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soveryanon · 4 years

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Reviewing time for MAG173!

- … It was absolutely terrible, horrible, upsetting, and I loved it – it was indeed answering that little question about the children, the answer was still absolutely horrifying even given the circumstances, and I needed to hear that level of discomfort&upset from Jon and Martin themselves about victims in general. (Though I’m a bit “it took CHILDREN for you to truly react with horror?!” x”))

I really like how this episode already felt like something that was… not a conclusion (really not; not yet), but something that couldn’t have happened right at the start of the season. It demonstrated explicitly why the “smiting” is not a viable option; it returned to the foreground what the actual problem is (the Fear-system, not the individual avatars having a small or large benefit in it); and it allowed for Jon and Martin to let their points come across a bit more explicitly in a way that didn’t feel like a full blown-up conflict either. They argue, they have conflicting views, but they’re also getting better at understanding the other’s mindset and limitations (the journey is not only through the domains; it’s also a journey of navigating with someone else who operates differently from you, and has other ways to cope, and learning how to push forwards carrying your differences).

- The “statements” of the children were heartbreaking ;_; Poem for The Stranger, formal report for The End, botanic manual for The Flesh, theatrical play for The Web… and now a children’s book for The Dark.

Stylistically, the use of repetitions and more simplistic words, constructions and reasoning, in Jack and Caitlin’s stories, really made me feel that it was about children, for children, in the mind of children? I love that their fears felt extremely logical: there is an absolute certainty in their fears, in what the monsters are, what they would do to them. The monsters and their tortures (what they want to do to the kids) are simple, but also very concrete and straightforward (and so is the name “Night Street” for the territory! It tells what it is). The kids’ beliefs are ruthlessly clinical. There’s no need to be fancy; it works as is. Even the adults’ rules sound concrete – but arbitrary and cruel, becoming neglect, leaving the kids at the mercy of monsters. And it’s interesting that we don’t see the monsters actually catching any of the kids: the apocalypse is mostly an extension of their fears removing anything that could appease or protect them (there is no light, no day after the night, nobody comes when they scream and the “adults” are unresponsive and useless; the kids are on their own).

On that note, pretty sure that the adults mentioned were not actually there (“Dad’s dead. Mum’s here but she lost it a while back. So now it’s just me.”, “Some grown-ups are not in bed, but they do not want to help Jack. They want to be alone. They don’t want any children around at all. They tell Jack it is after his bedtime, and put him in another dark room where he cannot run…! So no grown-ups told Jack to run into the dark.”, “Her mother is downstairs, but she is part of the sofa now. She won’t stop staring at the television and laughing. Laughing and laughing. She doesn’t like it, when Caitlin is awake. She doesn’t hear it, if she screams.”), mostly convictions in the kids’ mind to reinforce their hopelessness. But aouch: it seems like the domains, while showing some aspects of other fears (the kids are constantly hunted, what the monsters could do to them is close to Flesh-territory, etc.), are not really functioning as “collaborative” projects. If they were, pretty sure that some parents could be ensnared by Desolation or Beholding, for example, forced to watch their children getting tortured but unable to help and save them ;;

How the fear worked was also very on point for children’s psyche:

(MAG173) ARCHIVIST: “Callum smiles and says he’s found a brand new monster! Jack doesn’t want to hear about it. He knows that when Callum tells him what it is, then it will start to chase him. He won’t see it, of course, because it’s just too dark! But he will know it’s there.”

Callum literally creates the fears of the monsters, which creates the monsters themselves. The conviction makes them true. And it really works that way when you’re a kid! Something that has been told to you, or that you saw/read somewhere (“Caitlin read a picture book once, full of horrible spiky fish with big eyes and crooked teeth. She would see them every time she went to bed for weeks. That was what the monsters looked like, she was sure of it. They would grip her, with their nasty cold fins, and bite her head clean off.”), is too powerful to be contained in pages and becomes a tangible threat that you’re sure is personally coming after you.

- … I live for the Dark vs. Eye animosity and:

(MAG173) ARCHIVIST: Childish fears are… simplistic. MARTIN: [LONG EXHALE] ARCHIVIST: Direct. [SHAKINGLY] The Eye prefers the more complex neuroses and disquiets of a fully developed mind…! So the children are allowed to age… MARTIN: [DEEP INTAKES OF BREATH] ARCHIVIST: And they are placed in domains where their fears can… mature. Domains like this one. MARTIN: Christ, that’s… that’s messed up! ARCHIVIST: … Yes.

… The Eye throwing the kids at The Dark, because they’re not that satisfying on their own, so The Dark can have them. Beholding, please.

é_è Regarding the kids’ fears “maturing”, we get glimpses of that with Jack and Caitlin – there are very clear Hunt-vibes (being constantly pursued), but also some Lonely (nobody is coming for them), some Flesh and Slaughter (getting mutilated, consumed, being meat for the monsters), and I could very well see some Spiral sneaking in (not being confident in their sense of reality)…

The most upsetting part is how this domain and its function… felt thought through? That sort of grooming requires organisation to engineer a fear-machine. It’s not only instinct and impulse: it’s planned, organised towards a goal because current things are not good enough as is. It was stated time and time again (by Leitner, by Gertrude, by Gerry) that the Fears were mostly impulse, not really “thinking”, but this domain feels so… calculated, demonstrating a form of sentience behind it? I think that was the most upsetting reveal this episode – of course children wouldn’t have been safe, but to learn that they’re “allowed to age” only for their fears to develop and get more satisfying for The Eye? That’s truly horrifying.

(- I’m also a bit relieved to know what is happening to them, because there could have been “worse”: this episode could have talked about people who were pregnant when the Change happened, or about very very young infants. Though I can’t help but wonder about the babies and how they can grow up without adults to mirror, without forms of communication with their peers. Right now, the only hypothesis I have would be that they… could become “Inheritors” as described in MAG134, if left on their own and only raised with and around the Fears?)

- … I really wasn’t expecting Callum to come back, after the Church Of The Divine Host chapter seemed to have closed with Manuela. Well – I had trouble leaving behind the faint possibility that “Rayner” had somehow managed to hop into a new host, but I wasn’t expecting Callum to come back for himself.

(MAG073) ARCHIVIST: You said it started with a kidnapping case? BASIRA: Yeah. Callum Brodie. Twelve… twelve years old. Disappeared from his home in Dalston three weeks ago. Sitter was asleep when the mother came home, the front door was open, there was no sign of him. There was no forced entry so it started out as a missing persons case, but they got a witness claiming he’d seen three unknown figures entering the Brodies’ home that night, so it was kicked up to Serious Crime. There was some back and forth with Kidnap Squad since no ransom demand had been made, but not much progress in terms of finding the kid. […] The briefing was pretty short. We were told that Callum Brodie had been found and it was suspected he was being held by a man named Maxwell Rayner, with an unknown number of accomplices. There were suspicions that there might be cult involvement. That’s when I phoned you. […] Next to him was an old chair that looked like it could have come from a dinner table. The wood was stained, covered in dark mould, and tied to it with thin metal wire was Callum Brodie. The kid's eyes were blank, though not clouded like the old man’s, and his face was locked in a silent scream. Rayner was facing him, thin, bony hands raised to his face. Something was… something was flowing out of his mouth. It looked like ink, but it flowed more like a heavy fog than any sort of liquid. It drips down his forearms and onto the floor, where it… it rolled towards Callum, climbing up the chair and oozing across the boy’s body towards his face. It was moving slowly, and had just reached his chest. The roaring sound seemed to come as it convulsed out of the old man’s mouth. […] The kid seemed fine. I mean, I’m sure he’ll need a lot of counselling, but he didn’t seem physically any worse for wear.

(MAG140) ARCHIVIST: So Edmond Halley was… Rayner. Or, at least… whatever was inside him. You said he was dead, though. BASIRA: I thought he was. We shot him to hell before he could, uh… “pour himself” into that kid.

(MAG143) MANUELA: But I could see in his eyes that Maxwell was so very tired. And all the words fell to nothing. Instead, we began the search for his successor, a new host for his… continuation. He would regain his strength, and we would plan our next move. It was difficult, though. The approaching culmination had meant Maxwell had not prepared another host, and the search for another vessel was… long and involved. Finally, about eighteen months ago, we found one: a child, whose father had, by coincidence, been directly marked by The Dark. It was a desperate plan, but we were desperate, a shadow of what we had been. Maxwell left me here, to guard the Black Sun, and everyone else left to help in his rebirth. [INHALE] But it didn’t work, did it? I can only assume we were too weak to hide from you, and you struck when Maxwell was vulnerable.

+ Manuela’s words kinda confirming the hypothesis that he was the son of MAG052’s statement-giver, Phillip Brown, the awful cop who had reported on Robert Montauk’s death (MAG052: “Martin hasn’t had much luck tracking down Mr Brown himself. According to Caroline Brodie, his ex-wife, she left him in 2004, after his dismissal from the prison service pushed him further into alcoholism, and he became abusive. She said she got a single letter from him in 2009, asking for reconciliation, but she never replied. Martin says the letter was postmarked from Waterford in Ireland. But he’s been unable to track Mr Brown any further.”)

… I immediately went with the same reasoning/hope as Martin when listening to this episode, that it wasn’t actually Callum himself but Rayner/a dark cultist possessing him ;; And nope ;;

(MAG173) MARTIN: That’s the avatar for this place? ARCHIVIST: Callum Brodie, thirteen years old. He guides the children through their fears of The Dark. MARTIN: This is that kid Basira went after last year, right? The one the darkness cult took. So, so that’s not even a kid, that’s whatever was inside Maxwell Rayner, it’s just wearing his body! ARCHIVIST: [CALLING] Callum? [FOOTSTEPS APPROACHING] CALLUM: Yeah, what? ARCHIVIST: You remember when those people kidnapped you. What happened? CALLUM: Mm, it was fun! I just hid and the cops came and got me. [SCREAMS IN THE DISTANCE] ARCHIVIST: Tell the truth. [STATIC RISES] CALLUM: Augh…! I, I–I was, I was scared, alright? I was really, really… scared. [STATIC FADES] And it was dead dark, and… I couldn’t see anyone and, I didn’t know where I was and… And there–there was something on my face, and it was cold, and, and slimy, and it didn’t like me. Then there was a bang, and it was gone…! And… the police were there. [SCREAMS IN THE DISTANCE] ARCHIVIST: And what happened to the thing that tried to take you over? CALLUM: Dunno, it… went away. ARCHIVIST: It died in the light. CALLUM: Whatever! ARCHIVIST: And it was after that you started shoving smaller kids into cupboards, right? CALLUM: Yeah. Give them a taste of it. Make them afraid of the dark. [SCREAMS IN THE DISTANCE] ARCHIVIST: But you’ve always pushed around smaller children, haven’t you? CALLUM: They made me feel sick. I hate them! ARCHIVIST: And now? CALLUM: Now everyone’s afraid of me!

That was another thing which hurt a lot in this episode: the fact that, so far, Callum’s story felt “simple” in its horribleness: a kid, who got kidnapped by a cult, who almost got possessed by an evil Dark-something, who was rescued, who was probably traumatised but still physically saved. Basira had offhandedly mentioned that he would need help to process what had happened to him, but as far as we could tell, he was just a blameless victim who went home and that was it. And he still is on that front! … And he also turns out to be, and already was before the kidnapping case, a bully. And he’s only thirteen – you can’t judge and evaluate a kid’s actions as you do adults’! But what can you do, then?

It stings that Callum took on that role, because his father was an awful man and Caroline Brodie had apparently left him while pregnant or when Callum was a few weeks old, so Callum never really knew him, and the show has stated time and time again that blood doesn’t condition you to become someone or something, but Callum became a bully too even without his father (whether it’s independently or because the consequences of Philip’s actions were felt in other ways than his presence). It stings that Callum turns out to be both a victim and a bully, not caused but still nurtured by his own trauma: trying to reclaim some control by putting younger children through experiences similar to his own, and by trying to lie about how traumatising the kidnapping had been to him. And it’s still made clear that… the trauma led him to this. Brushing with the powers led him to this. And it’s still a thirteen-year-old kid that was probably let down and not cared after enough after his traumatic kidnapping (and was not provided with the necessary redressing before that, when he was a regular bully).

- Re: Jon compelling Callum to tell the truth:

* So Jon can still do that! I was wondering, since Oliver had pointed out Jon’s passiveness in his new role and Jon had not displayed the ability again since the Change, so far.

* I have various “!!” feelings about Jon not taking kids’ bullshit at face value and having the ability to make them tell the truth very matter-of-factly. That was… almost domestic. (And yeah, feeding the “Jon&Martin AU where they adopt twenty kids”)

* There has been a HUGE constant amongst avatars to picture their path towards their patron as logical and wanted, when we had had hints that it wasn’t that simple (Mike Crew comes to mind, in MAG091: “There are echoes of resignation, I think, almost desperation. That can’t be right, though. What reason would I have had not to jump? Not to become as I am now. Perhaps I just didn’t know the true joy of vertigo. It doesn’t matter.”). We got a vivid example with Callum, who tried to pretend that the kidnapping had been on his terms when he was actually terrified. Again and again, I can’t help but think about Jonah: if Jon were to compel him, to rip the truth from his struggling tongue, would we get a quite different biography from what he had sent to Jon in MAG160, which had been on his terms?

- ;; It was horrible and made a lot of sense that Jon… plainly accepted that the “ruling” avatar was a kid, but that Martin had more trouble understanding it. Jon had direct experience with children’s cruelty and intra-violence (his bully was 18 when he was 8); Martin’s own traumas, as far as we know, came from the adults that surrounded him (his father leaving, his grandfather dying, his mother falling apart).

Jon already knew very sharply that children can hurt children in “normal” circumstances, and had read enough about the Powers touching children or shaping their lives:

(MAG009, Julia Montauk) “Whatever I had seen my father doing in there, its effects had long since vanished. I don’t know why my father did what he did, and I doubt I ever will, but the more I go over these events in my head, the more sure I am that he had his reasons.” (MAG109) JULIA: I tried to live a normal life. I really did. I took jobs working in the backroom of offices where I wouldn’t need to meet anyone. I had boyfriends who promised they didn’t care. I burned through half a dozen counsellors. None of it worked. You see, my father’s always remained one of the darlings of the true crime community.

(MAG067, Jack Barnabas) “We sat on a bench as the sun went down, watching the sky redden, and Agnes asked me a question. It was the first time she’d said anything more than a few words since we left my flat. [STATIC] She asked me if I had a destiny.” (MAG139, Eugene Vanderstock) “And on top of that, sleeping peacefully among the fire… a baby. Untouched, unharmed, and to our eyes, alight with a burning divinity. We baptised her with the boiling water of Asag and named her… “Agnes”, as had been her mother’s final request. But… raising a messiah, as it turns out, is a lot more challenging than creating one.” (MAG145) ARTHUR: You might be right. But Agnes did. That’s the thing about an… “incarnation”, isn’t it? She was a child and… person as much as she was a god. And we messed that right up…! … I still remember when Diego brought us a book on childcare. [CHUCKLING] Roger’s body was still in her room, blackened and smoking from… when he tried to feed her. I thought for a moment he’d brought another one of his damn Leitners, but no! It was just a… regular ol’ book on looking after children…! But I was an idiot. Saw it as… attacking my leadership.

(MAG081) ARCHIVIST: There were supernatural things in the world, but they were rare – isolated and exaggerated, vastly outnumbered by wild tales and drunken imaginings. The one name I held in my mind as a true source of evil was Jurgen Leitner, and I knew him as the worst of it, for it was his name that had marked the encounter that scarred my youth. […] I do not know how many of them there are, or precisely how they separate, but I do know that the Eye – Beholding – was not the first that I encountered in my life. The first was the Spider. The Web. And I have no idea what that might mean. I was eight years old when my grandmother gave me the book.

(MAG101) MICHAEL: When he was in school, [Michael Shelley] lost a friend to something like me. His friend was named Ryan, but those in power simply called him schizophrenic. I don’t know if he was, but it doesn’t matter. He was so dreadfully afraid his world wasn’t real that to make it so was almost nothing. Michael was there when he was taken; he never got over what he saw. Or didn’t see. After much searching and despair, it drove him into the waiting arms of the Institute, where he met Gertrude Robinson.

(MAG111) GERRY: The things out there weren’t like taming fire, they couldn’t be contained or used for light or warmth. The best you could hope for from them, would be that they don’t spot you, and instead my mum chased after them, obsessed with others who had tried to stare at them without being blinded: y’know, Flamsteed, Smirke, Leitner. Idiots who destroyed themselves chasing a secret that wasn’t worth knowing. And the worst thing was, she marked me as a part of that, without my understanding. Or consent.

So no surprise that Jon had all the background knowledge to be already ready for this situation… and that Martin required more time and was more explicitly hurt and shocked by the concept.

There were two big layers of horror in that domain: how it operates on the kids, and how Martin&Jon were seemingly powerless, unable to put a stop to it, while the situation was indeed intolerable:

(MAG173) MARTIN: Wh–what about the avatar? Alright, I know you said it didn’t change anything, that the domain would still exist, but at this point I don’t care, alright? Anyone who’s chosen to spend their apocalypse tormenting children– God, you–you need to end them. Now. ARCHIVIST: … It’s not that simple! MARTIN: Seriously? Seriously? ARCHIVIST: [LONG SIGH] … Fine. […] You see? MARTIN: See what, Jon, what am I supposed to see? That you don’t want to kill a… thirteen-year-old kid, big revelation! ARCHIVIST: I don’t know what you want me to do! MARTIN: I want you to use your power, I want you to help them, I want you to make things better! ARCHIVIST: There – is – no – “better” anymore. MARTIN: You keep saying that, and I hate it! ARCHIVIST: I keep saying it because it keeps being true, you know that! [SCREAMS IN THE DISTANCE] MARTIN: What I know is that leaving children here is… i–i–it’s inexcusable, i–it’s monstrous! ARCHIVIST: Martin, tell me what you want me to do, and I will do it! [SCREAMS IN THE DISTANCE] MARTIN: … [SLIGHTLY MUFFLED] Tell me about this place. … I need to know. […] The sooner we get back to the Archives, the sooner we can put a stop to this. All of this. They just… [INHALE] They’ll just need to hang on a little longer. ARCHIVIST: … Right. [EXHALE] Right.

* Outside of the supernatural, it’s a very concrete situation: what can you do, as an (unequipped) adult, if you’re witnessing a child torturing children in a community in which you don’t belong? What is the thing that needs to be done to improve the situation?

* Added with the supernatural, as was mentioned: the torture would keep going anyway if Callum was removed. And Callum is a kid, who was clearly traumatised himself and is fighting for survival – how could he deserve death for it? Yet, he’s enjoying the pain he inflicts; yet, he’s not the problem. (The problem is, as Martin pointed out again, the apocalypse itself. The problem is the Fear-machine, the system the Fears put in place.)

