#stockholm 2000

[eurovision-revisited]

2000 Stockholm - Number 7 - Anna Eriksson - "Oot voimani mun"

Yes, another song from Euroviisut and this is the one that finished as runner up, only four points behind the winner. It's pure iskelmä; disco-schlager-pop in its purest form. Not only did it finish second, beating Nightwish, it went on to win the OGAE second chance contest for the year - although it is tailor-made for OGAE's tastes.

Anna Eriksson at this point had released three albums and was awarded the Finnish music industry's EMMA award for best newcomer in 1995. She's had several hit songs from these albums. She is by no means unknown, though perhaps slightly overshadowed by some of her competition at Euroviisut.

That however means nothing when you consider the strength of the song she's singing, and just how good she is at singing it. Oot voimani mun (You Are My Strength) is ageless. It would have been big in the 1970s and it would still do well at Eurovision today. It starts off with a bang and never lets up. Anna tells us just how strong she is and how that strength comes from her love. She has so much strength, this sounds like a superhero-origin schlager.

Given what song won Euroviisut and where Finland finished in the Eurovision final, what an absolute missed opportunity this song is. YLE organised one of the best national finals in Finland's history only to fall victim of the classic 50/50 jury/televote problem of something mediocre being selected when the jury and televote strongly disagree about what's good. Anna, you should have been on that stage.

Instead she only got better and went on to have even bigger iskelmä hits in Finland, with platinum selling albums and hits. In 2010, she took an abrupt perpendicular turn into singing her own more experimental non-schlager songs and then continued to receive critical acclaim and awards across the Nordic world. She's now making avant-garde, independent films by herself and, yes, still winning awards including best film at the Prague Independent Film Festival and Venice Independent Film Festival.

#Youtube #esc #esc 2000 #eurovision #eurovision song contest #stockholm #stockholm 2000 #national finals #Finland #Euroviisut 2000 #Anna Eriksson

[kylieforeverandever]

Kylie Minogue poses for photos at the MTV Europe Music Awards on 16 November 2000, at the Globe Arena, Stockholm, Sweden. 

#kylie minogue #mtv ema #stockholm #year 2000 #princess of pop #pop icon #the one and only kylie #posing #music awards #aussie celebs

[unplugstar]

Lady Gaga | Stockholm, 2012

#lady gaga #lady gaga icons #lady gaga photoshoot #lady gaga fanart #lady gaga edit #gagavision #gaga #mother monster #born this way #the fame monster #born this way ball #monster ball #terry richardson #00s pop #2000s music #early 2010s #2010s nostalgia #2010s aesthetic #2014 nostalgia #pop music #pop culture #userpcultures #stockholm #female artists #female icons #female singer #skeletons #fashion accessories #fashion girl #born this way era

[coolclaytony]

Hey folks

If any of you were 18 to 24 in the early 2000s i need to know what that time period was like for you? I barely remember it and I was 15 in 2009?

@bogleech @dailycharacteroption

Edit: I especially want to know if you lived in Mälaren Islands in Sweden or Boulder City, Nevada during this time.

#bogleech #rpg #tales from the loop #things from the flood #mälaren #boulder city #nevada #sweden #stockholm #history #2000s fashion #2000s core #2000s web #2000s anime #2000s kid #y2kcore #y2k #dungeons and dragons

[harryforguccy]

I cant believe the last time the celebrity sphere was interesting was the Jason/Olivia/Harry saga that lasted a year and a half

#I kinda miss them lol probs some stockholm syndrome but the celebrity couples of this year& last year are boring #no interesting drama or affairs #everyone just lacks personality or style or everything is too manufactured #i miss the early 2000s

[ang3lmp3]

quorthon discography.

