#and THAT is radical and groundbreaking????? like it was a fun movie but it did not get snubbed lmao | Explore Tumblr Posts and Blogs

rollercoasterwords · 10 months

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PLEASE tell us your barbie opinions!!!!! pls pls i also have opinions

happy 2 share but i will be putting it under a cut bc. a lot of people seem 2 think this movie is god's gift 2 earth and i am not in the mood 2 deal w barbie evangelists lol so if u do not want 2 see barbie movie criticism just scroll away

will preface by saying i enjoyed the movie i thought it was fun etc + i don't think there's anything wrong with enjoying it or finding it fun or even feeling very personally empowered/seen by what the movie had to say. that's all very nice on a personal level and i understand why so many people are finding the movie cathartic.

that being said i do not think the movie was feminist or subversive by a long shot and seeing so many people talk about how radical it was makes me feel like i'm being gaslit!!! like. did we watch different movies lmao. maybe i'd understand a little more why everyone was being taken in if barbie had like, gone to the real world and fought patriarchy in the movie--but she didn't even do that! they introduce the concept of real-world patriarchy only to have barbie go back to barbieland and destroy fake barbie patriarchy (which is rooted simply in one man's insecurity and easily resolved by gently encouraging him to seek self-worth outside his relationship--not exactly a cutting examination of the material investment that men have in patriarchy which makes it so difficult to challenge) and leave real-world patriarchy intact at the end (the big #feminist moment for real women is...mattel's sexist ceo saying he'll use a woman's idea for the next barbie, since he can make a lot of money off it? he doesn't even say he's going to pay her for the idea lmao).

so all in all the whole "barbie destroys patriarchy" bit of the movie just. did not feel particularly feminist to me beyond a very surface level acknowledgment that sexism exists and is bad. and like--i get that it's the barbie movie, and people could say "well of course it can't be that subversive but it did a good job for what it was!!" but i'm just like. ok yeah then let's call it what it was...instead of calling it subversive?? also every feminist message the movie tried to champion was immediately undermined by its fundamental investment in gender essentialism, which remains unchallenged throughout the whole film. like--barbies are literally canonically sexless and so u can't even try to argue that the gender binary which their society is based around is anything but 100% socially constructed, and we see that that gender binary affords privilege to some and not to others and also leads to ostracization of those who fail to conform to it, yet the happy ending of the movie is barbieland just...staying that way. and i feel like the movie then kinda says the quiet part out loud when barbie becomes a "real woman" by getting a vagina like...ok. lol

so like. even the interior politics of the film i struggle to understand how it could be considered groundbreaking feminism; and then when we zoom out and look at the material impact of the movie that just cements it as un-feminist to me. this is a really good article about the beauty standards being pushed + perpetuated by barbie marketing, and of course as with basically any hollywood movie the rich (and mostly rich men) will be getting richer, cycles of consumerism will be perpetuated, etc. honestly the "feminist" aspect of the film almost feels insidious to me in this context, as if it's meant to provide the catharsis of feeling like there's been some big challenge to patriarchy while quietly reinforcing the systems of oppression it publicly decries.

and like. at the end of the day i was not expecting barbie to be a subversive feminist film nor do i think it like...has a responsibility to be one. and it's nice that so many people feel like they're getting something out of it! but i think it's important to evaluate both the personal and societal impact of the media we're critiquing, and in that context it just seems silly to me to claim that barbie is subversive. i also find the amount of rhetoric i've seen about how the movie "encapsulates the female experience" so fucking irritating lmfao like...i am sorry but the idea that watching a group of hyperfeminine women flirt with men as a method of destroying patriarchy (<- not an exaggeration that is literally the plot. flirt with each other's boyfriends to make them jealous so they fight each other. zero lesbians in barbieland i suppose) is THE quintessential experience of #womanhood...well alright then.

anyway. there is more i could say but i am going 2 get dinner w a friend so. stopping here <3 not gonna post the link but i do have a full/in-depth review on my substack if u wanna poke around over there!

#ask #ranting and raving #spoilers #also found the 'self-awareness' somewhat insufferable #'oh hehe we're having margot robbie talk about how ugly she is!! silly us!!' shut up....please...

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romanarose · 27 days

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I think I would've enjoyed the barbies movie more if it wasn't lauded as this groundbreaking feminist movie.

It was a good movie. The obvious care that went into it was incredible. Set and props!!! perfect casting!!! IM JUST KEN!!! (which did, actually, deserve to win awards more than what was my made for in my opinion but whatever)

I cried twice. Once during the scene where barbie first cries and yes, durng what was I made for.

But it wasnt radical at all. And that was okay! A lot of that hype came from conservatives, honestly. I saw it the weekend after it opened, wen conservatives had their monthly meltdown over something stupid. It's kinda like when they call Biden a radical leftist and Im like... I wish he was, bro.