* … Ethical concerns about the “goodness” of smiting a thirteen-year-old to lower the pain of other kids aside, “smiting” Callum probably would have made things worse for the other kids: it would have given them an example that… monsters can kill even the most powerful of you. That your “friend” (who is also a bully) can be taken down, that you can disappear, that you can die. Concretely, it would probably have caused more fears for the kids.

- Overall: I’m glad that this episode demonstrated that no, the “smiting” is absolutely not viable nor reliable. It’s petty revenge. It doesn’t do anything good (and is probably feeding The Eye, so contributing to the awful system), it doesn’t free people nor does it decrease their sufferings. Yet: is it okay to let people enjoy the chaos be and keep benefitting from it? There is not clear answer about what Jon and Martin “have to” do, but I perfectly understand their frustrations…

- I’m still laughing so so hard that Jonah… is never relevant. Avatars can immediately identify Jon as all-powerful or even the apocalypse-bringer:

(MAG164) HELEN: What would I have to gloat about? Much as I am delighted by this brave new world in which we find ourselves, I can take no credit for it. This was all… you!

(MAG165) NOT!SASHA: Well, of course you want to wallow in my shame like your voyeur master!

(MAG166) HELEN: We’re all here, Martin. The Stranger; The Buried; The Desolation; all of us. But The Eye still rules. All this fear is being performed for its benefit. And so, there are now exactly two roles available in this new world of ours: the watcher, and the watched. Subject, and object. Those who are feared, and those who are afraid. And Jon, well… he is part of The Eye; a very important part.

(MAG168) ARCHIVIST: “This report is being sent to: The Great Eye, that watches all who linger in terror, and gorges itself on the sufferings of those under its unrelenting, stuporous gaze! And its Archive, which draws knowledge of this suffering unto itself. […] Perhaps once it might have horrified me, or given me some sense of pursuing the ultimate release of the world that you have damned.”

(MAG169) JUDE: Fancy seeing you both here. To what, exactly, do I owe the pleasure, the honour, of being graced by the great and powerful Archivist, harbinger of this new world, and his, uh… valet…? […] Just messing around~! Wouldn’t want to keep you from your oh-so-special business, Your Holiness.

(MAG171) JARED: Mm. … So, is there any way this doesn’t end in me dead? I’m guessing that’s on the docket if you’re here. Unless you’re just here to smell the flowers.

(MAG172) ARCHIVIST: “THE SPIDER: Oh, Francis… It’s such a shame, but I couldn’t do such a thing even if I wanted to! The man in the audience saw to that!”

(MAG173) CALLUM: … You’re the Eye guy, right? ARCHIVIST: That’s right. CALLUM: So you’re like… real important. ARCHIVIST: [HUFF] I suppose I am!

But Jonah? Jonah “I am to be a king of a ruined world, and I shall never die.” Magnus? Never heard of ‘em.

(But aouch, the identification of Jon as connected to The Eye and/or being responsible for the apocalypse is not helping him… He was feeling guilty about it even before leaving the cabin. I wonder how much time before someone points out and reminds him that Jonah framed him and planned and pushed for the apocalypse to happen? Martin had clearly identified Jonah as the one responsible, but it’s been a while since he was last mentioned…)

- Back to “what are the tape recorders DOING” because mmmm…

(Season 5 trailer) MARTIN: Are you still… [SIGH] “feeling it”? Seeing everything? ARCHIVIST: Yes, I, I’m trying not to, but… all of the fear, th–the anguish, i–it just… [INHALE] It keeps coming at me in waves, rolling over me, filling my head with such… awful sights. MARTIN: … I’m sorry. That sounds… [SMALL EXHALE] That sounds horrible. ARCHIVIST: … I wish it was, Martin. I really wish it was. … But it feels… right. [MIRTHLESS HUFF]

(MAG162) MARTIN: What happened? The tapes, were you– […] Look, Jon, I… I, I know it hurts, but you’ve just got to… ARCHIVIST: No, no, lo–look… I, I–I was listening, and I–I was filled with this… hatred. This anger; I–I wanted to leave, and hunt down Elias, a–and…! MARTIN: W–wow, okay… ARCHIVIST: But, when I thought it… the–there was… [WOODEN CREAKING SOUND] There was something else. Th–this place, it… it didn’t want me, it… [WOODEN CREAKING SOUND] didn’t want us to go. MARTIN: … What do you mean? ARCHIVIST: This cabin. [WOODEN CREAKING SOUND] It’s not right. And, when I thought that, I–I felt… It, it all poured out of me down… into the tape. MARTIN: [SIGH] ARCHIVIST: A–a–an–and it… felt good. It–it felt… right. MARTIN: Okay. [BREATHES IN] So you’re recording again? ARCHIVIST: I might need to. If we’re going to make it…!

(MAG163) ARCHIVIST: They won’t hear you, Martin, they’re all… too busy waiting to die. MARTIN: Jon… ARCHIVIST: They sit here – [STATIC RISES] the image of everyone they hold dear locked in their mind, knowing they’ll never see them again. Waiting for the order; dreading the bullet or the drone or the barbed wire that will tear them to shreds and leave them nothing but a bloody– [STATIC REACHING A PEAK] MARTIN: J–Jon, enough! Enough! [STATIC FADES] … Please don’t tell me these things. ARCHIVIST: I… I’m sorry, I– There’s just so much! There’s so much, Martin, and I know all of it, I can see all of it, and I– It’s filling me up, I need to let it out! MARTIN: I’m sorry, but tough. Okay? Tha–that’s not what I’m here for. [VOICE IN THE DISTANCE: “No… No!”] MARTIN: I can’t be that for you, I–I just can’t. ARCHIVIST: [QUIET] I… I know. [SILENCE] I–I’ll use the tape recorder…! [PLASTIC OF A TAPE] I just… [INHALE] You probably want to wait outside.

(MAG164) ARCHIVIST: We’re fine. MARTIN: A–are we? I mean, that place is– … I don’t, I don’t feel fine, okay, and you were there a long time doing your… y–you–your guidebook, which, you know, I get it, but that place is…

(MAG165) MARTIN: Yeeaah, good call. Hum, in that case, do you want to… do your thing now then, before we start moving? But, are we close enough? [ROARING IN THE DISTANCE] ARCHIVIST: … Yes… Yes, I–I think so. Good idea. MARTIN: Thanks! ARCHIVIST: You, uh… [SHUFFLING] You might want to take a bit of a walk. This… feels like a strange one…

(MAG166) ARCHIVIST: I… It’s hard to put into words. Loo–l… [SIGH] Look, we can talk about it later, we’re– coming to a… “domain of The Buried”, and [STATIC RISES] I would really rather… […] [INHALE] [WHIMPERING] Ah… [GRUNT] MARTIN: Jon? Are you… ARCHIVIST: We’ve been… close for too long, I need to, uh… [INHALE] You might want to take a walk. MARTIN: Hm.

(MAG168) ARCHIVIST: [INHALE] [LONG EXHALE] [CREAKING SOUND] Oookay. Time you went for a walk. [FOOTSTEPS] MARTIN: Y–yeah, about that… [CREAKING SOUND] You sure you’ll be okay on your own? […] You… [INHALE] You vomit your horrors. [SIGH] ARCHIVIST: [REVULSED SOUND] Uh! I’m… not sure I like that metaphor…! MARTIN: “Puke your terrors”? ARCHIVIST: … Just go. MARTIN: Alright. Fine, I’m going.

(MAG171) JARED: You still do that talk-y thing? You know? Drink up all the fear and spit it back out? ARCHIVIST: Sort of, yes. JARED: Alright. Well, I’d like to hear about my garden. [SILENCE] ARCHIVIST: … Okay! MARTIN: Look, if this is some kind of trick– ARCHIVIST: It isn’t. […] MARTIN: Jon, are you… alright? ARCHIVIST: Yeah, hum… Sorry. MARTIN: No, it, it’s alright. JARED: Is it really that bad? Seeing what I’ve done here? Or… uh! Is it maybe that deep down, you think it’s as beautiful as I do?

(MAG172) ARCHIVIST: Ah… Hold up, I–I need to, uh… [RUSTLING OF CLOTHES] MARTIN: Now, seriously? We’re almost out of here. ARCHIVIST: [SIGH] I’m sorry…! Not really up to me…! MARTIN: Fine. [SIGH]

(MAG173) MARTIN: Slow down, I can barely see a thing! ARCHIVIST: … Sorry. […] Look, I would just really like to get through here, as quickly as possible. MARTIN: How come? This one seems like the quietest place we’ve been in a while! It’s just… rows and rows of quiet houses. I mean, I know some people don’t like that sort of thing, [CHUCKLING] but I’m actually finding it kind of relaxing s– ARCHIVIST: [AGITATED BREATHING] Martin…! Please. [LOUD BREATHING] MARTIN: … Jon…? Where are we? ARCHIVIST: I–it’s complicated. MARTIN: That’s… not an answer! ARCHIVIST: Can we please just move on? […] Do you really want to know that? Really? MARTIN: [FRUSTRATED BREATHS] ARCHIVIST: I’ve been trying very hard to keep this one bottled up…!

Jon had also mentioned that they could have gone another way in MAG169; the statement in MAG171 was prompted by Jared, who wanted to hear about it; and MAG170 was even given by Martin. Jon had almost left the Web’s domain without giving one, and tried to “keep this one bottled up” in MAG172, and only gave it when prompted by Martin. Is Jon displaying a bit more control over his need to “pour out” the domains’ statements?

Once again: there are very two different things at play. On the one hand, the fact that Jon and Martin have to “experience” the domains by going through them, and the fact that Jon sometimes feel saturated to the point he has to “pour out” into the tapes to be able to function again. The two do not feel connected or necessary to each other: the tape recorder clicked on in MAG167 and recorded something that wasn’t a domain’s statement (but one about the previous Team Archive), and Jon didn’t give the house’s statement in MAG170 – that was Martin. What are the tape recorders, and is this feeding them somehow…?

- Sob about Martin trying to lighten the mood at the beginning of the episode, because it just created a rift right away – Jon already knowing the horror of the situation, and Martin thinking/hoping that the situation around there was okay-ish, allowing for light jokes:

(MAG173) MARTIN: Slow down, I can barely see a thing! ARCHIVIST: … Sorry. MARTIN: No prizes for guessing who’s in charge here, eh? ARCHIVIST: Mm, I–I suppose not…! MARTIN: You know… I really miss the days when I could blame broken streetlights on the council. A strongly-worded letter just doesn’t feel as forceful when it’s addressed to “whichever Dread Power it may concern”. ARCHIVIST: [INHALE] [SIGH] Hm.

Please, Martin, send many strongly-worded letters to Jonah to hiss about the current problems.

Also, SOB ABOUT THIS BIT:

(MAG173) MARTIN: This one seems like the quietest place we’ve been in a while! It’s just… rows and rows of quiet houses. I mean, I know some people don’t like that sort of thing, [CHUCKLING] but I’m actually finding it kind of relaxing s–

Because ahahahahahaha: lonely!Martin liked the “quiet” in season 4, and “rows and rows of quiet houses” puts me in mind of MAG150’s statement with the Lonely suburb ;;

- The fear that The Web could be messing with Martin is still fresh in Jon’s mind, uh?

(MAG173) ARCHIVIST: Martin, tell me what you want me to do, and I will do it! [SCREAMS IN THE DISTANCE] MARTIN: … [SLIGHTLY MUFFLED] Tell me about this place. … I need to know. ARCHIVIST: I thought you hated listen– … [INHALE] Are you… sure that’s what you want? MARTIN: Of course it’s not…! [BAG JOSTLING] But I need to hear it.

;; Jon trying to check if Martin wasn’t mindcontrolled, since it sounded out-of-character…

(But: it made sense for Martin, and it’s also one more thing that couldn’t really have happened at the beginning of the season. Martin didn’t want to hear about Jon “vomiting” his horrors – it’s not that he was living in denial about them happening, he knew very well about them. But as was mentioned, “knowing” and “understanding” are two different things: Martin could hear that the children were terrified and preyed upon, the statement “only” provided details and the way the domain was operating. It brought no catharsis, no clue about how to make it stop and help the kids. It just made Martin another voyeur, aware of the situation… and unable to do anything short-term to solve it.)

- It’s sad and I’m glad that Jon and Martin’s differences are shining and conflicting a bit more obviously nowadays. At the core of it: Jon knows how to navigate through this new world, knows how it works, what is happening around them. He already knew about the children getting tortured, why they were there, that they were being groomed to become more satisfying for The Eye. Martin… doesn’t, and Jon tends to forget that: while Jon has to bear the knowledge, it also makes some of his actions hard to follow (Martin didn’t understand why Jon was walking so fast), and Martin’s hypotheses and hopes ruled out before he even voiced them (Jon already knew that Callum was in charge and that “smiting” this domain’s avatar wasn’t a comfortable option). But it doesn’t feel to me like they’re heading towards full-blown conflict, quite the contrary: there are tensions, there are mutual frustrations over the other’s behaviour, but they don’t forget that the apocalypse is responsible for it, and are getting better at wording what they’re feeling. Martin had pointed out that Jon wasn’t very open about his feelings, and it’s true; and it’s also true that Martin seems to be misunderstanding Jon’s level of control over their situation, to the point that… they’re both occasionally hurting each other.

(- Re: the slapping reference, I thiiiink it was Jon’s attempt at a sardonic joke like he had done in MAG154, and it just didn’t land because it sounded accusatory with a tint of cruel edge instead:

(MAG154) ARCHIVIST: I–I’ve been trying to a–avoid, being, hum… Sticking to old statements? Thank you, for your little “intervention”, by the way. MARTIN: Look, I wouldn’t have had to if you hadn’t– ARCHIVIST: Yes, no, I know, I’m sorry, uh– that didn’t… come out right. Honestly: thank you. [EXHALE] It’s been hell, but… I–I did need to hear it.

(MAG173) ARCHIVIST: [LOUD, LONG EXHALE] [STATIC FADES] Is that enough for you? Do you need to hear more? MARTIN: … I… ARCHIVIST: [INHALE] [STATIC INCREASES] “See Luka. See Luka sleep–” [RUSTLING OF CLOTHES] MARTIN: No, no! No, that’s enough, that’s… enough. [STATIC FADES] [FOOTSTEPS] ARCHIVIST: … Thank you for not hitting me this time. [SILENCE, PUNCTUATED BY SCREAMS] Was that what you wanted? What you needed? MARTIN: … No. [SLIGHTLY MUFFLED] No, it didn’t help at all. ARCHIVIST: I’m sorry. MARTIN: … Let’s get out of here.

Martin hasn’t slapped Jon three times for the fun of it or for his own benefit: he had previously tried to shake him awake (MAG160) and to talk him out of it (MAG169, MAG172) when Jon was supernaturally ensnared. But, also: Jon is perfectly entitled to be bitter about it.

I wonder if Martin will try to find another way next time, though (MAKE OUT WITH HIM, HE WON’T BE ABLE TO TALK, MARTIN.))

- Sob over the fact that Martin “wanting” something reminded me of his outburst at Tim…

(MAG079) TIM: Alright, fine. Fine. What do you want? What’s your light at the end of these spooky damn tunnels – and don’t say “everyone happy forever”, because that’s not happening. … Well? MARTIN: I don’t know. I don’t know!! I want to find out what’s going on; I want to save Jon; I want everyone to be fine, and you know what? If we were all happy that wouldn’t actually be the end of the world!

And Jon is really reminiscent of Tim right now? Convinced that they’re stuck in this situation forever, almost reproaching Martin for daring to hope? While Martin’s hope indeed feels too idealistic and unreachable, despite technically being… the bare minimum.

- Jon… hasn’t always been this fatalistic about the current situation in season 5. He began the season with hopelessness, but then was the one to offer hope, before… apparently reverting back to despair:

(Season 5 trailer) ARCHIVIST: [SIGH] … What? What do you want? … The world is…! It’s over. You’ve won. What can you possibly still need to hear? […] MARTIN: “How are you feeling in general”, then? ARCHIVIST: … Unchanged. [PAUSE] I don’t know if it’ll ever change again…! […] MARTIN: Maybe I should, uh… pop down the village? See if they have any coffee instead? ARCHIVIST: It’s gone, Martin, and the people are…! MARTIN: Yes, I know, Jon, I’m not ignorant, I’m just… I’m just not ready for complete despair yet. ARCHIVIST: “Like me”. MARTIN: … I didn’t say that. ARCHIVIST: You didn’t have to.

(MAG161) MARTIN: Jon, it’s not your fault… ARCHIVIST: Martin, can we not do this again. MARTIN: Sorry. ARCHIVIST: I’m just… I’m mourning a world I killed…! MARTIN: I know… ARCHIVIST: And we’re all trapped in its rotting corpse…! […] MARTIN: Jon, I… This isn’t healthy. ARCHIVIST: Healthy? I am an avatar of voyeuristic terror, whose unquestioned craving for knowledge has condemned the entire world… to an eternity of torment, “healthy” i–isn’t, i–it’s not…! […] No, it’s not, I’m, I’m sorry, I just… [RUSTLING OF CLOTHES] [INHALE, EXHALE] It hurts. MARTIN: I know. ARCHIVIST: … I need time. MARTIN: I know. But we can’t stay in this cabin forever…! [DISTANT HOWL] ARCHIVIST: Why not? It, it’s quiet here, an–and I have you…! […] MARTIN: Well, that as may be, we can’t just stay here forever. ARCHIVIST: What could possibly be out there that you want to see? MARTIN: A way to stop this, a way to turn the world back! ARCHIVIST: [HINT OF A DISHEARTENED SMILE] … Do you really think there is one? [WOODEN CREAKING SOUND] MARTIN: Well, if there is, it’s not in here, is it? ARCHIVIST: It’s so… It’s so loud, out there? The agony, the–the terror, I can see it all so much more clearly…! MARTIN: I’m sorry. ARCHIVIST: No, it’s– [SIGH] I love you, I just… I need more time. [SILENCE] MARTIN: It’s alright. [RUSTLING OF CLOTHES] [CREAKING SOUND] ARCHIVIST: [SOFT EXHALE] MARTIN: It’s alright, I’m good at waiting.