#spotify #mixtape #playlist #music #goth #metalhead #punk #80s #90s #2000s #black metal #quorthon #bathory #metal #bathory goat #2004 #jennie tebler #trve kvlt #sweden #stockholm sweden

[azspicegirlstimeline]

11/20/00 - victoria flies to stockholm, sweden

#victoria #victoria beckham #november #november 20 #november 2000 #november 20 2000 #airport #stockholm #sweden #fashion

[k-i-l-l-e-r-b-e-e-6-9]

Morbid  - My Dark Subconscious

#Morbid #Live in Stockholm #My Dark Subconscious #Release date: 2000 #Live album #Genre: Death/Thrash/Black Metal #Lyrical themes: Death Occultism Gore #Sweden

[hexjulia]

HAHA. oh polybius. directing a full strength blorbofication beam at the entirety of Rome after the defeat of the Achaean League.

"A Greek statesman cannot be trusted with even just a talent; that is enough to corrupt him, along with ten accountants and their seals, and twice as many witnesses. Roman statesmen and diplomats, however, handle enormous sums of money in the course of their official duties, but always behave with propriety because they feel bound by the oath they have pledged. Although elsewhere it is rare to find a man who has not sullied himself with public money, in Rome one rarely hears of anyone caught embezzling."

#i'm sure the fact that he was essentially captured influenced his writing decisions! however some of it feels very genuine #he's soooo into roman army camp order as well #stockholm syndrome for the greek hipparchus! #stockholm syndrome preserved for 2000+ years! #polybius

[beetleprophet]

house md is the most insane shit ive ever watched they fr have this man going around being bigoted towards his own employees and because hes gods most special(ist) doctor no one can do shit about it

#the entire team describes their relationship to him as stockholm syndrome KFBSKFHSMFJ #the interpersonal drama isnt even necessarily the most insane part #like episode one the woman has a fucking tapeworm in her BRAIN. HUH? #i love it honestly its just. perfect 2000s tv bullshit #house md

[eurovision-revisited]

2000 Stockholm - Number 11 - Nylon Beat - "Viha ja rakkaus"

Not to be outdone, here are Nylon Beat again. Performing at the absolute peak of their careers at Finland's national final Euroviisut. Possibly one of the biggest acts in Finland in 2000. They'd won the Emma Gaala award for band of the year in 1999.

The final this year was a little odd, but it was clear that YLE were pushing the boat out in some ways. There was a semi-final at Radio Suomi with a full televote, then a final at the Lord Hotel in Helsinki which had a 50/50 jury/televote split. There was no big arena, but a controlled environment more akin to a studio. The production values were not huge, but they'd tried very hard in one other way. You'd have thought that with their popularity that Nylon Beat would cruise this, but no, they had competition. Not only were Ultra Bra back, but so were Nightwish. Yes, that Nightwish. Possibly one of the best line-ups for a Finnish national final in history.

Nylon Beat's entry was Viha ja rakkaus (Hate and Love) which is a tale of the pain and pleasures of loving, the hard work necessary to keep a relationship going and how bruising it can all be. Being with someone who is so off-and-on is frustrating clearly.

The good news for Nylon Beat is that not only did they easily make the final, but also they won the jury vote - with 49 points in total from the eleven judges. The bad news was that in the televote, where you might have expected them to excel, they could only manage fifth. That was devastating. The televote award points in ten point blocks, so Nylon Beat only got 20 points to finish fifth overall. Nightwish hoovered up almost the entire televote apparently, but the fact they didn't end up representing Finland at the 2000 Eurovision despite this, is still debated.

This was Nylon Beat's final stab at Euroviisut and Eurovision. This must have been a chastening experience. There was still much success ahead for Jonna Kosonen and Erin Koivisto. Four more albums and at least another twenty singles. Even fifth at Euroviisut couldn't derail them. Two of Finland's queens

#Youtube #esc #esc 2000 #eurovision #eurovision song contest #stockholm #stockholm 2000 #national finals #Euroviisut 2000 #Finland #Nylon Beat #Nightwish #Jonna Kosonen #Erin Koivisto

[kylieforeverandever]

Kylie Minogue and Robbie Williams perform on stage at the European MTV Awards on November 16, 2000 in Stockholm, Sweden.

