era

By: Alex Suskind for Entertainment Weekly Date: May 9th 2019

Snakes begone. The 29-year-old superstar is back with a new album and a new outlook on life. We go inside the pop monarch's latest chapter.

THE PALM TREES ARRIVED IN FEBRUARY, seven in all, set against a pastel blue backdrop with superimposed stars. It appeared that a new Taylor Swift era was upon us — that the old happy-go-lucky Taylor was not, in fact, dead. Or did it? It was only an Instagram photo, just one more picture in an infinite content scroll. But it also came from a pop star known for prodigious hint-dropping, whose fans turn every piece of info into an online archaeological dig.

As expected, the summery post sent Swifties sifting through each detail with a fine-tooth comb. What did the trees symbolize? An overdue vacation? A recently purchased beach house? A secret palm-frond collection? Or maybe, as many surmised, it was new music. One Twitter user predicted that the number of stars in the background of the photo hinted at a single drop: “There’s about 60/61 [stars]️. There’s 61 days until April 26, FRIDAY, a SINGLE RELEASE day!” Another said it was the unofficial announcement of her next LP: “Okay so in this picture there are 4 palm trees on the left (4 country albums). There are two palm trees on the right (2 pop albums). There is one large palm tree in the middle. This represents her new album.” These may sound like ludicrous conspiracy theories — for the record, they were mostly correct — but they fit firmly within the Taylor Swift Musical Universe (it’s like the Marvel Cinematic Universe but with more guitars and fewer Stan Lee cameos).

“I posted that the day that I finished the seventh album,” says Swift about the photo. “I couldn’t expect [my fans] to know that. I figured they’d figure it out later, but a lot of their theories were actually correct. Those Easter eggs were just trying to establish that tone, which I foreshadowed ages ago in a Spotify vertical video for ‘Delicate’ by painting my nails those [pastel] colors.”

It’s now April, and the 29-year-old pop star is in a Los Angeles photo studio, giving her first sit-down magazine interview in three years. She wants to discuss the art of placing hints inside her work, as well as the upcoming record, which she recorded as soon as she finished the Reputation Tour. She’s also keen on detailing her own obsessions, talking up the TV shows, books, and songs that help shape her outlook on life.

Over the past 13 years, Swift has perfected the pop culture feedback loop: She shares updates about her life and drops hints about new music, which fans then gobble up and re-promote with their own theories, which Swift then re-shares on her Tumblr or incorporates into future clues. It’s like a T-Swift-built Escher staircase of personal memories and moments that tease what’s next. “I’ve trained them to be that way,” she says of her fans’ astute detective work. Swift is a pop culture fanatic herself (see: the jean jacket she’s wearing on the EW cover) and has an innate understanding of the lengths her audience will go to be a part of the original creation. “I love that they like the cryptic hint-dropping. Because as long as they like it, I’ll keep doing it. It’s fun. It feels mischievous and playful.”

Through this approach, Swift has designed the ultimate artistic scavenger hunt — and it’s easy to get swept up in its drama, even if you don’t listen to her music. Her moments aren’t always hidden, either. Sometimes Swift highlights aspects of her world just so fans feel like they’re on the journey with her. Like the time in March 2018 when pop singer Hayley Kiyoko was accused of shading Swift after mentioning her name during an interview. On Tumblr, Swift re-shared a fan’s post, adding commentary that defended Kiyoko, which immediately dispelled any conflicts between the two artists; Swift’s post subsequently received more than 29,000 notes. Four months later, she invited Kiyoko on stage during the Reputation Tour to sing her hit “Curious.” Kiyoko returned the favor when she had Swift join her that December at a benefit on behalf of the LGBTQ organization the Ally Coalition to perform “Delicate.” Fans of both artists were elated by the mutual support.

The feedback loop also extends outside of music. In October 2018, Swift broke her silence about politics by publicly endorsing two candidates for office in her adopted state of Tennessee, while encouraging her followers to register to vote. She kept up the civic momentum through Election Day when she asked fans to post selfies after voting; Swift then eagerly re-promoted her favorites on Instagram stories.

This practice of sharing and re-sharing and sharing again is why listeners consider Swift one of the world’s most accessible pop stars, someone willing to not only interact with her audience but invite them to secret listening sessions, or make the occasional surprise visit to their wedding or prom. It’s a symbiotic relationship, one that, as Swift tells EW, helped her dig out of the darker era of reputation. “It’s definitely the fans that made that tonal shift in the way I was feeling,” she says. “Songwriters need to communicate, and part of communicating correctly is when you put out a message that is understood the way you meant it. reputation was interesting because I’d never before had an album that wasn’t fully understood until it was seen live. When it first came out everyone thought it was just going to be angry; upon listening to the whole thing they realized it’s actually about love and friendship, and finding out what your priorities are.”

Then, during the Reputation Tour, she had an epiphany: that despite the caricature that she thought had been created of her, there were many people who saw what others had simply refused to. “I would look out into the audience and I’d see these amazing, thoughtful, caring, wonderful, empathetic people,” she says. “So often with our takedown culture, talking s— about a celebrity is basically the same as talking s— about the new iPhone. So when I go and I meet fans, I see that they actually see me as a flesh-and-blood human being. That — as contrived as it may sound — changed [me] completely, assigning humanity to my life.”

At tour’s end, she channeled that positive energy into the studio, recording the new album in just under three months. But the fast pace won’t mean a short LP. Swift confirmed that her seventh record (she hasn’t announced a title yet; the working nickname among fans is TS7) will include more songs than any of her previous releases. “I try not to go into making an album with any expectation,” she says. “I started to write so much that I knew immediately it would probably be bigger.”