(MAG162) ARCHIVIST: “This place wishes to be our tomb. But The Eye does not wish that. No. [STATIC INCREASES] The Eye wishes instead that it be my chrysalis. It is time that I emerge…” [STATIC REACHING A PEAK] […] MARTIN: So you’re recording again? ARCHIVIST: I might need to. If we’re going to make it…! [WOODEN CREAKING SOUND] MARTIN: Back to the Archives? ARCHIVIST: Seems the best place to start. [RUMBLE OF THUNDER] MARTIN: Uh… Y–eah, alright! [WOODEN CREAKING SOUND] ARCHIVIST: Martin… It’s going to be a hard journey. […] MARTIN: Do you think it’ll do anything? Confronting Elias? ARCHIVIST: [INHALE] I… [SIGH] Maybe? MARTIN: No, I’m serious. Do we… [PAUSE IN THE PACKING SOUNDS] Is there a chance that we can undo this? ARCHIVIST: [LONG INHALE] Gertrude didn’t think so. [WOODEN CREAKING SOUND] MARTIN: … Right. ARCHIVIST: [SOFT] But she’s dead. [FIRMER] Let’s find out for ourselves. […] Besides, there’s… far worse out there. Better to try and avoid it, I think. MARTIN: We’re not even gonna try? We, we’ve got your lighter, maybe we could just– ARCHIVIST: We can’t fight the world, Martin. MARTIN: [AMUSED DEFIANT HUFF] Says you.

(MAG163) ARCHIVIST: It means the journey will be the journey, regardless of how we choose to make it. […] You could see that tower from anywhere on Earth. And it can see you. And if you walk towards it, eventually you’ll get there. But you have to go through everything in-between. […] MARTIN: What’re you doing here? [PLASTIC RATTLING] It’s dangerous. Could… get yourself blown up, like all these poor… [PLASTIC RATTLING] Who d’you think they were? Really don’t see why they can’t just… go round, picked a better place to… [STEPS THROUGH LIQUID] [SIGH] I guess there… aren’t really any “better” places anymore, are there? [STEPS THROUGH LIQUID] It’s all this. Or worse, or… or different.

(MAG164) MARTIN: How much further do we still need to go? [STATIC INCREASES] ARCHIVIST: A long way. Through many dark and awful places… […] MARTIN: Can we turn the world back? [STATIC RISES, STRONG] ARCHIVIST: Wow! Hum… I–if the Fears are removed, yes; but they–they can’t be destroyed while there are still… people to fear them; th–then they can’t be banished back to the space where they came from, it’s not… there anymore, I… Oh! Uh… MARTIN: J–J–Jon, what’s wrong? ARCHIVIST: Uh, it’s, uh… I’m sorry, trying to know things about them directly, i–i–it’s like… [STATIC DECREASES] [EXHALE] God, it’s like looking into the Sun…! MARTIN: Okay, okay – okay, alright, that’s alright.

(MAG167) ARCHIVIST: Help us with what? MARTIN: ‘xcuse me? ARCHIVIST: Annabelle, help us with “what”? Our–our, our journey, killing Elias, vanishing the Entities – what? […] Wi–without… trust, without a, a reason… Gertrude needed both the purpose her mission gave her, and the control her position allowed. To be here, like us, without a, [INHALE] a reason, without someone to ground her, she… She’d have power but… no control. No real… purpose. Perhaps she’d dedicate herself to a, a doomed quest like us, but– … [QUIET] No… I think this would have broken her. And she’d have resigned herself to… ruling her domain. […] MARTIN: [INHALE] [SNORT] Ssso. If you say Gertrude wouldn’t have been able to go on without a reason… ARCHIVIST: Yes, Martin, you are my reason. MARTIN: Just wanted to make you say it…! ARCHIVIST: [INHALE] MARTIN: Cool.

(MAG168) ARCHIVIST: I feel badly for those that exist in his domain, o–of course, I do, but… At least, their suffering will be over, eventually.

(MAG170) ARCHIVIST: M–Martin, if you… did; i–if you wanted to forget… a–all of it, stay here and just… escape. I… I would understand. MARTIN: … N–no…! It’s comforting here, leaving all those… painful memories behind, but… It’s not a good comfort, it’s… I–it’s the kind that makes you fade, makes you… dim and… distant.

(MAG171) MARTIN: Jon. We are… doing good, right? Making things better? ARCHIVIST: … I don’t know if that was… ever an option.

(MAG173) ARCHIVIST: I don’t know what you want me to do! MARTIN: I want you to use your power, I want you to help them, I want you to make things better! ARCHIVIST: There – is – no – “better” anymore. MARTIN: You keep saying that, and I hate it! ARCHIVIST: I keep saying it because it keeps being true, you know that! […] MARTIN: [INHALE] [CLEARER] The sooner we get back to the Archives, the sooner we can put a stop to this. All of this. They just… [INHALE] They’ll just need to hang on a little longer. ARCHIVIST: … Right. [EXHALE] Right. MARTIN: Come on.

After the surge of hope towards the end of MAG162, Jon has made more and more small comments implying that he doesn’t think that there is a “better” solution (theirs is a “doomed quest”, Oliver’s victims will ~at least~ die, Martin staying in his domain would have been a way to “escape”, etc.) I wonder what is happening in Jon’s mind: is it the journey starting to take its toll on him, things feeling hopeless because he has to face the concreteness of this new world, which feels all-powerful, too complicated, too big, impossible to undo? Or did he “know” something that he hasn’t told Martin, back in MAG164, or did he drew from there the conclusion that it was impossible to get rid of the Fears? In any case: it’s good that Martin is still pushing for hope and for a solution. What would be the alternative? Just stopping and getting a domain to rule over? Keeping on with the journey through the horrors forever ~since at least they’re together uwu~?

- Re: Jon apparently not daring to hope (anymore) vs. Martin accidentally sounding very bossy and ignorant by wanting Jon to save things… at the core of it, I think that there is a misunderstanding between them regarding Jon’s powers, which makes sense for both of them.

For Jon: his powers can’t do much good. Growing as an Archivist came with taking live-statements and condemning people to his nightmare zoo, where he could only watch and not intervene (with mentions that he used to try). Saving Melanie and Daisy, annihilating the Dark Sun, was accompanied by new victims, constantly tortured, leaving them a wreck. He never “saved the world”: The Unknowing would have failed on its own with no intervention necessary, and Melanie was right to point out that them trying to do good… had invariably caused bad things all around. Saving Martin meant getting his last mark, setting him up for Jonah’s apocalypse.

But for Martin: Jon saved him from The Lonely twice. Martin’s own “powers” (disappearing in front of Georgie, his Lonely training) never came at the cost of sacrificing innocents – only himself. And Jon was able to stop hurting innocents when monitored, after Martin took Jess Tyrell’s complaint: bad people, bad avatars, would keep hurting people. But it seems that in Martin’s mind, there are still “good” ways to use one’s powers (saving people, smiting avatars) without negative consequences – which… isn’t really the case. The powers are granted by the Fears to provide more fear for the Fears.

(- Amongst the sad things regarding Martin’s horror at being a passive witness to the children’s suffering: technically, it was long-due as a horror, since the very beginning of the show. They knew, as Team Archive, that the things happening out there were hurting actual people, real people. That some of them were still alive. Jon began season 4 lightly apologising about their passivity, in the Web’s web-development statement. Martin is horrified at their passivity now, but technically… they’ve never really tried to help people for the sake of helping people — the worst cases being Jon’s own victims.)

(- I shouldn’t hoooooope but ;; The fact that Jon seems to be reaching rock-bottom re:hope and being unable to do anything good, to make things “better”… still makes me wonder if he might not manage to get Daisy back for a short while.

Alternatively: that would be the rock-bottom. To have to smite her, or to help Basira in killing her as promised… because there is no other option.)

- Right now, Jon and Martin indeed feel powerless, but there are various elements contributing to this. First: at the beginning of the journey, reaching the Panopticon was supposed to be the start to trying to undo the apocalypse, not the final objective; right now, as they go through domain after the domain and the horrors are more concrete, it’s easy to forget that the journey wasn’t supposed to be their answer and solution.

Jon is also getting his powers from Beholding, who has never been a passive agent when it comes to knowledge – Jon had noted how hard it had been to listen to MAG154’s tape (containing a way to… cut one’s connection to The Eye), and had even expressed his difficulty with burning Gerry’s page because of the knowledge it could still provide. When Jon had tried to know how to get rid of the fears in MAG164, he had noted that knowing about the Powers was more intense – and had to quickly stop. Why would The Eye nurture the hope of undoing the apocalypse making it all-powerful?

Meanwhile, Martin has noticed that he was “always following, never leading”, doesn’t have a clear understanding of the domains, doesn’t have powers, which… seems to limit his options. He’s also proved to be able to think outside-of-the-box when it came to providing plans, in the past, and had sometimes displayed a more “intuitive” feel of the powers (with Peter and Simon), so that could come in handy – just… not in the current environment.

Overall: Martin and Jon are limited right now, having trouble understanding themselves and conveying it to the other (but are still trying!), and clearly in need of other perspectives… So here’s to hoping that Melanie&Georgie, Basira (… and potentially Daisy but I don’t wanna hope TT_TT) could help. I doubt that the entirety of season 5 would be a hopeless exploration of this apocalyptical world in which everyone suffers almost-forever and then dies?

… The other option right now is Annabelle, who had told Martin that she was calling “to help”: given that Jon&Martin are lacking options… Martin could be a bit more open this time if she tries to reach him again – or at least, listen to what she has to say, even if it’s only venom.

New organisation for season 5, as announced everywhere!

I see absolutely no downside to this as a listener: I’m glad that RQ are allowing themselves more time to work on the show safely and remotely (operating safely during the pandemic means that the logistics of almost everything has changed, you can’t expect people to keep up), I’m glad that the series is lasting longer time-wise (yay!), I’m glad that I’ll have two 6-weeks-break to breathe a bit /o/ And honestly, if they end up needing more time and have to space out episodes/hiatuses for even a bit longer, full support, I hope that they won’t hesitate if it’s deemed necessary (or even healthy!).

Curious about the fragmentation in three acts – that’s another structure of tragedy, it… could mean that we’re technically in the “prologue” to the core of the season? Well, the segmentation in three is also interesting for events: we’re currently in the journey towards the domain, there are only Vast, Hunt and Spiral remaining, which could mean that MAG176 is the last zone before the Panopticon, and then… And then. Act I being the journey, Act II and Act III regarding the Panopticon (research into the Archives) and Hill Top Road? Eye-arc and Web-arc? (I’m still a bit “MMMM” about a few words said during one of the Q&A, which could imply time/timelines shenanigans at some point…)

MAG174’s title is… well, my adjective for it would be the title itself, damnit. I… It… it could be the perfect title for a Vast domain (Simon, where are you.) AND for monster!Daisy barging in into that domain, WorriedForDaisy.jpg

#the magnus archives #tma liveblog #tma season 5 #tma spoilers #mag173 #long post/

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spainlibra4 · 3 years

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dustedmagazine · 3 years

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Dust Volume 6, Number 12

The Flat Five

It’s November, and the culture is telling us to be thankful again, at least from a distance. We’re a prickly, argumentative bunch here at Dusted, but I think we can all agree on gratitude for our health, each other and the music, good and bad, that comes flooding in from all sides. So while we may not agree on whether the best genre is free jazz or acid folk or vintage punk or the most virulent form of death metal, we do concur that the world would be very dull without any of it. And thus, seasonably overstuffed, but with music, we opine on a number of the best of them once again. Contributors this time include Bill Meyer, Andrew Forell, Tim Clarke, Ray Garraty, Jennifer Kelly, Mason Jones, Patrick Masterson, Jonathan Shaw and Justin Cober-Lake. Happy thanksgiving.

Cristián Alvear / Burkhard Stangl — Pequeños Fragmentos De Una Música Discreta (Insub)

Pequeños fragmentos de una música discreta by CRISTIÁN ALVEAR & BURKHARD STANGL

The acoustic guitar creates instant common ground. Put together two people with guitars in their hands together, and they can potentially communicate without knowing a word of each other’s language. They might trade blues licks, verses of “Redemption Song,” or differently dire remembrances of “Hotel California,” but they’re bound to find some sort of common language. This album documents another chapter in the eternal search. Cristián Alvear is a Chilean classical guitarist who has found a niche interpreting modern, and often experimental repertoire. Burkhard Stangl is an Austrian who has spent time playing jazz with Franz Koglmann, covering Prince with Christoph Kurzmann and realizing compositions that use the language of free improvisation with Polwechsel. This CD collects eight “Small Fragments Of Discreet Music” which they improvised in the course of figuring out what they could play together. Given their backgrounds, dissonance is part of the shared language, but thanks to the instrumentation, nothing gets too loud. Sometimes they explore shared material, such as the gentle drizzle of harmonics on “No5.” Other times, they find productive contrasts, such as the blurry slide vs. palindromic melody on “No6.” And just once, they flip on the radio and wax melancholic while the static sputters. Sometimes small, shared moments are all you need.

Bill Meyer

Badge Époque Ensemble — Self Help (Telephone Explosion Records)

Self Help by Badge Époque Ensemble

Toronto collective Badge Époque Ensemble display the tastefully virtuosic skill of a particular strain of soul-inflected jazz-fusion that politely nudged its way into the charts during the 1970s. Led by Max Turnbull (the erstwhile Slim Twig) on Fender Rhodes, clavinet and synthesizers with members of US Girls, Andy Shauf’s live band and a roster of guest vocalists, Badge Époque Ensemble faithfully resurrect the sophisticated sounds of Blue Nun fuelled fondue parties and stoned summer afternoons by the pool. Meg Remy and Dorothea Paas share vocals on “Sing A Silent Gospel” which is garlanded with Karen Ng’s alto saxophone and an airy solo from guitarist Chris Bezant; it’s a track that threatens to take off but never quite does. The strength of James Baley’s voice lifts the light as air psych-funk of “Unity (It’s Up To You)” and Jennifer Castle does the same for “Just Space For Light” during which Alia O’Brien makes the case for jazz flute — Mann rather than Dolphy — with an impressive solo. The most interesting track here is the 11 minute “Birds Fly Through Ancient Ruins” a broodingly introspective piece which allows Bezant, Ng and bassist Giosuè Rosati to shine. Self-Help is immaculately played and has some very good moments but can’t quite get loose enough to convince.

Andrew Forell

Better Person — Something to Lose (Arbutus)

Something to Lose by Better Person

Like any musical genre, synth-pop can go desperately awry in the wrong hands. The resurgence of all things 1980s has been such a prevalent musical trend in recent years that it takes a deft touch to create something that taps into the retro vibe without coming across as smug. Under his Better Person moniker, Berlin-based Polish artist Adam Byczyowski manages to summon the melancholy vibe of 1980s classics such as “Last Christmas” by Wham!, “Take My Breath Away” by Berlin, and “Drive” by The Cars, reimagined for the 21st century and set in a run-down karaoke bar. This succinct and elegant half-hour set pivots around atmospheric instrumental “Glendale Evening” and features three Polish-language tracks — “Na Zawsze” (“Forever”), “Dotknij Mnie” (“Touch Me”), and “Ostatni Raz” (“Last Time”) — that emphasize the feel of cruising solo through another country and tuning into a unfamiliar radio station. There’s roto-toms, glassy synth tones, suitably melodramatic song titles (including “Hearts on Fire,” “True Love,” and “Bring Me To Tears”), plus Byczyowski’s disaffected croon. It all creates something unexpectedly moving.

Tim Clarke

Big Eyes Family — The Disappointed Chair (Sonido Polifonico)

The Disappointed Chair by Big Eyes Family

Sheffield’s Big Eyes Family (formerly The Big Eyes Family Players) released the rather fine Oh! on Home Assembly Music in 2016. Its eerie blend of folk and psych-pop brought to mind early Broadcast, circa Work and Non Work, before Trish Keenan and James Cargill started to explore more experimental timbres and themes of the occult. Bar perhaps the haunted music box instrumental “Witch Pricker’s Dream,” Oh!’s songs cleaved along a similar grain: minor keys, chiming arpeggiated guitar, spooky organ, in-the-pocket rhythm section, plus Heather Ditch’s vocal weaving around the music like smoke. The Disappointed Chair is much the same, enlivened with a touch more light and shade, from succinct waltz “(Sing Me Your) Saddest Song,” to the elegant Mellotron and tom-toms of “For Grace.” “From the Corner of My Eye” is stripped right back, with an especially affecting guitar line, plus Ditch’s vocals doubled, with the same words spoken and sung, like a voice of conscience nagging at the edge of the frame. It’s a strong set of songs, only let down by the boxy snare sound on “Blue Light,” and on “The Conjurer,” Ditch’s lower register isn’t nearly as strident as her upper range.

Tim Clarke

Bounaly — Music For WhatsApp 10 (Sahel Sounds)

Music from Saharan WhatsApp 10 by Bounaly

The tenth installment in Sahel Sounds’ Music For WhatsApp series introduces another name worth remembering. In case your attention hasn’t been solely faced on the ephemeral charms of contemporary Northwest African music in 2020, here’s the scoop: Each month, Sahel sounds uploads a brief recording that a musician from that corner of the world recorded on their cell phone and delivered via the titular app, which is the current mode of music transmission in that neck of the woods. At the end of the month they take it down, and that’s that. This edition was posted on November 11, so set your watch accordingly. Bounaly is originally from Niafounké, which was the home of the late, great Ali Farka Touré. Since civil war and outside intervention have rendered the city unsafe for musicians of any speed, he now works in Mali’s capital city, Bamako, but his music is rooted in the bluesy guitar style that Touré championed. Accompanied solely by a calabash player and surrounded by street sounds, Bounaly’s singing closely shadows his picking, which is expressive without resorting to the amped-up shredding of contemporary guitarists like Mdou Moctar.

Bill Meyer

Cash Click Boog — Voice of the Struggle (CMC-CMC)

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Last year, Cash Click Boog made a few very noticeable appearances on other people albums (especially on Lonnie Bands’ “Shred 1.5” and Rockin Rolla’s First Quarter) but his own Extras was a minor effort. This Californian rapper was always a dilettante at music, but that was his main appeal and ineradicable feature: you always knew that he’s always caught up in some very dark street business, and he appears in a booth once every blue moon, almost by accident. He is that sort of a player who always on the bleachers, yet when they let him on the field he always does a triple double or a hat trick (depending on a kind of sport).

Voice of the Struggle was supposed to be his big break, the album in which he would expend his gift for rapping while remaining in strictly amateurish frame. Sadly, Boog has chosen another route, namely going pop. He discards his amateur garbs almost completely and auto-tunes every track. If earlier he was too dark even by street standards, now almost all the tracks could be safely played on a radio. The first eight songs are more or less pop-ish ballads about homies in prison, tough life and the ghetto. By the time we reach the last three tracks where Boog recovers his old persona, it’s already too late. The struggle remains but the voice is gone.