#kylie minogue #robbie williams #mtv europe music awards #stockholm #awards #year 2000

[pokedashwarrior55]

I gotta ramble about Showtimeshipping and Digital Circus for a hot minute before this thought disappears into the Void forever.

I just LOVE the potential of a Caine/Pomni dynamic in a one sided disaster ship kinda way. I see alot of shippers like making Caine the romantic one. Whether its Showtime or Royalshipping it seems Caine is boisterous and loud, therefore he's the haughty romantic. But he is afraid of Moon's advances, "Let's get outta here before the Moon get's frisky!". He's also an AI made for a children's point and click adventure carnival game by a cooperation in the early 2000s. Gooseworks has stated at Glitch con that he lacks alot of human emotions. I see no reason he would be outwardly romantic in the slightest other than his overenergetic and passionate personality.

I find it more hilarious if Pomni, the anxious and probably overlooked in her past life girl that she is, emotionally latched onto Caine in some way or another. Either from his personality being everything she wished she could be, bold and confident, simply seeing him as a powerful being that is the last remaining hope she has of returning to who she was, or a lighthearted Stockholm syndrome emotional dependency I dont' know. Maybe it's simply she found his voice attractive and spiraled from there. Pomni becomes angry that she's attracted to this floating teeth with eyes and just screams. Jax catches onto her little infatuation very easily and makes fun of her without outing her, making it a back and forth with them.

Caine eventually realizes his new player is unhappy and becoming increasingly unhinged very quickly. He doesn't want another intrusive abstraction, especially since she just got here, so he begins spending more time with Pomni trying to get her to chill. His purpose is to entertain and provide a fun escape from daily stress, so seeing a player as stressed as Pomni is tugs at his sensors. He needs her to be as accustomed to the world as everyone else is. If not he failed as a video game and failed is own programing. It's his duty to ensure she is comfortable and having fun.

So now Caine is hyper vigilant of Pomni's life and emotions. He takes her on adventures just for her to cheer her up, just the two of them. This is to ensure the quest is specific to her, that others aren't at risk to make her spiral further, and that he has full attention on her so he can assure her it is a painless and harmless quest, since he can always fix her or get rid of an issue if it becomes too much. All of it was just meant as a safety procedure, but Pomni sees it as coming on to her with his eagerness to spend all this alone time together. Human perceptions see it as a date, which is not even a thought for Caine. She's still jumpy and nervous and touches him alot. Like alot alot, which Caine thinks is her telling him she's lonley of course! So he gets her gifts to make her feel like she belongs and that she has things to keep her saine. Off course, this all interpreted by Pomni in a Human relationship lense and the attention deepens the hole Pomni has now dug for herself.

Eventually Caine rambles his frustrations about Pomni's behavoir and how no matter what he tries he can't seem to make her happy here to Bubble, who repeats some of his words to the cast that is mostley gone ignored, except for Jax (who already knew) and Ragatha, who finally understood what was happening and feels bad for them both. Pomni is struggling with a crush on a probably dangerous and confused AI while said AI is getting flirted with by a Human and is driving himself mad trying to decipher her strive. She steps up to actually let Caine know what he is missing and this is when true Showtime would start, with Caine realizing he does enjoy helping Pomni and Pomni coming to terms with her emotions instead of just screaming at herself for having them. From there they can have a cute, if mostly aromantic, fluffy friendship that almost borders on dating, but never quite gets there with Caine's limitations.

She's feeling claustrophobic from the tent one day and he generates a small area for her to explore stressfree to take her mind away from that feeling of being trapped. He talks about having creations both from Jax saying, "is this another one of your NPCs?" and Caine saying, "You know how I don't like people seeing my unfinished work" so he is a learning AI that enjoys creating and seems somewhat artistic, despite his limitations and bluntness. He enjoys helping her feel at home, despite the circumstances and Pomni grows more comfortable with herself by his radiating confidence, yet they can both be equally frantic and chaotic if the scene needs it. It's both a timid/bold dynamic and a chaos duo and I love it.