The project will also feature a mix of old and new collaborators (on the candy-coated lead single “ME!” Swift brought in Panic! At the Disco frontman Brendon Urie and coproducer Joel Little, both of whom she had never worked with), but she is unsurprisingly coy about doling out much more information, as if doing so would break the carefully honed T-Swiftian feedback loop. “There’s a lot of a lot on this album,” she says. “I’m trying to convey an emotional spectrum. I definitely don’t wanna have too much of one thing…. You get some joyful songs and you get the bops, as they say.” There’s also, she adds, some “really, really, really, really sad songs,” but “not enough to where you need to worry about me.”

She gives us one more clue: The true distinction between TS7 and reputation is in the delivery. “This time around I feel more comfortable being brave enough to be vulnerable, because my fans are brave enough to be vulnerable with me. Once people delve into the album, it’ll become pretty clear that that’s more of the fingerprint of this — that it’s much more of a singer-songwriter, personal journey than the last one.”

The past month has seen a deluge of Swift activity, from the release of the new single to dropping more hints in interviews about the record and its title, which is apparently hidden somewhere inside the “ME!” music video (current fan guesses include Kaleidoscope and Daisy). But if the Easter eggs from the pop star seem like a business-as-usual routine, she says this album does indeed mark a new era of her life, where she’s been better able to prioritize what’s important to her.

“Our priorities can get messed up existing in a society that puts a currency on curating the way people see your life,” she says. “Social media has given people a way to express their art. I use it to connect with fans. But on the downside you feel like there are 3 trillion new invisible hoops that you have to jump through, and you feel like you’ll never be able to jump through them all correctly. I — along with a lot of my friends and fans — am trying to figure out how to navigate living my life and not just curating what I want people to think living my life is. I’m not always able to maintain a balance, and I think that’s important for everyone to know about. We’re always learning, and that’s something that I also had to learn — that I’ve got to be brave enough to learn. Learning in public is so humiliating sometimes… Do I feel more balanced in my life than I ever have before? Um, probably yeah. But is that permanent? No. And I think being okay with that has put me in a bit of a better position.” Strong words to live by, to quote, to re-share, to tweet back to her, and see if she’ll respond.

You can read the original article HERE.

#the whole thing =) #taylor swift #interview #entertainment weekly #by taylor

[hypospace]

25 Things I Learnt by 25

Good and evil are universal constants of life. They exist beyond the scopes of race, religion and nationality. Don’t make the error of associating someone’s acts of good or evil with their physical attributes.

There is no shame in pursuing formal education in something you were once passionate about but never making a living out of it. The learning journey is already itself a destination, and something you should be very proud of.

Growing up is a continuous series of learning, unlearning and relearning. You will find that some ideas you grew up with are unhealthy to your well-being and the people around you. Learn to recognize and let go of those ideas. Accept that you can and will do better.

Every new day is the first day of the rest of your life. It’s never too late to start learning and pursuing things you truly enjoy doing while you are here.

A healthy dose of nostalgia is good sometimes. To remind yourself of things that exist outside your current worries in life, and that whatever you are going through now will most likely pass - just like everything else.

It is perfectly okay to be passionate about something you might never master. It is the passion, not the skills, that make it meaningful. Keep being into it anyway.

The help you give other people can sometimes look awfully similar to the help you need. Listen to your inner call for help every once in a while.

Sharing your emotions with people you trust and love is so important as you grow up. Be it a group of close friends or a partner. Find people in your life whom you can create a safe space around.

Be mindful of the privileges that have been given to you in life before passing judgments and comments on other people who might not have had the same opportunities in life as you.

Take some time every day to look at the sunrise and sunset - you never know when it will be your last.

“The reality” often means different things for different people. Just because you have experienced something to be true doesn’t mean it is true for every single person on the planet. Refrain from generalizing your personal experience to the whole world. (And learn your hypothesis testing.)

There is as much love and beauty in this world as there is cruelty and terror. Never fail to choose and fight for the former over the latter.

Blissful ignorance is a dangerous thing that allows evil to thrive. Many unethical, unsustainable and harmful practices in the world are relying on people simply being ignorant of what’s going on outside their own lives.

People are often more profound and interesting than they initially let on - throw your first impressions and preconceived ideas of them out the window.

Being only in your own head and seeing only from your own perspective for too long is bound to turn out bad for you. Learn to talk to other people who might have a different point of view than yours, and more importantly, learn to agree to disagree.

Beautiful memories are beautiful because they don’t last forever. Knowing that you have experienced something that only passes you once in this lifetime makes it all more meaningful.

When life gets a little overwhelming, it often helps to take a moment and step outside of your own frame of reference and see things in a bigger picture. You will find that most of it will not matter in the long run and is not worth losing your mind and self over.

Never trust billionaires and millionaires when they claim to be “self-made”. No one earns billions of dollars without participating in some kind of exploitation of the working class.

A lot of stress in life comes from trying to have control over things that are beyond your control.

In a time where empathy is scarce, the ability to put yourself in another’s position makes all the difference in the world.

Whatever you see on someone’s social media profile can never really represent more than a tiny fraction of their complex life. Stop comparing your whole life to instances of someone else’s.

Our way of living for the past century takes a heavy toll on the world’s natural state and resources. Unless humans decide to collectively educate ourselves and take action today, we are actively preparing our children’s generation for a hell on earth in about 30 years’ time.

Radiohead finally made sense while being jobless at 23.

Grief over the loss of something or someone can come from different places and manifest itself in different forms. It’s important to acknowledge that it’s an emotion that you may or may not completely get over, and will become part of your life forever - and that’s okay.

Everybody in the world is just trying their best to play and survive a rigged game - be good to each other. (Except for those who rigged the game, I guess.)

“Let everything happen to you Beauty and terror Just keep going No feeling is final”

— Rainer Maria Rilke