Ray Garraty

The Flat Five — Another World (Pravda)

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The Flat Five musters a great deal of Chicago musical fire power. Alt.country chanteuse Kelly Hogan, Andrew Bird collaborator Nora O’Connor and Casey McDonough sing in Andrews Sisters harmonies, while NRBQ mainstay Scott Ligon minds the store and Green Mill regular Alex Hall keeps the rhythm steady. The sound is retro —1930s radio retro — but the songs, written by Ligon’s older brother Chris, upend mid-century American pieties with sharp, insurgent wit. A variety of old-time-y styles are referenced — big band jazz, country, doo wop and pre-modern pop — in clean, winking style. Countrified, “The Great State of Texas” seems, at first, to be a fairly sentimental goodbye-to-all-that song, until it ends with the revelation that the narrator is on death row. “Girl of Virginia,” unspools a series of intricate, Cole Porter-ish rhymes, while waltzing carelessly across the floor. The writing is sharp, the playing uniformly excellent and the vocals extra special, layered in buzzing harmonies and counterpoints. No matter how complicated the vocal arrangements, no one is ever flat in Flat Five.

Jennifer Kelly

Sam Gendel — DRM (Nonesuch)

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Normally, Sam Gendel plays saxophone in a classic jazz style. You might have caught him blowing dreamy, airy accompaniments on Sam Amidon’s last record, for instance, or putting his own spin on jazz standards in the solo Satin Doll. But for this album, Gendel experimented with ancient high tech — an Electro Harmonix DRM32 drum machine, some synthesizers, a 60-year-old nylon-string guitar —t o create hallucinatory fragments of beat-box-y, jazz-y sound, pitched somewhere between arty hip hop and KOMPAKT-style experimental electronics. “Dollars,” for instance, laces melancholy, Latin-flavored guitar and crooning with vintage video-game blips and bleeps, like a bossa nova heard dimly in a gaming arcade. “SOTD” dances uneasily in a syncopated way, staccato guitar runs paced by hand-claps, stuttered a-verbal mouth sounds and bright melodic bursts of synthesizer. “Times Like This” poses the difficult question of exactly what time we’re in—it has the moody smoulder of old soul, the antic ping and pop of lush early 00s electronics, the disembodied alien suavity of pitch-shifted R&B right now. The ringer in the collection is a cover of L’il Nas’ “Old Town Road,” interpreted in soft Teutonic electro tones, like Cluster at the rodeo. It’s odd and lovely and hard to get a bead on, which is pretty much the verdict for DRM as a whole.

Jennifer Kelly

Kraig Grady — Monument of Diamonds (Another Timbre)

MONUMENT OF DIAMONDS by Kraig Grady

The painting adorning the sleeve of Monument of Diamonds is entitled Doppler Effect in Blue, and rarely has the cover art’s name so accurately described the sound of the music paired with it. The album-length composition, which is scored for brass, saxophones and organs, consists almost entirely of long tones that Doppler in slow motion, with one starting up just before another peters out. The composer, Kraig Grady, is an Australian-based American who used to release albums that purported to be the folk music of a mythical land called Anaphoria. Nowadays he has no need for such subterfuge, since this lovely album holds up quite well on its own merits. Inspired by Harry Partch and non-Western classical music systems, Grady uses invented instruments and strategically selected pitch intervals to create microtonal music that sounds subtly alien, but never harsh on the ears. As the sounds glide by, they instigate a state of relaxed alertness that’ll do your blood pressure some good without exposing you to unnecessary sweetener.

Bill Meyer

MJ Guider — Sour Cherry Bell (Kranky)

Sour Cherry Bell by MJ Guider

MJ Guider’s second full length is diaphanous and monolithic, its monster beats sheathed in transparent washes of hiss and roar. “The Steelyard” shakes the floor with its pummelling industrial rhythms, yet shrouds Guider’s spoken word chants with surprising delicacy. “Body Optics” growls and simmers in woozy synth-driven discontent, while the singer lofts dreamy melodic phrases over the roar. There’s heft in the low-end of these roiling songs, in the churn of bass-like synthetics, the stomp of computer driven percussion, yet a disembodied lightness in the vocals, which float in pristine purity over the roar. Late in the disc, Guider ventures a surprisingly unconfrontational bit of dream pop in “Perfect Interference,” sounding poised and controlled and rather lovely at the center of chiming, enveloping synthetic riffs. Yet the murk and roar makes her work even more captivating, a glimpse of the spiritual in the midst of very physical wreck and tumult.

Jennifer Kelly

Hisato Higuchi — キ、Que、消えん？ - Ki, Que, Kien? (Ghost Disc)

キ、Que、消えん？ - Ki, Que, Kien? by Hisato Higuchi

Since 2003, Tokyo-based guitarist Hisato Higuchi has quietly released a series of equally-quiet albums, many on his own Ghost Disc label, which is appropriately named. Higuchi's work on this and the previous two albums of his "Disappearing Trilogy" is a sort of shimmering, melancholy guitar-and-vocal atmosphere — downer psych-folk in a drifting haze. His lyrics are more imagery than story, touching on overflowing light, winter cities, the quiet world, and the transience of memories. As the guitar floats slowly into the distance, Higuchi's voice, imbued with reverb, is calmly narcotic, like someone quietly sympathizing with a friend's troubles. These songs, while melancholy, convey a peacefulness that's a welcome counterbalance to the chaotic year in which we've been living. Like a cool wind on a warm summer evening, you can close your eyes and let Higuchi's music improve your mood.

Mason Jones

Internazionale — Wide Sea Prancer (At the Blue Parade) (Janushoved)

Wide Sea Prancer (At The Blue Parade) by Internazionale

It’s been nearly half a decade since Copenhagen’s Janushoved first appeared in these annals, and in that time, a little more information — and a lot more material — has cropped up to lend some context to the mystery. The focus, however, steadfastly remains with the music — perhaps my favorite of which among the regular projects featured is label head Mikkel Valentin’s own swirling solo synth vehicle Internazionale. In addition to a reissue of 2017’s The Pale and the Colourful (originally out on Posh Isolation), November saw the release of all-new songs with Wide Sea Prancer (At the Blue Parade), 14 tracks of gently abrasive headphone ambient that carry out this type of sound very well. Occasionally there is a piano (“Callista”) or what sounds like vocals (“El Topo”), but as it’s been from the start, this is primarily about tones and moods. Notes for the release say it’s a “continuation and completion of the narrative set by the release Sillage of the Blue Summer,” but it’s less the narrative you should be worried about missing out on than the warmth of your insides after an uninterrupted listen.

Patrick Masterson

Iress — Flaw (Iress)

Flaw by Iress

Sweeping, epic post-metal from this LA four piece makes a place for melodic beauty amid the heaviness. Like Pelican and Red Sparrows, Iress blares a wall of overwhelming guitar sound. Together Michelle Malley and Alex Moreno roust up waves and walls of pummeling tone as in opener “Shame.” But Iress is also pretty good at pulling back and revealing the acoustic basis for these songs. “Hand Tremor” is downright tranquil, with wreathes of languid guitar strumming and Malley’s strong, gutsy soprano navigating the full dynamic range from whisper to scream. “Wolves” lumbers like a violent beast, even in its muscular surge, there’s a slow, anthemic chorus. Likewise, “Underneath” pounds and hammers (that’s Glenn Chu on drums), but leaves space for introspection and doubt. It’s rare that the vocals on music this heavy are so good or so female, but if you’ve liked Chelsea Wolfe’s recent forays into ritual metal, you should check out Iress as well.

Jennifer Kelly

Junta Cadre — Vietnam Forever (No Rent Records)

"Vietnam Forever" (NRR141) by Junta Cadre

Junta Cadre is one of several noise and power electronics projects created by Jackson Abdul-Salaam, musician and curator of the long-running Svn Okklt blog. As the project’s name implies, Junta Cadre has an agenda: the production of sound that seeks to thematize the ambiguities of 20th-century radical, revolutionary politics. The project’s initial releases investigated the Maoist revolution in China, and the subsequent Cultural Revolution of the late 1960s and 1970s. Vietnam Forever shifts topics, to the American War in Vietnam, and tactics, including contributions from other prominent harsh noise acts and artists: the Rita, Samuel Torres of Terror Cell Unit, Leo Brucho of Controlled Opposition and others. Given those names, Vietnam Forever is as challenging and rigorous as you might expect. Waves of dissonant, electronic hum and fuzz accumulate and oscillate, crunching and chopping into textured aural assaults; wince-inducing warbles and needling feedback occasionally assert themselves. Abdul-Salaam’s harsh shout cuts in and out of the mix. The tape (also available as a name-yo’-price DL on Bandcamp) presents as two side-long slabs of sound, both over seventeen minutes long, both completely exhausting. At one point, on Side A, Abdul-Salaam repeatedly shouts, “Beautiful Vietnam forever!” It’s hard to say what he means. An affirmation that Vietnam survived the war? That its people and culture endure? Or that the U.S. can’t seem to shake the war’s haunting presence? Or even a more worryingly nihilistic delight in the war’s carnage, so frequently aestheticized in films like Apocalypse Now (1979), Full Metal Jacket (1987) and Da Five Bloods (2020)? The noise provides no closure. Maybe necessarily so.

Jonathan Shaw

Bastien Keb — The Killing of Eugene Peeps (Gearbox)

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The Killing of Eugene Peeps is a soundtrack to a movie that never was, a noir-ish flick which winds restlessly through urban landscapes and musical styles, from the orchestra tremors of its opening through the folky group-sing of “Lucky the Oldest Grave.” “Rabbit Hole” wafts by like an Elephant Six outtake, its woozy chorus lit by glockenspiel notes, while “God Bless Your Gutters” conjures jazzy desolation in piano and mordant spoken word. “All the Love in Your Heart” shimmers like a movie flashback, a mirage of blowsy back-up singing, guitar and muttered memories. “Street Clams” bristles with funk and swagger, an Ethio-jazz sortee through rain slicked streets. What’s it about? Musically or narratively? No idea. But it’s worth visiting these evocative soundscapes just for the atmosphere. It’s a film I’d like to see.

Jennifer Kelly

Jesse Kivel — Infinite Jess (New Feelings)

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Nostalgia haunts the new solo album from Kisses guitarist/singer Jesse Kivel. Infinite Jess is full of that knowing melancholy of The Blue Nile, Prefab Sprout and The Pale Fountains that was so magnetic to a certain brand of sensitive young thing seeking to articulate their inchoate visions of a future steeped in romance and adventure. Think wistful mid-tempo songs wrapped in cocoons of strummed guitars, shuffling percussion and wurlitzer piano fashioned into a catalogue of adolescent radio memories. These tunes are topped by the understated sincerity of Kivel’s voice and lyrics which effectively evoke the place, time and emotion of his vignettes. The production suffers occasionally from a distracting reliance on too perfectly rendered tropes — overly polite drum programming, thumbed bass, blandly smooth electric piano — but the overall effect is oddly beguiling. Infinite Jess closes with a charmingly wobbly instrumental cover of Don McLean’s “Vincent” played on the wurlitzer that captures the poignancy of the melody and serves as a fitting epilog to the record.

Andrew Forell

Kyrios — Saturnal Chambers (Caligari Records)

Saturnal Chambers by KYRIOS

The corpsepaint-and-spiked-codpiece crowd are still making tons of records, but fewer and fewer of them are interesting or compelling. The retrograde theatrics and cheap pessimism can be irritating enough (I’d rather be reading Schopenhauer, thanks); it’s even more problematic when the songs can muster only the vividness and savor of stiff leftovers from the deep-freezer’s darkest and dankest corners. Still, every now and then a kvlty band that follows the frigid dictates of black metal’s orthodoxy creates a set of songs worth listening to. This new EP from Kyrios is super short, comprising three tracks in just under 10 minutes that pull off that neat trick: when it’s over, you want to hear more. Sure, the dudes in the band call themselves silly things like Satan’s Sword and Vornag, but the tunes are really good. Check out the churning strangeness of “The Utterance of Foul Truths.” Kyrios claims Immortal, Enslaved and Dissection as primary influences, and the band recognizes the stylistic debt they owe to Deathspell Omega (let’s hope Kyrios digs the twisted guitars and weird-ass time signatures, but passes on the National Socialism declaimed by that French band’s vocalist). Stuff gets even more engaging when bleeping and blooping keyboards vibrate at the edges of the mix, giving the songs a spaced-out vibe. “Saturnal Chambers”? Maybe Kyrios has met the astral spirit of Sun Ra somewhere along their galactic journeys into the heavenly void. He liked bleeping, blooping noises and gaudy costumes, too.

Jonathan Shaw

Matt Lajoie — Light Emerging (Trouble In Mind)

Light Emerging by Matt Lajoie

The second volume of Trouble In Mind Records’ Explorers series is, like its predecessor a cassette that comes concealed within a brown slipcase. Like many other discretely wrapped products, the fun is on the inside. This time, it’s a tape by guitarist who understands that toes aren’t just for tapping. At any rate, I think he’s managing his pedals with his feet. Most likely Lajoie has spent some quality time listening to mid-1990s Roy Montgomery. But since a quarter century has passed, he doesn’t just stack up the echoes. Sped-up tones streak across the surface of this music like swallows zooming close to that sheet you hung on the side of your barn the last time you had everyone over for a socially distanced gathering to watch Aguirre, The Wrath of God. Wait, did that really happen? Maybe not, but if someone were to make a fake documentary about the hanging of the projective surface, this music is suitably epic to provide the soundtrack.

Bill Meyer

Lisa/Liza — Shelter of a Song (Orindal)

Shelter of a Song by Lisa/Liza

Lisa/Liza makes a quietly harrowing sort of guitar folk, singing in a high, ghostly clear soprano against delicate traceries of picking. The artist, real name Liza Victoria, inhabits songs that are unadorned but still chilling. She sings with childlike sincerity in an ominous landscape of dark alleys and chilly autumnal vistas. She wrote this album while chronically ill, according to the notes, and you can hear the struggle against the body in the way her voice sometimes wavers, her breath comes in sudden intakes. But, as sometimes happens after long sickness, she sometimes strikes clear of the physical, achieving an unearthly purity as in “From this Shelter.” A touch of plain spoken magic lurks in this one, in the whispery vocals, the translucent curtains of guitar notes, though not much warmth. “Red Leaves” is earthier and more fluid, guitar flickers striking out from a resonant center, and the artist murmuring dreamily about the beauty of the world and its transience.

Jennifer Kelly

Keith Morris & The Crooked Numbers — American Reckoning (Mista Boo)

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It's easy to imagine Keith Morris as perpetually frustrated. His last album, after all, took on psychopaths and sycophants, and the title of his new release American Reckoning doesn't suggest happy thoughts. There's plenty of bile on these five tracks, of course, but Morris approaches the album like a scholar. The opening verse describes the US as “Machiavellian: the mean just never ends” before referencing Othello and Yo-Yo Ma (the latter for a “yo mama” joke). If Morris and the Crooked Numbers just raged, they might be justified, but they'd be less interesting. Instead, they use a wide swath of American musical styles to thoughtfully consider racial (and racist) issues in our contemporary society. “Half Crow Jim” turns a Southern piano tune into a surprising tale about the fallout from slavery. It's a sharp moment, and it highlights that the only disappointing part of this release lies in its brevity. Morris has said he has more music on the way, and if he continues to mix styles, wordplay, and cultural analysis, it'll be worth a study.

Justin Cober-Lake

Tatsuya Nakatani and Rob McGill — Valley Movements (Weird Cry)

Valley Movements by Tatsuya Nakatani / Rob Magill

In most percussion ensembles, the gong-ist is a utility player, charged with banging out a note once or twice per composition for drama and ideally not screwing it up. Tatsuya Nakatani works on a wholly different level, transcending the possibilities of this ancient, archetypical instrument with vision and an unholy technique. More specifically, his set-up includes at least two standing gongs, each about as tall as he is himself. He plays them with mallets, standing between, in blur speed rolls that range all over the surface of the instrument. The sound he evokes is distinctly unpercussive, more resembling string instrument glissandos than any form of drums, a full-on high-register wail of sound that he sculpts and roils and coaxes into compositions of incredible force and complexity. He also plays a bunch of other percussion instruments, little drums and cymbals which he layers on top of each other so that when he strikes one, the others resonate. It is quite an experience to see him at it, and if you ever get a chance, you should go. Here, he works with the saxophonist Rob McGill unfurling a single 40-minute improvisation at a studio in the appealingly named Truth or Consequences, New Mexico. McGill is an agile player, laying alternately lyrical and agitated counterpoints onto Nakatani’s rhythms, carrying the tune and threading a logical through line through this extended set. He finds frequencies that complement Nakatani’s antic, nearly demonic drum sounds and knows when to let loose and when to let his partner through the mix. The result is a very high energy, engaging adventure in sound that evokes a rare response: you wish you could hear the drums better.

Jennifer Kelly

Overmono — The Cover Mix (Mixmag)

Mixmag · The Cover Mix: Overmono

It’s a really weird time to be advocating for club music of any kind, but Overmono’s Everything U Need EP out recently on XL again showcases what the fraternal duo known better as Tessela and Truss do best: melding thoughtful percussion patterns with these airy, gliding synth melodies that work at home just as well as in the club (theoretically, anyway). It’s not just original material they do well, though; whether it was the Dekmantel podcast a few years back or their live cassette from Japan or this mix for Mixmag, Ed and Tom Russell also have a knack for pacing in their sets. This one features stuff from the new EP as well as three unreleased tracks (not counting the Rosalía remix, which remains one of the year’s most addicting) and names both old and new — listen for DJ Crystl’s 1993 jungle jam “Deep Space” sidled up next to Smerz’s new skyscraper “I Don’t Talk About That Much.” If that sounds like everything you need, lock in and let Overmono do the hard work. Truly, they do not miss.

Patrick Masterson

Pole — Fading (Mute)

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As Pole, Stefan Betke’s work has always been both comforting and disconcerting. The amiotic swells and heartbeat bass frequencies generate a warm human feel in his music despite their origins in serendipitously damaged equipment. Fading, his first album in five years explores Betke’s reactions to his mother’s dementia and reflects on the nature of personality, memory and soul. Building on his trademark glitchy beats and oceanic bass tones, the eight tracks echo a consciousness unmoored by the fog of unfamiliarity that smothers and distorts but never completely submerges awareness. “Tölpel” (slang for klutz) evokes impatient fingers tapping out the guilty resentment of the forgotten and the frustration of the forgetful. The title track closes with a woozy waltz punctuated by recurrent sparks. Fading is a deeply felt work; somber, reflective, stumbling towards understanding and acceptance, alive to the nuances and petty nettles of grief and above all beautiful in its ambivalence.