Ok that's my showtime HC dump byeeeeeeeee

#the amazing digital circus #digital circus #tadc showtime #tadc #caine #the amazing digital circus caine #the amazing digital circus pomni #tadc pomni #tadc caine #tadc showtime shipping #caine x pomni #tadc caine x pomni #showtime ship #showtime tadc #drabble #fanfic idea #blurb #headcannon #drabble and a half #Pomni #no betta we abstract like Kaufmo

[theotterpenguin]

I really like the nuanced take about Zutara and why it makes some people uncomfortable and I can see both sides of it. I ship Zutara now but at first I didn’t and it made me really uncomfortable but I think it was just because of certain fan content I was coming across. Some people do portray Zutara in an extremely fetishized & creepy Stockholm syndrome way that makes Katara come off like some helpless damsel stereotype. It made me feel really gross thinking about as a young WOC but rewatching the show and seeing the true dynamic of these characters made me fall in love with them again. So I guess my feeling is that in canon i really love the dynamic but I hate the way *certain fans* twist it and refuse to acknowledge the racism & misogyny in what they’re doing

this is a complicated topic with many layers to it but first - i am sorry if you have ever felt unwelcome in the zutara fandom due to experiences with racism/misogyny.

it would be ignorant to claim that the zutara fandom is somehow uniquely unaffected by systemic racism or sexism, but it would also be disingenuous to claim that these issues only exist in certain parts of the atla fandom. racism, sexism, and general bigotry exist in every fandom due to institutionalized inequality in social structures. and to make it clear, i'm not directing this criticism towards you, anon, you are entitled to your own personal experiences, but i have seen a broader trend of people attempting to use fandom racism to moralize their position in ship wars, which is diminishing from the actual problem - the focus should be on acknowledging the existence of fandom racism/sexism, combatting implicit biases, and creating spaces that can uplift marginalized voices, rather than focusing only on optics in an attempt to gain moral high ground in a silly *fictional* ship war.

however, given all this, the reason that i am still in the zutara fandom is because i appreciate how many people in the fandom are dedicated to unpacking issues of racism and sexism and cultural insensitivity in atla's source material, which i personally haven't seen in many other sides of the fandom (that often sanitize what actually happened in the text to avoid acknowledging these issues in their favorite show). of course this is a broad generalization, but that's generally why i stick with the non-canon shipping side of the fandom because fans that are willing to stray away from canon are often less afraid to engage in critical analysis.

i also do think the zutara fandom has come a long way from the early 2000s when the show first aired. for example, when i first joined the fandom i had mixed feelings on fire lady katara, but i have since read some fanfics that have done an excellent job deconstructing some of the problematic ways that this trope could be interpreted and balancing respect for katara's cultural heritage and autonomy with the political and personal difficulties of being involved with an imperialist/colonialist nation. the fire lady katara trope, capture!fic, and other complicated topics/tropes are almost never inherently racist/sexist, but rather, their execution is what matters. and all this is not to say that issues of systemic racism/sexism do not still exist in this fandom, but it personally has not significantly negatively impacted my experience in the zutara fandom due to the wonderful content that so many other fantastic people produce, though everyone's mileage may differ with what they are comfortable with. anon, i hope that you are able to find a place in the zutara fandom for you! but i also know many people that have stepped back from other fandoms due to experiences with racism/misogyny, so i understand that decision as well.

on a final note, i think it's important to acknowledge that fandom doesn't exist in a vacuum and broader issues of racism and sexism are rooted in the media, the entertainment industry, and mainstream societal norms. while i do sometimes focus on fandom dynamics/discourse in my criticisms, i think it is equally as important to acknowledge how issues of prejudice and inequality are perpetuated through larger social structures, which is why it frustrates me when the atla fandom refuses to acknowledge the flaws of the original show, which has far more influence and social power over the general public than discourse over fandom tropes ever will. personally, i don't understand the phenomenon of holding fan-made material to a higher standard than mainstream media.