Andrew Forell

Quakers — II: The Next Wave (Stones Throw)

II - The Next Wave by Quakers

After eight years of silence following 2012’s self-titled debut, Stones Throw production trio Quakers (Portishead’s Geoff Barrow as Fuzzface, 7-Stu-7 and Katalyst) dropped the 50-track beat tape Supa K: Heavy Tremors out of nowhere in September and now, just two months later, are back with another 33-track behemoth that allows a litany of emcees to shine. Calling this The Next Wave is a bit of a stretch when you consider many of the voices on here are from guys who’ve been in the game for years or even decades (Jeru the Damaja, Detroit’s Phat Kat and Guilty Simpson, Chicagoan Jeremiah Jae, etc.), but even so, the dusty grooves and Dilla loops prove perfect foils for many of those who hit the mic. My favorite might be Sageinfinite slotting in with the organ grinder “A Myth,” but even if you don’t like it, everyone’s in and out quick. If you’re burned out on Griselda, give this a go for 1990s vibes of a different kind.

Patrick Masterson

Rival Consoles — Articulation (Erased Tapes)

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There are deep pockets of silence in “Articulation,” ink black stops between the thump and clack of dance beat, sudden intervals of nothingness amidst limber synthetic melodies. London-based producer Ryan West, who records as Rival Consoles, layers sound on sound in some tracks, letting the foundations slip like tectonic plates on top of one another, but he is also very much aware of the power of quiet, whether dark or luminously light. Consider, for instance, his closer, “Sudden Awareness of Now,” whose buoyant melody skitters across factory-sized fan blasts of whooshing sound. The rhythm is light footed and agile, pieced together from staccato elements that hold the air and light. Like Jon Hopkins, West uses the glitch and twitch to insinuate the infinite, chiming overtones and hovering backdrops to represent a gnostic, communal state of existence. “Vibrations on a String” may jump to the steady thump, thump, thump of dance, but as its gleaming plasticine tones blow out into horn blast dissonance, the cut is more about becoming than being.

Jennifer Kelly

Sweeping Promises — Hunger for a Way Out (Feel It)

Hunger for a Way Out by Sweeping Promises

The title track bounds headlong on a rubbery bassline, picking up a Messthetick-y blare of junk shop keyboards. All the sudden, there’s Lira Mondal unleashing a giddy screed of angular pop punk tunefulness, her partner in Sweeping Promises, Caulfield, stabbing and stuttering on guitar. In some ways, this band is straight out of late 1980s London, jitter-flirting with offkilter hooks a la Delta Five or Girls at Our Best. In others, they are utterly modern, lacing austere pogo beats with lush, elaborate vocal counterpoints. “Falling Forward” is a continuous rush of clamped in guitar scramble and agile, bouncing bass, anthemic trills breaking for robotic chants; it’s a mesh of sounds that always seems ready to collapse in a heap, but instead finds its antic balance just in time.

Jennifer Kelly

Martin Taxt — First Room (SOFA)

First Room by Martin Taxt

Sometimes a room is more than a room. In the matter at hand, it is a space that proposes a state of mind and a consequent set of experiences. It is also the score for a piece of music that extrapolate that state into the realm of sound. The cover of First Room depicts a pattern of tatami mats that you might find in a Japanese tea room. Martin Taxt is a microtonal tubaist and also the holder of an advanced degree in music and architecture (next time someone tells you that some good thing can’t happen, remember that in Norway you can not only get such a degree; you can then go ahead and present a CD that shows your work. The fault, dear Brutus, is not in the stars, but in our society.). This music takes inspiration from the integrated aesthetic of the tea ceremony, using carefully placed and deliberately sustained sounds to create an environment in which subtle changes count for a lot. The album’s contents were created by mixing together two performances, one with and another without an audience. Taxt and accompanist Vilde Marghrete Aas layer long tones from a tuba, double bass, viola da gamba and sine waves. Their precise juxtapositions create a sense of focus, somewhat like a concentrated version of Ellen Fullman’s long string music, and if that statement means something to you, so will this music.

Bill Meyer

Ulaan Janthina — Ulaan Janthina II (Worstward)

Ulaan Janthina (Part II) by Ulaan Janthina

Part two of Steven R. Smith’s latest recording project echoes the first volume in several key aspects. It is a tape made in small numbers and packaged like a present from your favorite cottage industry; in this case, the custom-printed box comes with an old playing card, a hand-printed image of jellyfish, an old skeleton key and a nut. And Smith, who most often plays guitars and home-made stringed instruments, once more plays keyboards, which enable him to etch finer lines of melody. The chief difference between this tape and its predecessor is the melodies themselves, which have begun to attain the evocative simplicity of mid-1970s Cluster.

Bill Meyer

Various Artists — Joyous Sounds! (Chicago Research)

Joyous Sounds! by Various Artists

It’s been less than two years, but Blake Karlson’s Chicago Research imprint has already made its presence known both in the Windy City and beyond as fine purveyors of all things industrial, EBM, post-punk and experimental electronics. There were two compilations released within days of one another toward the beginning of October, and while Preliminaries of Silence veers more toward soothing ambient textures, Joyous Sounds! is more upbeat and rhythmic (Bravias Lattice’s “Liquid Vistas” is a beautiful exception). My favorite track is Club Music’s “Musclebound” (not a Spandau Ballet cover, as it turns out), but the underlying menace of Civic Center’s “Filigree” and Rottweiler’s pummeling “Ancient Baths” sit alongside merely unsettling fare like Lily the Fields’ “Porcelain” well. If you’re not already aboard or just have a Wax Trax-sized hole in your heart, you have a lot of work ahead of you with this label’s consistently superlative output.

Patrick Masterson

Kurt Vile — Speed, Sound, Lonely KV (Matador)

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Given John Prine's passing from COVID-19 this year, the new Kurt Vile EP might be received as a tribute to the late artist, with extra significance coming from Prine's appearance here. Four years in the works, Speed, Sound, Lonely KV offers more than just tribute, though. Prine's guest spot (if you could call it that) on his own “How Lucky” certainly makes for a moving highlight, the two singers fitting together nicely as Prine's gruff tone balance's his partner's smoother voice. Vile also covers Prine on “Speed of the Sound of Loneliness,” and he adds “Gone Girl” by Cowboy Jack Clement as he takes further cosmic steps.

His two originals here complete the record, and, mixed in with the covers, draw out the lesson. Vile's entire EP blends the country influences with his more typical dreamy sound, the guitar work bridging the gap between a songwriter's backing and something more ethereal. Nashville, it seems, has always suited Vile just fine, and hearing him embrace that tradition more immediately adds an extra layer to his work. Putting a cowboy hat on his previous aesthetic puts him opens up new but related paths for him, and the five tracks here could play on either a Kris Kristofferson mix or a laid-back indie-rocker playlist. Either way, they'd be highlights on an endless loop.

Justin Cober-Lake

WhoMadeWho — Synchronicity (Kompakt)

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Danish trio WhoMadeWho — drummer Tomas Barfod, guitarist Jeppe Kjellberg and bassist/singer Tomas Høffding — make enjoyable indie dance music that suffers somewhat from lack of personality and a tendency toward a middle ground. That may be due to an effort to accommodate a roster of Kompakt-related collaborators including Michael Mayer, Echonomist and Robag Wruhme. While there’s nothing bad and some pretty good here, the individual songs flit by, pausing briefly to set one’s head nodding and feet tapping, before evaporating from the mind. “Shadow of Doubt” featuring Hamburg’s Adana Twins has the kind of driving bass that anchored New Order hits but also, unfortunately, the unconvincing vocals only Bernard Sumner could get away with. More successful moments like the eerie piano riff and jazz inflections of “Dream Hoarding” with Frank Wiedemann, the arpeggiated house of “Der Abend birgt keine Ruh” featuring Perel and miserablist Pet Shop Boys inflected closer “If You Leave” do stick. Synchronicity might work well on the dance floor, but it doesn’t quite sustain at home.

Andrew Forell

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rockethorse · 5 years

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I know EA is nickle-and-diming the Sims community over EVERYTHING these days but one thing that stuck out to me recently as particularly egregious is the concept of the Seasons EP.

When Seasons was released as an EP for Sims 2, it really was revolutionary. The developers had tried to include basic weather functions (e.g. rain, lightning) as part of the game in the base pack, but couldn’t hammer out all the tweaks in time; so they expanded on it with more content, more weather types, temperature effects, Plantsims, NPCs (as annoying as the garden club can be), fishing, and of course, gardening/juicing/fish recipes, then released all of that as a separate expansion pack. It was IMO worth the money and remains one of the “must-have” EPs for TS2.

However.

I think, at this point in the Sims-game development lineup, EA is simply taking advantage of players’ expectations that weather and temperature effects etc. will always be an expansion and will always cost as much as an EP, because I believe weather effects should just be a core aspect of all Sims games moving forward and, if not included in base game, should be patched in later for free, like ocean swimming (TS3) or toddlers (TS4). I do not think simply “add weather to your game!” should be considered enough of a draw to warrant shelling out for an entire EP.

Gardening and fishing were both things that were introduced into TS2 in the Seasons expansion pack that have become part of the expected Sims base-game package. Both systems have been greatly built upon and improved from TS2 (and TS1 in the case of gardening) - there is no “get to dirt!” or “get to rod!” expansion pack that expects you to pay money for the privilege of harvestables or fishing. But I find it particularly frustrating that a life simulation game, which, even if they have been over-focusing on the “wacky” aspects of the game lately, is still at core about being able to replicate the real world, would put something as integral to that experience as WEATHER behind a paywall.

I'm not saying that just because something was introduced in a previous expansion pack means that it should be included in the next generation’s base game or else the devs are being lazy; that’s absurd. Every core game has to be programmed from the ground-up, even if you’re able to recycle some old assets, so it’s not like they can use TS2 weather in TS3 at all. Like, we’ve had pets since TS1, but I don’t expect pets to ever be included in a Sims basegame, because creating the pet system would be just as hard as creating the Sim system. What I’m saying is I don’t think weather effects are one of those aspects that’s too difficult to implement in base game, especially compared to when TS2 Seasons was released. It was already kind of strange that TS3 didn’t introduce weather in basegame given they’d tried so hard to ship weather with TS2. But I imagine the seamless world system made it a lot harder. When the much more streamlined TS4 was announced without any weather, it started to feel more deliberate. EA is taking advantage of the fact that it really WAS revolutionary to introduce it in TS2 and warranted it being its own expansion pack to continue to gatekeep weather effects into its own EP in future gens, even when that becomes easier and easier to implement into basegame. Basically, they’re taking advantage of people’s nostalgia for the TS2 Seasons EP and the good reputation it has/had to allow its fanbase to keep believing that Seasons EPs are SO difficult to produce that they HAVE to be an EP and are therefore worth that sweet sweet EP cash.

The other reason it works is that weather feels good to play with. It really does add another layer of interest, fun, and whimsical realism/immersion to the game. So a lot of Sims players are happy to shell out the money for a Seasons EP and get excited when one is announced because it FEELS like you’re getting a lot, because weather/seasons change the whole feel of the game. It can feel like you’re playing something totally new! But that’s a great deal for EA, because you FEEL like you’re getting a lot when you’re really not getting very much at all in terms of work/budget from them. It’s a little thing that makes a huge difference in the way a game feels, and EA successfully tricks its audience into thinking that impact on gameplay directly correlates with effort/time and therefore worth. Like, swimming, cooking, etc. are also difficult systems to implement but they are also integral to the Sims experience, and IMO, weather is the same way. (Because it’s a life simulator, but weather is DLC??)

That’s not to say that implementing weather in any Sims game is easy. Any new addition to the game takes a lot of collaborative work. I know that weather effects also require a lot of hard work to get finished by the time a base game ships, and I’m honestly not sure the way EA manages Sims game releases could support that any more - Seasons being an EP is probably just as much an excuse to rush the release of a half-finished base game as it is a way to sap more money from its players. But I also feel that the work would, in the long term, be much shorter if new Sims base games were constructed from the ground-up taking weather into consideration. Weather shouldn’t be excluded until you have to retrofit it into the existsing game core system, it should be incorporated into gameplay from the start. But again, that might delay production, so EA would never let that happen lmao. Spend more time/money on making a better game that will have greater playability/longevity and bring in more money over the long term? Why would they ever do that when they can just rush a half-finished game and make those big bucks in the short term? Lmao.

Also, “but I hate weather and I don’t want it in my game -” ideally TS5 or whatever would give you options to play without some or any weather effects. Then you can choose to play as if you didn’t have seasons at all without everyone else having to shell out EP-price for something as fundamental to the Sims game experience as gardening or fishing (or toddlers).

I don’t know what the point of writing this post was. I’m not trying to be negative about the newer Sims games or anything, and of course not the people who enjoy playing them. And I’m sure that the Seasons EPs ARE good and feel fun to play. I’m just questioning the motives behind why these mechanics are STILL, even two game gens after they were initially introduced, considered “EP-only” content and have not been incorporated into our expectations of base-game content, and the only answer I can come up with is “saving and/or gouging money”. I just feel like they know a significant portion of their playerbase aren’t familiar with other game titles and how DLC/paid content is released for them, so they don’t know that they should expect/demand better and basically just buy whatever EA sells them. Ka-ching for EA.

I guess I’m just old man angry at cloud because I miss the Maxis days, where EPs were “here’s everything we were psyched to try and get you before but didn’t have the time/budget/literal CD-ROM space to give it to you, so we really crammed it with as much content as we could manage to finish in time so that you really get the most for your money”, and not “here’s the bare minimum amount of content that we felt we could charge you full EP price for without inciting a riot”. But what else is new?

Basically EA is just cashing in on the idea that people will pay for an expansion pack now because it has been an expansion pack in the past, whether or not the content in that expansion pack still requires the same amount of effort/work/budget that originally required it to be an EP in the first place.

#this is just ridiculously long don't even read it #I forgot half of what I said even #I've just been watching a lot of Sims youtubers lately and they're all mostly focused on TS4 #and it's interesting hearing them talk about TS3 as 'their' Sims game #like the one they grew up with and moved on from #because for me that would be TS1 and then I guess TS2 but I still play TS2 #and hearing the way they talk about current EPs and just feeling kind of... bitter? on their behalf #because they're so impressed by the content that they get in EPs and I'm like. but this is barely even a quarter #of the new content you're SUPPOSED to get #but you don't KNOW that because you've just grown up with this expectation #and that's what EA is counting on lol

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fy-winner · 5 years

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[Rolling Stone India] The Art of Being Mino

The South Korean hip-hop star wowed critics and fans alike with his solo album ‘XX’; but is he any closer to discovering who the ‘real’ Mino is?

Understanding Song Minho is kind of like catching lightning in a bottle; impossible to do but the idea itself is so dazzling, you need to give it a shot anyway. Tall and blonde with bleached eyebrows and sharp features, Song–better known mononymously as Mino–cuts quite the intimidating figure. He’s intelligent, polite and forthcoming on every answer and there’s an elegance to him that’s instantly appealing. There’s one little thing that proves to be more charming than any of this, however, and it comes in the form of a little note he sends on email after the interview; “Thank you for your interest!” it reads cheerfully, accompanied by a smiley emoji. “I hope we do it again when Winner’s back!” It’s simple but sweet and suddenly there’s yet another dimension to the chic, fierce rapper we’re used to seeing onscreen.

Before sitting down with Rolling Stone India for a conversation in December, the 25-year old musician’s schedule through 2018 included the release and promotion of a full LP with his band Winner, a Japan tour, a more extensive Asia tour, a series of performances across his home country South Korea, starring roles in several variety shows and a feature on YG Entertainment labelmate and his senior Seungri’s viral hit track “Where R U From.” November was busiest for him with the release of his first solo LP XX, a 12-track feast of hip-hop, tradition, emotion and culture. December finally closed with yet another single with Winner and a series of year-end performances in Korea.

While a bit of a break is warranted after the whirlwind of activity, Mino confirms he has no plans to take it easy in 2019. “Winner will release a full album this year,” he reveals cheerfully. “I cannot talk about our plan in advance, but we are preparing a surprise gift with a great musician!” The four-member K-pop band are working on their upcoming third LP and have already begun their tour schedules in full force– they’re currently on a six-city run of the United States with stops in Seattle, San Francisco, Los Angeles, Dallas, Chicago and New York.

Over the past year Mino has embraced the avant-garde with ease, stepping away from his swag-heavy hip-hop image and slipping into a more elegant avatar.

As an artist, Mino is full of surprises with an evolution that’s been thrilling to map. He started his career as a rapper in South Korea’s vibrant underground hip-hop scene back in 2010 (when he was just 16) but success took a while to come along. He debuted briefly in 2011 with a group called BoM before its premature disbandment in 2013, and then finally signed with leading music label YG Entertainment as a trainee. In 2014 he got his big break after participating in TV channel Mnet’s reality-survival program Win: Who Is Next and ending up as a member of the winning Team A–which would go on to form Winner and debut that same year. He shot to fame quickly this time around, gaining attention as a solo artist after finishing as runner-up on the fourth season of South Korean hip-hop survival competition Show Me The Money in 2015. With several eyes on him, he wowed with a more bluesy, melancholic persona on Winner’s 2016 EP EXIT: E. That same year he and YG Entertainment labelmate Bobby announced a duo project titled MOBB, which showed off a completely different, swag-heavy, fun-loving attitude, but in that EP he included “Body,” a solo single that blended sex and passion with angst and regret. Winner’s discography as of late has been bright, tropical and electronic-pop and he’s able to adapt to it effortlessly as well. His career trajectory spells ‘chameleon’ and even in times of trial there’s a sense of chill around him, as though deep inside he knows everything’s going to work out.

Over the past year Mino has embraced a life of avant-garde with ease, stepping away from his swag-heavy hip-hop image and slipping into a more elegant avatar. He seems more comfortable and willing to express himself in ways outside of music. He’s always had fondness for art but now seems to revel in it, regularly posting images of artwork he’s created on Instagram, participating in media projects, exhibitions and editorials. Last year, he displayed some of his own artwork at an exhibit titled ‘Burning Planet.’ The pieces were a combination of installation art with media and performance art which explored the idea of burnouts, stress and humanity’s exhausting pace of birth, work, death. It’s morbid, futuristic and almost prophetical in its warnings about the pressure society puts on young people and quickly gained critical acclaim. Mino remains modest in the wake of all the praise, saying, “I do not know if I have had any talent when I was young, but I painted as a hobby since I was a kid. So I have become interested in art naturally. It was a very good opportunity to exhibit ‘Burning Planet’ with [eye wear brand and collaborator] Gentle Monster. It was a good time to learn and experience many things.”

It’s this artistic and emotional evolution which seems to have had the biggest hand in the creation of XX. “I wanted to give a tweak to my existing image, which I guess has been heavy with hip-hop and rap. I wanted to start afresh,” he stated at a press conference in November, according to a report by the Korea Herald. XX is an extension of his performance art–dramatic, creative with an ambiguous title to boot (he’s explained he wanted his listeners to have their own interpretations of it.) The video for the lead single “Fiancé” features imagery around birds, dreams, fantastical landscapes and more. In addition to being involved in the entire concept, Mino also contributed to the set design–there’s a giant mural of a bluebird featured in the video which he painted himself. Several fans as well as popular YouTube channels like DKDKTV have attempted to decipher the meanings behind it and he’s thrilled to see all the various discussions. “It is one of the things I enjoy the most,” he says when I ask if he ever watches these theories. “Making parts that can be interpreted in various ways… I love watching them in various interpretations.” Could he tell us which theory got closest to deciphering his work? “I will never tell which one is correct or incorrect for more diverse guesses!” he teases.

“Fiancé” has also been appreciated for its unconventional combination of trot, a form of Korean folk music, and trap. To do this, the track samples Korean veteran singer Kim Taehee’s 1969 track “Soyanggang River Maiden” and blends it with bass-heavy, rolling trap and Mino’s drawling rap. “There was no intention to use ‘Soyanggang River Maiden’ from the beginning,” Mino says. “When the song was almost 80 percent complete, [YG Entertainment CEO and music producer] Yang Hyun Suk gave me an idea of putting a part of ‘Soyanggang River Maiden’ as a sample source, and it fit perfectly into the message and vibe of this song.” The haunting sample had younger fans enthralled and searching through YouTube to listen to the original track while applauding Mino for putting a limelight on Korean pop culture and history. Because in addition to the retro sound, the music video for “Fiancé” is a fever-dream blend inspired by the Korean Joseon dynasty and modern-day angst. In the clip the rapper wanders between fantasy and reality, dressed as an emperor as he searches the past, present and future for his one true love.

“I was getting to love myself, and everything [about that experience] is in this album.”

Is it possible that with younger artists like him using older genres like trot or paying homage to their history in music videos, it can help young listeners appreciate tradition a little bit more? Mino reveals that wasn’t really his intention at all. “In fact, I considered this song for older people than younger people,” he says, adding his plan was to erase misconceptions about hip-hop and ‘young’ music in the minds of older generations. “Even if the genre of hip-hop is popularized, it is still hard to catch up with higher age. So it seems like sampling of ‘Soyanggang River Maiden’ was a good plan for this song.” “Fiancé” has indeed added to the buzz around rappers defying expectations and stepping into traditional musical and visual territories. Hip-hop no longer has one definition and inspiration can come from anywhere. For Mino, the ideas for “Fiance” and XX came from several fragments of art. “I have so many things inspiring me, so I do not know which one to say first,” Mino says. “Among them, some works of (Italian painter) Piero Fornasetti, various plants–especially blue roses– and the Japanese anime Devilman were in my mind. However, it’s my inner self that affected it the most. I stayed alone in the studio every time so I could be deeply involved in my work and I looked back upon myself.”

XX as a whole has been well-received thanks to its use of complex metaphors, puns and double meanings in its lyricism, but for Mino, making this record was about finding his true self. “I got down to work in earnest in the beginning of 2018 for this album,” he says. “It contains various songs ranging from a song written two-three years ago to a song written two weeks before the album came out.” The rapper has written and composed each and every track, taking a dive into his own psyche to unleash several different sides of himself. In a video teaser right before XX‘s release, Mino explained he’d made the album by “grating [his] soul into it” and the result is an LP that is diverse, clever, saucy and undoubtedly one of the best hip-hop albums of 2018. Lyrically, he tackles everything from waiting for a lost love (“Fiancé”) to calling out obsessive fans (“Agree”) and bold eroticism (“Hope”). He gets emotional on “Alarm” and “Her,” exploring heartbreak, his relationship with his fans and self discovery. “I was getting to love myself, and everything [about that experience] is in this album,” Mino tells me. “I got a lot of thoughts and experiences from it and I am so proud of the production process.”

It’s clear from the get-go that wordplay is key; in the vicious introductory track “Trigger,” Mino uses syllables in its Korean title to play on the curse word ‘shibal,’ blazing through verses of self-praise with swagger, while on “Rocket” he drops references to art, Korean mythology and more. It’s the realest taste of what he’s truly capable of and it surprises and delights in equal measure. The impressive roster of collaborators on the record include YG Entertainment’s biggest in-house producers Choice37 and Millennium, comedian and actor Yoo Byung-jae and up-and-coming vocalist Blue.D, among others. There was one artist, however, that Mino was particularly excited to work with. “It was all fun, but working with YDG was extremely impressive,” he says proudly of his collaboration with the Korean hip-hop veteran on “Bow Wow.” “It was one of my dreams from my childhood.”

With XX being his first massive solo effort, Mino confesses there were hurdles along the way that he hadn’t expected. “The toughest part was familiarity,” he says, adding, “When I listened to songs hundreds of times to make a song, I always got confused. That’s the hardest thing to me.” Working alone means more pressure and he says he finds it more peaceful when he’s working with the members of Winner– Hoony, Yoon and Jinu. “When I work alone… I get sensitive because I am dissatisfied with any result. When I work with Winner, it’s really a load off my mind. Each member has their own roles, and I think we fit in nicely with each other.”

Mino’s journey has been wild, difficult, rewarding and a little messy–we’ve covered a lot of it over the course of the interview, but it still feels like we’re scratching the surface. He seems to agree; there’s a lot more he wants to consume and learn and a lot more he wants to show all his fans, old and new. “I am always thankful to fans who have supported me from the beginning and everyone who has known me since yesterday,” he says. “I will try to put a little more of my own personality and style on next album, and I also want to challenge something that no one expected.” While the search for the ‘real’ Mino continues, XX is a chapter in his story that marks a significant turn; he’s found a balance between the sexy rapper we see with Winner, the exuberant hip-hop dudebro he turns into with MOBB and the expressive poet he is as a soloist. It might not be lightning in a bottle just yet, but it’s pretty damn close.

#yg winner #winner #mino #t:article

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beingablacknurserymanager-blog · 5 years

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Intersectionality and Race -Edgbaston Park Day Nursery

In any Early Years setting the richness of the experiences that the children have with regards to their holistic learning and development are directly informed by the adults who work with them and the environment that those adults create.

In today’s Early Years settings across the UK the importance of actively recruiting a diverse workforce cannot be overstated enough, and not just using one identity marker but looking at as many as possible including gender, class, ability, sexual orientation, ethnicity and religion. But the work does not stop there, having a Black practitioner so that you can tick a box or so it looks ‘inclusive’ on your nursery website is tokenistic the real work to counter discrimination is embedded within the practices of the workforce.

The examination of how any one of these identity markers intersect must be acknowledged as being extremely important. Intersectionality, a term coined by the Black feminist scholar Kimberlé Crenshaw, examines how different forms of social and political discrimination overlap with gender to compound and further marginalise people within society.

As the term has evolved it has been used outside of feminist theory more to look at how certain sectors of society are often more disadvantaged by multiple sources of oppression interlocking and compounding meaning that equality and social mobility is even harder to achieve by already marginalised communities.

As an Early Years workforce we are assisting and preparing children to be contributors to a fair, accepting and pleasant society it is therefore imperative that we examine Crenshaws theory and heighten our awareness of precisely how it can directly impact the children that we work with every day.

It is not good enough to dismiss the importance of intersectionality because you are a well meaning Nursery Manager who says things like “We don’t see colour here! All of our children are the same to us” or “Why does it matter so much, all the children are happy and we’re not racist!” We must examine how to be actively anti-discriminatory in our practice and we must work to ensure that necessary training is not just delivered within the area of intersectional theory but is embedded within the practices of our settings.

For the past 15 years I have managed Edgbaston Park Day Nursery in Birmingham. We are located a stones throw away from the leafy middle class suburbs of Edgbaston and the newly developed ‘Edgbaston Village’ part of the Calthorpe Estate near houses that are increasing in value by the year. We are a stones throw from Ladywood, an area of inner city Birmingham. We are 10 minutes away from Harborne High street in one direction and 10 minutes away from Winson Green prison in the opposite direction. (a quick google search will fill in the blanks if you are not familiar with Birmingham)

Needless to say the intersections of race, class, and religion that surround my setting are things that I am acutely aware of. The demographic of the children who attend are almost all Black and South Asian.

The setting is a 46 place private day nursery that has been owned by my mother since 1994. With 38 children currently on roll 31 of these children would be classified as being Black African-Caribbean, 2 are Black African, 1 White British, 3 are South Asian and 1 is East Asian.

I employ 11 staff, and using the same ethnic background descriptors, 5 are Black African – Caribbean, 1 is Black African, 3 South Asian and 2 White other. My choice to ensure that I recruit from as wide a range of people as possible is a very conscious one because reflecting the city and more importantly the Britain that I am preparing the children to grow up in is something that I believe is extremely important.

For me that means that the children who attend must not only see themselves reflected in the practitioners but must also see how the importance of collaborative partnerships amongst people who all look different, speak with different accents and who express their religions, gender identities and abilities can all share commonalities as well as feel confident and unashamed to express their differences.

I recognise that one of the most prevalent identity markers of the children who are on roll at my setting is race, but I am also very much aware that class, family structure and religion, in line with intersectional theory, are additional sources of oppression that directly impact the children and families who attend the setting. All of my current staff identify as cis females but I frequently engage with external male practitioners from a variety of creative disciplines who come in to deliver chess workshops, or art programmes , music sessions or story telling activities. This is to counter the fact that I recognise that a large proportion of the children do not live with their fathers and some have limited contact with them or no contact at all due to family breakdown, incarceration or because the fathers have been absent from birth.

Self - development and building resilience and confidence within the psyche of the children is something that I ensure happens at my setting daily and each of my practitioners are encouraged to promote a culture of excellence in their engagement with each other and the children. The cohort of children , particularly in my Pre-School group, is disproportionately girls and in this ever increasing Instagram and social media driven society the direct impact that this has on the children is staggering, particularly when beauty standards lean towards the preference of White skin, slim frames and blonde hair, or most recently a trend of being racially ambiguous with slim waists, big breasts and a shapely bum. You’d be surprised at how readily the 3 year old girls adopt poses whenever a camera is pulled out akin to the latest social media influencer or Love Island contestant and how frequently they put items under their tops to imitate having breasts.

We have had cases of Black girls aged 4 expressing their desire to have White skin or telling other girls that they’re clothes don’t look nice because of their “Fat bellies”. Countering these things means paying close attention to observing the children through play and not just being reactive in our approach through having the token Black doll but having permanent displays that showcase the beauty of braided hair with colourful beads and intricate canerowed hairstyles. One of my practitioners is renowned for her canerowing skills as she plaits the children’s (boys and girls) hair at the parents requests. Effectively we have a live hairdressers role play station located within our Pre- School classroom.

I upskill my practitioners to be confident enough to have those difficult conversations with parents about what we may have heard their children say to one another and we do not celebrate Eid , Black History Month or Diwali just because these celebrations are marked on the calendar but the discussion of multi faith and cultural practices by my practitioners is explicitly encouraged. Our nursery cook of 10 years ensures that steamed fish, curried chicken, plantain and seasoned EVERYTHING is served throughout the week as well as a chickpea curry or a roast with yorkshire puddings for balance so that the familiar smells float throughout the nursery at meal times.

Exploring how multiple sources of oppression intersect must be considered carefully with the Early Years to ensure that children’s exposure to as many things as possible to counter these factors can have a long lasting positive impact on their lives.

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justlostpuppies-blog · 5 years

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Tips for Wedding Photographers

The application we as a whole love and love to despise. It's a passionate rollercoaster that we can't get off of, yet rather, proceed to remain and ride out the consistently evolving calculations. With the 'Gram being so open to question, it tends to be difficult to comprehend what's the most recent tip that will be ensured to work. In spite of the fact that we can't represent what is new with Insta today (I mean, can anybody truly?), we are here to share our most loved Instagram tips! These time tested tips have been useful to us throughout the years and we trust they will be of a similar help to you!

#1 SCHEDULING APPS

Booking applications can be a lifeline when your plate is full. Many planning applications help you make posts early, compose subtitles and hashtags, post in a split second or send you updates, give investigation, thus considerably more! Here at Photobug, Onlypult is our top choice, yet there are a huge amount of extraordinary ones like UNUM, Later, Planoly, and Hootsuite. Invest less energy quickly endeavoring to make sense of what photograph to post next that is tastefully satisfying, and rather, put aside time toward the start of your week to design out a little while at once!

#2 METRICS

Regardless of whether you have assistance from booking applications and they're measurements or not, it's constantly useful to survey your posts without anyone else time and jump somewhat more profound to perceive any reason why something may do as such well (or not all that well). This implies, setting aside the opportunity to go in the course of the last 9-15 posts and draw what's progressing admirably so you can do your own examination on it – see what these posts share for all intents and purpose. Is it the season of day you're posting? Explicit hashtags? What do the subtitles resemble – nonexclusive or authentic, about the couple or about you? There's so much you can learn by completing a brisk investigation of your posts!

#3 HASHTAGS

Before you moan and feign exacerbation, tune in up. We as a whole know hashtags can help extend your span, however precisely how you use them can represent the moment of truth a post. It appears as though Instagram is centered around shadowbanning posts and records that appear to be malicious, and you don't need that! So as to keep things certifiable and not raise any warnings, we have a few fundamental hashtag tenets to pursue:

#4 ENGAGEMENT

Talking about spam, one approach to give your record somewhat more believability is by associating with your devotees. Regardless of whether it's answering to remarks, DMs, or utilizing stories, the more certifiable and keen your collaborations appear to be, the more outlandish Instagram is going to stamp you as spam. Additionally, you can build the soundness of your presents just by answering on remarks. So as opposed to tapping the heart beside each new remark you get, take two or three seconds to hit answer and state a speedy much obliged.

#5 VULNERABILITY

Consider a portion of your most loved records to pursue. I wager that a large portion of them (if not all) are accounts where the individual will in general be genuinely open and legitimate to their identity outside of their business. Furthermore, I'm not looking at having a slogan that is tied in with shooting "bona fide couples who are fiercely infatuated". I'm looking at demonstrating your identity, in and outside of your business. You can discuss an ongoing show you've as of late marathon watched, give a look into in the background work life, flaunt your adorable pet, anything you need. That is the magnificence of this application – it is whatever you make of it!

50 Photography Quotes to Lean On in 2019

Motivation can be found anyplace – individuals, films, light, music, and, in this occasion, words. We have concocted 50 photography statements that are certain to give you a portion of motivation. So whether you complete a snappy read through or plan to hang a couple of top choices where you can see all the time (vision load up anybody?), any wedding picture taker is certain to discover comfort in these motivating statements.

"There is one thing the photo must contain, the humankind existing apart from everything else." - Robert Frank

"Photography is a method for feeling, of contacting, of adoring. What you have gotten on film is caught perpetually… It recollects seemingly insignificant details, long after you have overlooked everything."

"Photography has no principles, it's anything but a game. It is the outcome which tallies, regardless of how it is accomplished." - Brandt

"The photos are there, and you simply take them." - Robert Capa

"The best pictures are the ones that hold their quality and effect throughout the years, paying little heed to the occasions they are seen." - Anne Geddes

"My enthusiasm for photography isn't to catch a picture I see or even have in my psyche, yet to investigate the capability of minutes I can just start to envision." - Lois Greenfield

"It's tied in with responding to what you see, ideally without assumption. You can discover pictures anyplace. It's just an issue of seeing things and sorting out them. You simply need to think about what's around you and have a worry with mankind and the human satire." - Elliott Erwitt

"Light makes photography. Grasp light. Appreciate it. Adore it. Be that as it may, most importantly, know light. Know it for all you are worth, and you will know the way to photography." - George Eastman

"On the off chance that a picture taker thinks about the general population before the focal point and is humane, much is given. It is the picture taker, not the camera, that is the instrument." - Eve Arnold

"It is one thing to photo individuals. It is another to make others care about them by uncovering the center of their humanness." - Paul Strand

"The craft of photography is tied in with coordinating the consideration of the watcher." - Steven Pinker

"Photography is a little voice, best case scenario, yet once in a while one photo, or a gathering of them, can draw our feeling of mindfulness." - W. Eugene Smith

"In the wake of following the group for some time, I'd at that point go 180 degrees the careful inverse way. It generally worked for me." - Elliott Erwitt

"Photography is the excellence of life caught."

"A great deal of picture takers imagine that on the off chance that they purchase a superior camera they'll have the capacity to take better photos. A superior camera won't complete a thing for you on the off chance that you don't have anything in your mind or in your heart." - Arnold Newman

"You know, I truly don't assume you gain from instructors. You gain from work. I think what you realize, truly, is the manner by which to be-you must be your very own hardest faultfinder, and you just discover that from work, from seeing work." - Garry Winogrand

"I don't believe there's any such thing as showing individuals photography, other than affecting them a bit. Individuals must be their own students. They must have a specific ability." - Imogen Cunningham

"There is just you and your camera. The impediments in your photography are in yourself, for what we see is the thing that we are." - Ernst Haas

"To me, it is smarter to 'surmise' at how something works, try, come up short, surmise once more, fall flat, and continue rehashing that procedure again and again until you either make sense of it or you find an assortment of other cool traps en route." - Trey Ratcliff

"Inventiveness needs to stretch out past the focal point. Find inventive approaches to exhibit your work and get it seen. Straight up persistence, diligent work and assurance will dependably be a piece of the condition, so get to it." - Jimmy Chin

"Be brave, be unique, be unreasonable, be whatever will attest trustworthiness of direction and innovative vision against the play-it-safers, the animals of the typical, the captives of the conventional." - Cecil Beaton

"I never have snapped a photo I've proposed. They're in every case better or more awful."

"Anybody can shoot bedlam. Be that as it may, the most insightful photographic artists can make convincing pictures out of uninteresting minutes." - Alex Tehrani

"Photography is for me, an unconstrained drive that originates from an ever-mindful eye, which catches the minute and its time everlasting." - Henri Cartier Bresson

"What I'm attempting to state is discover approaches to rouse yourself and your customers by taking on difficulties and thinking quick in circumstances that aren't moving, make them moving." - Jose Villa

"Individuals feel great before the camera just when you figure out how to enable them to feel good being there! It is tied in with mixing them with your energy and teaching them about the amount they will appreciate the procedure." - David Beckstead

"At the point when individuals take a gander at my photos I need them to feel the manner in which they would when they like to peruse a line of a lyric twice." - Robert Frank

"Try not to take a gander at other wedding picture taker's work. When you stroll into a room, locate the one thing that you are pulled in to and center around that. Your senses will control you to finding a picture that you cherish." - Ben Chrisman

"I need pictures like these. The benevolent that can catch a minute, make it genuine, make it last. I need pictures that accomplish more than reflect. I need pictures that are truth."