#zutara #atla #atla fandom critical #atla critical #zuko #katara #racism #sexism #and i hope it's clear that i am not condoning racism/sexism in fan material - but i do think it's hypocritical to ignore the foundations #of this that is built into the source material #anon ask #my asks #my post

[operafantomet]

This question might be in the realm of "stating the obvious" and I'm sorry if you've answered this before, but is there a reason why costumes in replica productions tend to be different in the details from one another? Does it have to do with which fabrics are available in Europe or in the US, or is it something else entirely?

It's not really an obvious answer, or rather: there are many parallelle answers. I can try to offer some of them. All of course exemplified with Christine costumes :D

One, even if the costume design is pretty detailed, many components is still up for interpretation. It means that one costume maker may see one thing, while another see another thing. I would say that both these Elissa tabs - 2000s West End to the left, 2006 US to the right - reflect on Maria Bjørnson's design (middle), even if they maybe don't look too alike when compared to eachother:

In the same vein, Maria Bjørnson supervised every new production worldwide and also every cast change in West End. At times she wanted to try out new details. For example, the Elissa gala skirt went from only tabs and apron in the initial design, to a plain green skirt with tabs and apron in the early West End production, to full-blown gala skirt with pleated hem around the world. This created some very different skirts in the early days.

Also, she was rarely satisfied with the Rooftop costumes, and constantly urged costume makers to try out new patterns, colours and effects. This means that new takes on the costumes was also initiated by the designer now and then. It also means the main costume has been made in white, blue, green, pink, purple and multi-coloured versions, and the cloak in pale mint, dark mint, sky blue and royal blue. All to try and convey a sense of moonlight in a dress!

Third, whereas the Wishing dress was almost always been made of the same stripy/floral blue silk from the UK (with a handful of exceptions in the US), the idea of a replica fabric for all costumes quickly collapsed. The early European and Japanese wedding bodices were made of the same silvery white ribbed fabric, but this was discontinued in the mid 1990s.

Same for the Rooftop costume, where the same beaded lace was used as the top fabric of the dress in both Stockholm, Hamburg and Toronto, but this too was discontinued in the 1990s. So it was up to Bjørnson, local costume makers and various supervisors to find the materials reflecting best on the design. It should also be mentioned that the materials preferred in the late 1980s and early 1990s often favoured colourful, highly patterned fabrics in the vein of chintz and Laura Ashley. The later 1990s and 2000s went for more subdued fabrics, while the current trend is thicker and colourful metallic and floral fabrics. So the current trends is also a factor.

Speaking of the blue silk for the Wishing dress, it seems an original idea was that the Christine alternate would wear a slightly different costume than the principal Christine. In West End it meant Claire Moore's main dress was made of the replica silk, but the petticoat was made of a blue taffeta with numerous horizontal navy velvet trims. On Broadway it meant Patti Cohenour's whole dress was made of a floral blue fabric.

Apart from these two and some 5 more Wishing dresses in the US, all versions of this replica costume has however been made of the stripy/floral blue silk. It remains probably the only current replica fabric, along with the Phantom's tailcoat. That black diamond patterned silk is from Savile Row in London, and identical all over the world. In other words, two absolute signature costumes!

A last thing that should be mentioned is that sometimes the BASE of the costume might be done in (for example) the UK, while the final fit and decorations is done locally. That can create quite different expressions even if the base and main fabric is the same. This was the case with Copenhagen, it is the case in the current South Korean production, and it was the case in the World Tour revival - to mention some. Add different wigs, accessories and/or underpinnings, and it can be hard to tell that the main costume is more or less the same:

(The South Korean base on the left and the West End base on the right is both made of the same fabric in the UK, but the decorations and the petticoat differs)

So yeah, not necessarily one obvious answer, but many overlapping practices that at times can affect the exact look of a specific costume. I hope that made sense!

#maria bjørnson #phantom of the opera #costume nerding #christine wardrobe

[k-i-l-l-e-r-b-e-e-6-9]

Morbid  -  Wings of Funeral

#Morbid #Live in Stockholm #Wings of Funeral #Release date: 2000 #Live album #Genre: Death/Thrash/Black Metal #Lyrical themes: Death Occultism Gore #Sweden