"It's extremely an extraordinary resource for be eager to fall flat and blow it, in a manner of speaking, and to approve of simply making stuff, sharing it and getting input." - Chase Jarvis

"What we are doing is giving a space to couples to perceive how delightful they truly are."

"Purchasing a Nikon doesn't make you a picture taker. It makes you a Nikon proprietor." - Unknown Author

"Regardless of how exceptional your camera despite everything you should be in charge of getting it to the ideal spot at the opportune time and pointing it the correct way to get the photograph you need."

"A decent photo is realizing where to stand."

What do we feel when we take a gander at a decent photo? We simply need to be there, comfortable precise minute tha

#Candid Wedding Photography #Candid Wedding Photography in Delhi #Best candid wedding Photography

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queerbrownfox · 5 years

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Another Queer Bites the Dust at This Year’s Golden Globes

Awards Season!

If you’re like me, you’re probably suffering right now with an existential quandary, somehow caught in the space between knowing that award shows do not matter in the scope of things and only represent the Hollywood establishment which is only a tiny portion of the arts and being glued to your TV set to see who wins best picture this year.

And if you’re also like me, by which I mean queer (or care about queer stuff), you were probably pretty psyched for this awards season. The Favourite, The Green Book (not to be confused with The Green Mile), Bohemian Rhapsody, Can You Ever Forgive Me?, Boy Erased, Rafiki, Colette, Lady Gaga’s existence, and more . . . there have been so many queer films to come out (heh) in 20gayteen.

At the Golden Globes this past weekend we saw an array of queer films nominated, and, I’ll be honest, I was pumped. It looked like it would be a great year for representation.

But then.

So without further ado, here’s the piping hot dish of queer erasure casserole that was the 2019 Golden Globes, folks.

Thought this year was a success for queers everywhere after the Golden Globes? Well, in point of fact . . . nope. Despite wins by The Green Book, Bohemian Rhapsody, The Favourite, and The Assassination of Gianni Versace, which all told queer stories, this year’s Golden Globes failed queer audiences massively. Let’s break it down.

1. The Green Book? More like The Story Book.

The Green Book is a film that tells the story of Dr. Don Shirley, an insanely talented black pianist, and his white driver, Tony Vallelonga as they travel through the deep South on tour. Shirley, who happens to be a queer black man, and Vallelonga, despite their early differences (like Vallelonga’s being super racist), navigate issues of race and class throughout their journey and eventually end up as friends and comrades.

Sounds great. Except.

First off, the movie was adapted and directed by Nick Vallelonga, the son of Shirley’s driver, who wrote the book that The Green Book was adapted from. In other words, it was the white man’s version. The film has come under constant fire since its public debut from none other than Shirley’s family, particularly his brother. Mhmm. Bad news.

Next, the trailers released for the film and other promotional materials don’t even nod to the scenes in the film in which it is revealed that Shirley’s oppression is criss-crossed with his identity as a queer black man. True, the preview shown during the Golden Globes ceremony did include a clip that revealed the pianist’s identity, sandwiched between shots of Vallelonga beating up people who were attempting to assault him.

All in all, the movie smacks not only of queer erasure, but an elixir for white guilt. We as white people love to eat up feel good stories about white people who reach across culture and race boundaries to form “color-blind�� relationships built on true empathy and compassion (see The Help, Shawshank Redemption, Hidden Figures). Stories that often take place, (coincidentally?) in the 1960s at the height of segregation. Which is funny, because it perpetuates the idea that race issues are all resolved now, as a result of the compassion shown by white people to black folks Way Back When. As anybody who’s got a sense of what’s going on in the world—or their own backyards—that’s far from the case.

Just sayin’.

2. The Assassination of Gianni Versace: Or, Another Straight Gets a Golden Globe for Playing a Gay and Everyone Eats it Up.

Ah, Darren Criss. This isn’t the first time we’ve been down this road. Have we.

It started with Glee. Criss played Blaine, opposite Chris Colfer’s Kurt Hummel, an adorable baby gay with an impossibly effeminate singing voice that was ear candy if I’ve ever heard it. Criss, of course, very talented too. I lived for their relationship as boyfriends on the show, and tried to suck it up and pretend not to be disappointed when I found out that Criss (somehow???) was not queer in real life.

Then there was Hedwig and the Angry Inch, and now, Gianni, in which he plays the famed designer’s killer, Andrew Cunanan. All gays. All roles he was praised the hell out of for performing. He even won a GG for best actor in a limited series last Sunday.

And sure, Criss recently stated in a Bustle interview that he will no longer play gay characters so as not to be “another straight boy taking a gay man’s role” as the actor said.

That’s all fine and good, but that article was published in December. And at the GG’s this year? No mention of it in his acceptance speech. At all. If it weren’t already too little, too late for the guy, that last snub certainly makes it so.

I mean, I sort of forgive him for Glee though.

And finally. The worst offender of them all.

3. Bohemian Rhapsody, But, Like, Without the Part Where Freddie Mercury Dies from AIDS.

This one pains me. I don’t want to admit it happened. But it did. And it was REAL bad.

Rami Malek. Even as a lesbian, I love him. Okay, I said it. He’s a cutie, and he’s extremely talented (See Mr. Robot), and his voice sounds like how coffee would taste (I imagine) if I liked coffee. And when I saw the first trailers for Bohemian Rhapsody, I was PUMPED. Thank God they got an actual person of color to play Freddie Mercury who, most people don’t even know, was also a person of color (yeah, his name was Farrokh Bulsara). The likeness, too, was pretty impeccable.

Freddie Mercury was one of the most famous bisexuals of his time, rivaled only by David Bowie, perhaps, who together produced perhaps the greatest and gayest moment that rock music ever saw when they collaborated on “Under Pressure.” Malek, always an enigma, I’m not going to jump to conclusions about his sexuality since he’s never stated it publicly, but, let’s just say he’s only ever dated women.

Which is all fine and good on its own.

But Bohemian Rhapsody had already come under scrutiny for “straight-washing” after the release of its first trailer, which completely masked Mercury’s queerness, quickly followed up by another trailer that gave audiences a blink-and-you’ll-miss-it dose. As an article featured on Into stated regarding that sprinkle of queerness, “It’s the kind of passable moment that straight audiences wouldn’t take offense at and gay viewers could feel like they had some semblance of representation.”

Needless to say, we were off to a rough start.

So while I was watching the Golden Globes, watching Rami Malek walk on stage and accept his Best Actor award, of course I was nearly praying in my head that Malek would mention Mercury’s queerness. That would have made things better for disappointed queers. And honestly, Mercury’s memory deserved it, along with all the others who had their lives cut short during the AIDS epidemic.

So what brilliant lines had he to say about that? Nothing. Not a mention of AIDS or Mercury’s queerness was uttered by Malek or the production team who accepted the GG for best Drama.

Frankly, I wish I could say I was surprised. Or enraged. Or something. But as the 2019 Golden Globes ceremony came to a close half an hour late, I just had a kind of half grimace on my face.

As my mom would say about every fashion choice I made in high school: Disappointed, but not surprised.

It was looking like it was going to be a good year for queers during award season, but we’re really not starting off on a great foot. Yet, I should add, we queers and allies should take courage, and tell ourselves that it’s not over until the last white guy receives an Oscar. Our fates are not yet writ. With a little over six weeks left, we have two options.

First, for those of you who are staying tuned in, have hope. There are a lot of queer films, TV shows, and artists in the running at this year’s award shows. The Golden’s are pretty indicative of how the Oscars turn out, but they’re not a direct reflection. And there’s still time for people, (Ahem, Rami Malek and Darren Criss) to do justice to the queer community as potential allies.

Second, for those of you who don’t care about awards shows, take pride in knowing that you’re probably right. It probably doesn’t matter. Nothing really matters, after all . . . ♫

#lgbtq community #lgbt writers #awards season #golden globes #bohemian rhapsody #film #queer films #queer culture #the green book #american crime story

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ohn1m · 5 years

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The Art of Being Mino

The South Korean hip-hop star wowed critics and fans alike with his solo album ‘XX’; but is he any closer to discovering who the ‘real’ Mino is?

Mino's journey is an ongoing one and 'XX' is a chapter that marks an artistic coming-of-age on this wild ride.

Understanding Song Minho is kind of like catching lightening in a bottle; impossible to do but the idea itself is so dazzling, you need to give it a shot anyway. Tall and blonde with bleached eyebrows and sharp features, Song–better known mononymously as Mino–cuts quite the intimidating figure. He’s intelligent, polite and forthcoming on every answer and there’s an elegance to him that’s instantly appealing. There’s one little thing that proves to be more charming than any of this, however, and it comes in the form of a little note he sends on email after the interview; “Thank you for your interest!” it reads cheerfully, accompanied by a smiley emoji. “I hope we do it again when Winner’s back!” It’s simple but sweet and suddenly there’s yet another dimension to the chic, fierce rapper we’re used to seeing onscreen.

Over the past year Mino has embraced the avant-garde with ease, stepping away from his swag-heavy hip-hop image and slipping into a more elegant avatar.

“I was getting to love myself, and everything [about that experience] is in this album.”

Mino at a press event for ‘XX’ in November 2018.

Mino’s journey has been wild, difficult, rewarding and a little messy–we’ve covered a lot of it over the course of the interview, but it still feels like we’re scratching the surface. He seems to agree; there’s a lot more he wants to consume and learn and a lot more he wants to show all his fans, old and new. “I am always thankful to fans who have supported me from the beginning and everyone who has known me since yesterday,” he says. “I will try to put a little more of my own personality and style on next album, and I also want to challenge something that no one expected.” While the search for the ‘real’ Mino continues, XX is a chapter in his story that marks a significant turn; he’s found a balance between the sexy rapper we see with Winner, the exuberant hip-hop dudebro he turns into with MOBB and the expressive poet he is as a soloist. It might not be lightening in a bottle just yet, but it’s pretty damn close.

youtube

#⟨ ✕ « info »▕ ▏ʏ'ᴀʟʟ ʜᴇᴀʀᴅ ᴀʙᴏᴜᴛ ᴛʜᴇ ɴᴇᴡꜱ? ⟩#/ it's so damn long.#a l e!!! musiałam bo to ważny wywiad.

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oselatra · 6 years

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A Q&A with Mary Steenburgen

On Filmland, 'Last Man on Earth' and what she misses about Arkansas.

When Newport native and Hendrix College graduate Mary Steenburgen left Arkansas and built a formidable and decades-long acting career, she didn't just return home often — she spread the gospel, dragging her colleagues back to Arkansas with her for birthday parties and fundraisers. Now, as part of the board of directors for the Arkansas Cinema Society, she's lending her celebrity to the ACS endeavor, appearing in Filmland's panel discussions on the beloved absurdist post-apocalypse comedy of which she was a part, "The Last Man on Earth" (RIP), and joining her "Last Man on Earth" colleagues on a comedy panel and for a discussion after a screening of Will Forte's "MacGruber."

Because of your connection to (and support of) the Oxford American literary magazine, I once saw you on stage at the adjacent South on Main auctioning off an original lullaby –

Which we made good on!

That night, you sang and played accordion with guitarist Greg Spradlin on this fantastically sultry number inspired by a moment when you and your husband, Ted Danson, found yourself sitting behind Helen Hunt at a concert.

I forgot I did that! I think that's the one and only time that song's been performed. I think I called it "Helen Hunt," but the hook of it was "Everyone should dance like Helen Hunt," because she was so free at this concert and it was so impressive to me.

Maybe I'm conflating you with a little bit of your character on "Bored to Death," but I think a lot of people might think of you as being like that: free.

I'd have to make myself do that. I'd wanna do that and it would require me strong-arming my own psyche to do it. And I do that a lot! In fact, getting up there and singing that song is a perfect example of it. I have fought a true and sometime debilitating shyness my whole life, since I was really young, before I ever made a movie or did any of those things. And I remember my mom saying, "You know, I thought it would get better when you became famous." And it did not get better. I think I do things sometimes just to scare myself a little bit. Certainly singing that song that night would fall into that category, but for the fact that I was with somebody as talented as Greg, with whom I am not even in the same class of musicianship. But yeah, I believe in scaring myself.

You're coming to Filmland, in part, to talk about "The Last Man on Earth," which fans perhaps hoped would go the way of "Brooklyn Nine-Nine" and get picked up elsewhere after it was canceled on Fox.

I know! We're heartsick about it. So we're sort of having a series of funerals for it.

It's no wonder; there are viruses and astronauts, but it's approached with this absurdism and lightness that sci-fi-ish plots often don't get right.

No kidding.

What drew you to this project in particular?

Well, to be honest with you, I got a call from my manager who said, "You're being offered a show for FOX," and I thought [laughs], "Well, there's probably no way I'm gonna do it." And she said, "There's no part, but they'll create a part for you," and that really made me think I wouldn't do it. I learned a long time ago that I don't actually like it when people create parts for me. My job is to take the words and hopefully make them live and breathe, and not me, Mary. The one time this did work was "Justified," when I did the villain on the last season of "Justified;" Graham [Yost] and I had long conversations about her before it was really written, and then it was lovely.

Anyway, so I said, "Well, there's no part there; am I supposed to read something?" And my manager said, "There's a pilot, and there's a first episode, and they'll screen it for you." They told me it was Will Forte, and that really interested me because I've always been a huge fan of his, and "Nebraska" was so extraordinary. So they put on the pilot episode for us, and about three minutes in, I leaned over and said, "I definitely wanna do this." It was kind of love at first sight.

The four-year journey was just a journey of creativity. When [characters] Carol and Tandy were gonna get a divorce and they announced it to all of us, during rehearsal they said, "Gah, I wish there were someone playing, like, the Death March or something." And I said, "Wait, you mean 'dah, duht, dah-dah" [sings a snippet of Chopin's "Sonata No. 2 in B-flat minor," the so-called "Funeral March"]. But [in the show's post-apocalyptic environment] we didn't have any stereos or any electricity, and I said, "Well, I have my accordion in my car. I could probably figure it out." And they went, "Wait, you play the accordion?!" And I said, "Well, yeah, I mean, I'm trying, and it's really rudimentary, but I could definitely play that." And then it became, 'Well, every time there's a funeral, Todd has to sing, and you have to play the accordion.'

So there was an incredible life to the show that had to do with John Solomon and Will Forte who collaborated so beautifully together, and then they had amazing writers like Rich Blomquist, who's also coming to [Filmland.] There developed a true love among all of us, a true family thing. We just always had each other's backs, and cared about each other's families, and it's really been hard for us to let go of each other, which is probably one of the reasons they're literally taking two planes to come to Little Rock, Arkansas, for an event they don't know very much about. Some of it, I'm sure, is that they're being sweet to me, but part of it is that there was an unusually intense bond that formed. We went through stuff together. You go through a lot in your life in four years.

Last question: What are your favorite things to do or eat or drink or see when you're home in Arkansas? Like, what, if anything, do you get homesick for?

Oh, my gosh, I think you can tell by how often I come home that there's a lot I love and miss. Some of them are very simple things, like lightning bugs and storms and thunder and lightning. Believe it or not, even warm sultry nights. I miss the food. I miss my Aunt Frieda.

In terms of Oxford American, I do miss that literary tradition. I feel like there's just a sense in the South of poetry that doesn't exist anywhere else. The things people say, the language of it all. I miss the sound of the accents.

And then I miss very specific things, I suppose, in North Little Rock especially, where I'm from. I'm very close with my sister, Nancy, who I really adore, and she has a place in Heber Springs, so we're all gonna go fishin,' which is something I'd never be doing in L.A. I miss the caring and kindness of people. You know, the fact that people have time for each other there, and to ask about your family. I'm not saying nobody in L.A. does that — if that were true, all these people wouldn't be coming to Little Rock with me! But it is a faster world. It's bigger, and it's more anonymous. You have to work harder at nurturing relationships, just by the mere fact of the size of it. For me to go see Kristen [Schaal] — she lives near my son — it's an hour drive, even though we both live in L.A.

We're, of course, thrilled that you're coming back to Arkansas. And thanks for dragging everyone back with you.

Yes! And can I just say this? I really admire Kathryn Tucker and Jeff Nichols and all the people that are working to nurture filmmaking in Arkansas. When I was young, actors felt like mythological creatures that had nothing to do with my experience of living in Arkansas. They just didn't feel quite real to me. There was never a thought that I could stay in Arkansas and be an actor. I love the idea that filmmakers like Jeff Nichols and others can make these really wonderful films and use actors and crew from Arkansas. Hopefully, for a whole generation of young people, it will feel like a viable option for them to be a director or a writer or an actor or to be on a crew. I just admire that these guys did more than just talk about creating this. They really have created it.

A Q&A with Mary Steenburgen

#A Q&A with Mary Steenburgen

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theonceoverthinker · 6 years

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OUAT Rewatch: 1X05 - That Still Small Voice

...Well this ended up being more of a mixed bag than I bargained for.

Want to see what I mean? Head down below the cut!

Press Release As Sheriff Graham deputizes Emma, the ground shakes and a giant sinkhole mysteriously appears at the edge of town. But a curious Henry’s life is placed in danger when he decides to explore the innards of the sinkhole to see if its contents can link the inhabitants of Storybrooke to the fairytale world. Meanwhile, back in the fairytale world, Jiminy Cricket yearns to leave the family business and transform into the person he wants to be. General Thoughts Past Wow, Jiminy’s parents are annoying from their first scene, and not really in a pleasant way actually good annoying characters are. I get that that’s not the case, but I think about Sean’s dad from the last episode in how he was annoying, but not without a touch of depth. Jiminy’s parents are just obnoxious. There are ways of making good characters that are obnoxious and cartoonishly evil (Cruella), but there needs to be a level of pleasantness there for the audience. Hell, we actually get to see that in this same episode with Rumple. Rumple is evil, but creepy. We know that his success is something to be feared, but the way Robert Carlyle portrays him with a degree of subtlety and extra layers to everything he says makes me not want to groan in annoyance as I’m watching him. I had to continuously pause the scenes with Jiminy’s parents because they were too annoying to watch and that’s a problem. To serve this intended conflict, the parents either needed to be charming or manipulative enough that Jiminy would be deluded into thinking that they weren’t entirely wrong or threatening enough that Jiminy couldn’t fight back, but they ended up doing neither. In addition, the conflict is unpleasant. Now, my problem doesn’t lie with Jiminy sticking with his parents. I know guilt well (Jewish guilt is a real and powerful thing, up there with magic and shoeboxes). I guess I just wish that Jiminy’s goodness was shown more overtly. Why couldn’t we see him do something like not steal from families or even put coins in the pockets of people who are old or sick? It would do a much better job of showing that Jiminy is an inherently good person who tries to make the best out of his situation. What we have, however, is him moping about stealing and smiling when something kind is done for him, and it doesn’t really make me feel like his second chance from Blue at the end is earned. This doesn’t happen in the present. But in the past, it’s just bad things happen and happen and happen until he finally makes a change, one he knew how to make from the beginning, but since the episode wasn’t really about him confronting his fears, it falls flat. How is going to the Dark One for a solution that will obviously leave them in a perilous state (Rumple literally says he’s going to collect them afterwards) any better than just saying “fuck off” to them or just run away? It doesn’t paint Jiminy as someone who is trying to get himself out of a bad situation through kind means that go awry, nor does the episode do enough to show his parents deserving of this terrible fate over a simple “fuck off” or just running away. It honestly spits in the face of the reason he stayed with them in the first place (his guilt) because he can’t leave because they’re old, but he can screw them over in the worst way possible. All of this makes the ending of the episode feel more like a Deus Ex Machina than the universe dealing out karma. Jiminy has suffered, but because he’s done nothing to change his situation and the one thing he did do was horrifying, there’s no change between the Jiminy we started out with and the Jiminy the flashback ended with. And I know one would try to bring up the wish, but the problem with wishes is that Jiminy doesn’t have to give up anything - nor is he ever threatened to give up anything - to right his wrong. Hell, he’s talked about liking crickets! If he hated bugs or being small, that would be one thing - cosmic justice that forced him to do the right thing - but it’s not, so it just feels like the universe is giving him a free ride. Present That opening scene with Archie and Henry works really well. I like the question that Archie asks and the way that Henry answers it. The question itself feels real, like something that my therapist would ask me and I find myself recalling conversations we’ve had in the past and seeing similarities between what is asked of both Henry and I to think of. As for Henry’s answer, if feels like something a kid would say. It’s not too deep but it speaks to Henry’s belief. And when it’s brought back later, it really speaks to the growing that both Archie and Henry have done throughout the episode. As if existing solely to contrast my issues with the past segments of the episode is just how spectacularly the present shows a good character who is being bullied into doing bad things. As you see in the present, Archie makes regular strides to help Henry in a way that won’t endanger his psyche or his imagination and when he fucks up, he loses Henry’s trust and that creates a domino effect as to the dangers of going against one’s conscience and that persists until he does things to make things right and that’s how he learns his lesson. Look at Archie’s apology to Henry. He explains himself while not excusing either his nor Henry’s behavior, and actually later acts on the flaws that he himself acknowledges. He clearly internalizes what Henry says to him, and that makes the resolution of this arc stronger. Finally, I want to speak to how great the community of Storybrooke is. From just how the crowds and different emergency service workers interact, you can feel the heart of this town and how it cares for its people. It - of course - comes through the clearest with Emma and Regina and how now that Emma is part of the community, the two of them need to collaborate when those they care about are in harm’s way - especially Henry. It doesn’t last - not even within the confines of this singular episode - but we see those first seeds of collaboration and faith in each other, something that will really blossom soon enough. And the celebration at the end just speaks to all the progress that’s been made, save Regina who chose to not participate. My only exception to the rather brilliant depiction of community in Storybrooke was Graham, who is useless as fuck in this episode. I understand that the police work needed to be headed by Emma, but because Graham wasn’t given some reason to not be there, he just keeps standing around in the background doing nothing and as he’s only in seven episodes (in terms of the present, that is), it just paints him in an underserved light. (I’m really sad about how much I’m disliking Graham in these episodes). Insights Before the episode even begins, in the Netflix loading image for the episode, Ruby is posing like a fucking queen! I find it interesting how Regina immediately respects Emma’s new position as deputy once her appointment is brought to her attention. I mean - she’s not nice about it, but she doesn’t discredit Emma as a deputy, and I find that fascinating. I wonder what that speaks to: Regina’s respect for Graham or just a desire to get on top of the mine collapse? I don’t know if I never realised it before or what, but Henry’s hair looks so long in that scene where he’s talking to both Archie and Emma behind the car. How do Jiminy’s parents make money off of the ticket sales? It’s not a closed section and there’s only three people running it. Sneaking in would be so easy! I startled my puppy when I audibly (And quite loudly) D’awwww’d at Ajax’s photo! Two questions: (1) Why were there no cops guarding those mines and (2) why were Emma and Archie shouting for Henry outside the mines when it’s so clear that he’s inside? I really wish we could’ve seen elves. So many fantasy series have different takes on elves (Harry Potter has them as servants and a great allegory to oppressed people while Lord of the Rings has them as a dignified class of immortal beings highly skilled in weaponry, among other things). I forgot that the glass was the glass coffin! Odd choice really, seeing as Snow, Charming, and the dwarfs played no role in the mine-centric events of the episode. Arcs David’s amnesia - I like that there both is and isn’t improvement to David’s situation and that’s what is improved is physical. It plays into the magical properties of the objects in Storybrooke - something we’ll see in the next episode - and it just feels more real. David and Mary Margaret finding each other - I half liked this portion of the episode. On one hand, the connection between David and Mary Margaret is definitely there and I like the idea of David feeling that all is not right with the world he’s in. However, knowing that their relationship here sets up the cheating subplot (Something that never sits right with me, especially since they both set Kathryn up as a kind person in Storybrooke and we all have the knowledge now that Abigail was someone who was in a period of grieving) makes it really hard to enjoy this. Still, the pacing is good and it feels like a logical step. Emma’s journey of belief - Most of what I wanted to say was touch upon when I spoke of the community of Storybrooke. Also, we get to see Emma doing one of her other duties as a Savior - inspiring people to do better, and that’s shown very well in her conversation with Archie in his office and sets the stage for his conversations with Henry later on. Favorite Dynamic Regina and Archie. I love the way that Regina threatens Archie in their first scene together. I’ve discussed before how Regina’s threat in Season 1 comes down to her influence and here is what I mean. Regina has control over Archie’s job and home and in just a few chilling lines, she reminds him of that, creating a very real threat for someone who until now has been characterized as both easily influenced (Jiminy’s scene with his parents) and secured under the mayor’s thumb (The setup in “The Thing You Love Most”). This scene sits in the back of the audience’s mind throughout the rest of the episode and that makes the moment where Regina is stood up to so satisfying. It’s also very Cora-esque, though is truly Regina through her viciousness as it’s delivered. How much you want to bet at one of Regina’s escape attempts during her childhood, Cora gave her a much more “refined” version of it? Writer This was Jane Espenson’s first episode and I’ve gotta say...it’s a mixed bag. On one hand, her focus is very clearly on theme, but at least in the past, she doesn’t know how to show that effectively without hitting the audience over the head with it with an anvil the size of a clock tower. However, when she attempts to give characters nuance - like she does in the present, it’s really effective. I feel like another read through or two really would’ve helped strengthen the past segments and made it less of a chore to sit through. Let’s just say that I look forward to discussing her future episodes, as she proves she can do much better than this. Rating 6/10. The flashback doesn’t really sell me on the prospect that Jiminy is a good person and after his deal with Rumple, that he could even become a good person. By making no efforts other than moping to stop - if not mitigate - his parent’s thievery, I am completely unsold on the concept of him being anyone’s conscience. In addition, the obnoxious evil of his parents that doesn’t even attempt to find an ounce of charm just made every moment I went back to that flashback agonizing. If I was judging that alone, this episode would have a much lower score. Hell, as I thought of future events with Jiminy (Not Archie) in the timeline, I’ve realized that I might just hate this character. However, it’s not alone and the present events are wonderful. Archie really goes on a journey of trust and principles here and because there was actual effort put towards showing that he was a good person who actually DID good things. He’s allowed to be a voice of reason to Henry and Emma while still learning from them and his story is much more bluntly a story of overcoming cowardice. In addition, the community bits in this episode show what a loving town Storybrooke is. I’m with Robin on this one, Alice (Though you’re still my smol gay witch babu). “Warm hugs and apple pies” indeed.

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That’s it for this time! Thanks again to the fine folks at @watchingfairytales for putting this together and thank you to my new readers for helping me hit 200 followers!!! Woohoo!!! If you want to read the rest of my recaps, here’s the place to be! Season Tally (45/220) Writer Tally for Season 1: A&E (20/70) Liz Tigelaar (10/20) David Goodman (9/50) Jane Espenson (6/60)

#watching fairytales #ouat 1x05 #ouat #ouat rewatch #jenna watches ouat #pro archie #but #anti jiminy #you'll see what I mean

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nbhd-daily · 6 years

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Jesse Rutherford’s Blonde Ambition

After seeing success as the lead singer of standout band The Neighbourhood, the 26-year-old So-Cal native decided it was time to try things on his own. &, Rutherford's first solo album, perfectly embodies the personality of the man who was born to be blonde. It's funny, poppy, loose yet precise, and more than anything, honest.

office met with Rutherford at his hotel in New York City a day before his flight back to California to perform in front of a sold out crowd alongside the band that helped him find his voice. Rutherford was open and reflective. He's as transparent as you'd hope any musician would be. He knows the key to success as a musician is being your best and most honest self at all times, all while making great music.

Interview by Khufu Najee

Photos by Mitchell Connell

I want to start off by saying I love the album.

Thank you.

I was in LA with my girlfriend when I first heard it and on that same morning, I actually dyed my hair blonde.

Yo (laughs). That’s sick.

True story.

So cool. It looks great, by the way.

Thank you, man. But that leads me to my first question. "Born To Be Blonde." What was the inspiration for that song? I know you were very specific about starting the album with that song. What went into that thought process?

The general statement just kinda means be whoever you wanna be. It’s just kind of a twist on how to say that or my particular way of saying it. I felt like it was a chance for me to be as stupid and as smart as I am — or as I think I might be — all in one go. I don’t know. It just kind of happened. It was a poem. It was a poem that I wrote while The Neighbourhood was recording our Wiped Out album. It was just a poem. I wrote it one day and or one night. I don’t even remember. I just know it was during that process cause I was blonde at that point and I was really psyched about it. It was just the way it made me feel I guess. Wrote it down. Maybe 75% of it came from that initial poem. The last 25% — the bridge and shit — was written in the studio as I was recording it. But I tried doing it a couple times. It was going to be a Neighbourhood song a long time ago. Nothing ever happened to it.

It’s very interesting how often I hear a good portion of songs that we hear on someone’s new album are actually old.

Yep. And that comes with age and with time. It’s crazy you say that cause I’ve thought about that a lot recently too and it’s given me a new hope with writing music because I probably have hundreds of songs that are not released and now I know sometimes I can go back in the fucking Rolodex. Oh okay. Wrote it in 2013. It’s 2018. Now they're ready for it. That’s how it goes sometimes.

You have to be ready to let it go.

You have to be on time. You can’t be early in this game. That doesn’t get you anywhere. At least from my experience. I feel like there have been moments where I’ve been like well I did that first and then something else happens and someone else does it. And maybe they did it at a better time. Maybe they had it more refined. Maybe it was better than the version I had. Or the type of song. Or the type of sound. Sometimes you gotta wait for the right time.

The 2014 mixtape with the band. Two features I want to ask about. You had Gerald and Kossisko. Two really good friends of mine.

Oh, you grew up in the bay?

Yeah, man.

Dope.

So, I’m curious. How did the Bay Area connection come about?

(Laughs).

It's always a good answer when they laugh before answering.

Well, Kossisko, 100s at the time, that was through our friend Matthew. Kirk, who has a label now, runs it with Matthew’s partner label.

What’s the label?

Bad Habits.

Okay.

And Matthew, he’s like my LA homie. He’s like my first LA friend. When I was like 19 trying to rap and putting my shit on the internet, he was the first dude from the city — cause I’m from the suburbs outside the city — he was like the first dude from the city to be like, yo, you’re tight, come hang out with me and my friends. And those friends ended up being 4e, who helped me produce the mixtape and then helping The Neighbourhood do our Wiped Out album. It was a long process. That was, you know, six or seven years ago. It was a while ago. I met Kossisko through him.

He’s a good dude, man.

Yeah, dude. He’s smooth too.

Staying on collaborations, on that same mixtape, you had Danny Seth. And I noticed on this new album, you had MD$, both of whom are big on the music scene in London. How did that connection come about?

Danny was also through Matthew.

Of course he was. Danny lived in LA for a bit, yeah?

Yeah, and Matthew was fucking with him for a minute. I could give you Matthew's number if you want (laughs). He’s in with everyone.

Collabs are important. How did you go about choosing who to work with on this album?

Well, I met Dylan Brady, who produced the majority of the project. I think I was playing a show and Kirk came out. Kirk met with Dylan. I think we were in St. Louis, where Dylan is from and he just walked in and I saw him. I know this may sound very surface but I basically just judged a book by the cover. Like, clothing and how you present yourself, matters. Dylan walked in and he just had this steez that I’d never seen before and I was like there’s something about this guy. Then I ended up hearing his music and it was so ambitious and unique and at the time I was trying to figure out how to find my own lane and find my own sound and do my solo thing. So we got in the studio together, we had a week in Paramount in LA, five days, and we ended up doing seven songs, and about four or five ended up on the record. It was a solid week for sure. He’s a great producer. He can really do anything. He’s unlike anyone I’ve ever seen before. He’s a fucking machine, dude. He’s nonstop. Dylan kinda kicked it off. We started with this sound. I worked with Daytrip a couple times before when they were back in LA and we did a couple records but nothing that was my favorite. They were amazing doing what they do but I wasn’t pleased with what I was doing on the songs.

The mind of a perfectionist, man.

Right? But then they randomly sent me a 30-pack and I was like this is fun. So I went through them, picked ten that I liked, recorded on about four or five really quickly and two of them ended up being on the album. MD$, that was just another random session when they were in LA.

MD$ is fire, dude. That’s good music.

They make really good music.

London, for the most part, is known for Grime Rap. When you think rap in London, you think grime. But what they do isn’t grime. It’s so dope and so different.

Very musical.

Very musical. Absolutely. I really want to meet the dude.

He’s a mystery. You never saw him?

No.

He’s cool. He has a swag to him for sure.

How old were you when you decided on music?

I started playing drums when I was in the eighth grade. High school came around and I met this guy who became my buddy. I grew up in a suburb where it’s like hard core punk kinda shit and I just wanted to be a part of that. But my balls took forever to drop and finally when they did I started singing. Voice is still pretty high so they only dropped so far (laughs). But I would say around 17 is when I took it seriously.

And around that age is when you knew this was what you were going to do with your life?

Yeah. Especially once I stopped doing hard core and started making really bad pop rap. I had to start somewhere though (laughs). I’ve never really thought twice about thinking twice. This is all I’ve ever done. And luckily it’s worked. It’s always felt so good. It’s the only thing I’ve ever felt natural at. I’m not that great at video games. I’m not that great at fucking school, all the cliche shit that everybody says.

Knowing what you know now, what would you tell that younger self?

Don’t get those tattoos on your right arm (laughs). Save that real estate because you’re going to want some other shit some day. Maybe don’t get any of the tattoos so early. But 17 year old me, looking at 26 year old me, with like neck tattoos and shit, would be like "yo this guy is so sick what the fuck.” I know that really surface level but I think the boxes you in. If I’m in the whitely tatted lane, then okay. I did it to myself. Other than that, just keep doing what you’re doing. It’s working.

Are you familiar with the word synesthesia?

No.

It’s basically a condition, although I don’t know why they call it that cause it almost gives it a bad connotation. But, Lorde has it, Frank Ocean, few other artists. Basically, you can taste, smell, see colors, in ways other people can’t. It’s amazing.

Me and my team talk about that all time time. We try to relate things to colors when it comes to Neighbourhood music and my own music. We try and connect songs to seasons. Some songs always seem to fit with certain seasons. Day or night. That’s a big one.

Very true. I have music I only listen to at night time. Or when the sun isn’t shining.

That’s the struggle of being asked to play a festival, when you make night music, but they give you the noon slot. How do you like the sun, yo? Yeah, this dark ass song is going to sound great while this bright ass sun is turning my pasty skin bright red.

What color would you say your music is?

I feel like I have to just say rainbow because it has to be the opposite of rainbow because The Neighbourhood has always done the black and white thing. But I don’t know. I really do like yellow. I think yellow is a really cool color. And it doesn’t even have to be bright yellow. Just a nice warm yellow that kinda has some warmth to it.

I’m not going to ask you who your musical inspirations are cause I think that shit is corny as fuck but I am curious where do you draw inspiration from? Are you the kind of dude who has a movie playing on silent in the studio at all times?

No. I’m terrible at watching movies. I need to start watching more. I just started on Apocalypse Now.

Started. Didn’t finish?

Not yet. I’m about half-way through. It's a slow process for me. But inspiration… It’s funny cause I do like Spongebob (laughs) but I feel like a sponge. I just absorb a lot of shit around me. Sometimes I can’t even pinpoint it. It’s just like shit that’s coming at me. Between the different styles and sounds of music that I like and what’s fucking constantly stewing in my head. I just feel like I can do all these different types of music, so I need to do it. And sometimes I fail. And sometimes I think, from what I’ve seen from the internet and from what fans tell me, I think I nail it sometimes. With this project especially, the title alone, just using &. Calling it that left it open to anything. Cause you can’t just have that and nothing else. There has to be something before and something after and you know that. So that alone it’s just like, I’m a sucker for that kind of shit. I just love hooks. I want everything to be a hook. A photo, to a fucking pair of shoes, the title of something, hooks only. I did a book two years ago I called that. It’s a collection of photos I took with my friend, ended up turning it into a book. I’ve always called that book the Bible of Jesse. In that book, there’s no words. All pictures. Just me wearing a whole bunch of shit. It’s all over the place. But that’s how I felt. That’s who I am. I think a lot of people are like that. Especially young people. With the internet how are you just gonna be one thing in this shit?

You have to do everything. It’s the norm now.

You have to. Remember when Drake came out. And he was singing and rapping? People were confused. But now? You can’t not do that (laughs). It’s all that. Which is great. It’s fucking incredible. I feel like now more than ever music is ready for me. You know what I mean? And I’m ready for it. I don’t feel old, I just feel grown enough to just be like, oh yeah I can do all this shit. I’ve been doing this shit for years. It’s just about catching the right moment and knowing what to do. Last time I caught the moment I didn’t know how to hold onto it. I never know how it’s gonna work anymore. I never know what song is going to work. You said you love Barbie and Ken. I was terrified to put the song out because it’s so, so opposite to the character of Jesse Rutherford from The Neighbourhood is known for.

Well, that’s what a solo project should do, innit? Show that other side?

I think so. I hope so.

#the nbhd #the neighbourhood #jesse rutherford #office magazine

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