Barbie is entry level feminism. It's kinda like when your school makes you take a gen ed of something even though you know all the basics already because its an interest of yours but you gotta take it before you take the upper level class (Yes, I'm looking at my intro to disability class right now. Why did I have to spend a class period on person first vs. identity first language, I know this already!)

Barbie is not the perfect feminist movie. It lacked subtext or subtly that I would have preferred, was not intersectional enough for my liking, and a myriad of issues plenty of youtubers have spent 3 hours per video talking about.

But.... I don't think it was ever supposed to be, was it? I don't think Greta set out to reshape feminism, to define all of feminism, to solve the worlds probelms in a movie. I think, at it's core, it was meant to be a fun movie. It's pg13, not R. It's meant for mass appeal. hell, Bethany Beal of Girl Defined's husband, Dave loved it! Barbie herself wasn't going on a quest to change the real word or barbie world or herself.

I thoroughly enjoyed my entire time watching it! I thoroughly enjoyed my entire time rewatching it a few months latter! And I'll probably thoroughly enjoy rewatching it again in a few years!

I just wish it wasn't hailed as this earth shattering movie.

But, again, that's probably ben shaprio and jordan petersons fault more than anyone else.

youtube

Disabling eblogs bc this isnt really like, a post im making for a point. Just more my scattered thoughts lmfao. Feel free to weigh in on the comments though!

#Youtube

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spinning-axis · 10 months

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I saw barbie yesterday (Im late i know shut up) and like i Do Not underatand the extreme reactions to it.

I didnt find it particularly groundbreaking but it was very entertaining to me, a woman in my early 20s (the literal target audience).

And conversely i did not see any real misandry happening like what. The movie is poking fun at men and exploring (through shits and giggles) the idea that extremely unfair treatment easily leads to radicalization. And barbie apologises to ken at the end - its not really a well handled plot point but the general message is that no one deserves to be treated like theyre second rate.

And also at most the feminism featured is very much feminism lite - from some of the conservative takes and headlines you'd think veers heavily left - i didnt get that, but im also a regular at tumblr.com so what i consider far left and what not terminally online people consider far left is probably very different lol.

Anyways all that being said, the movie is not that serious guys. We are talking about a famous doll and her loser boyfriend with some feminism sprinkled in for flavor. Idk what made me write all that.

#barbie #ken #you could say the movie was #kenough #solid 6.5/10 #overhyped #and overpoliticised #on both ends #of the spectrum #barbie 2023

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docexe-mx · 5 years

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And on a different topic, Captain Marvel is quite a good movie although not really outstanding.

Some observations, additional thoughts and spoilers after the cut:

It comes as relatively weak when compared to other Phase 3 movies, not because it’s bad per se, but simply because other recent Marvel movies have raised the bar too high. Nevertheless, it’s fun and, as far as origin stories go, I think it’s better than Dr. Strange, Ant-Man and the first Thor, although not quite as good as Captain America: The First Avenger or the first Iron Man.

Kevin Feige wasn’t exaggerating when he said the movie set up Carol as the most powerful hero they have introduced so far. The moment when she finally unleashes her full power and what follows afterwards is actually quite exciting. While it’s very unlikely that she will be able to defeat Thanos on her own, their battle in Endgame should prove to be interesting, especially considering the source of Carol’s powers.

Brie Larson is actually very good in the role of Carol Danvers when it comes to conveying the pathos and inner conflict of the character. She is not quite as good when it comes to conveying her snarky side. While some of her remarks did elicit a chuckle from me, the rest tended to fall very flat. She is honestly funnier when acting as a straight man to other characters, like Nick Fury. Hopefully she will play better with the other Avengers.

Sammuel L. Jackson (Nick Fury), Lashana Lynch (Maria Rambeau) and Akira Akbar (Monica Rambeau) were all delightful in their respective roles. Hopefully we’ll see an adult Monica (preferably as Spectrum) in the inevitable sequel.

The revelation of how Nick Fury lost his eye (and his subsequent conversation with Coulson about it) is one of the most delightful jokes that the franchise has done so far. For that matter, it’s also nice to see Phil Coulson (Clark Gregg) back in one of these movies, even if his role is pretty small.

Like many other MCU movies, this one has some very heavy changes in terms of the adaptation. While I don’t doubt that said changes will (as usual) irk the most pedantic purist members of the comic book fandom, I tend to divide said changes into three different types:

The ones that differ heavily from the source material but are appropriate in the context of the MCU and the specific narrative that Marvel Studios has been weaving (like Carol gaining her powers from the energy produced by the Tesseract/Space Stone).

The ones that differ heavily from the source material but are appropriate given the feminist themes of the movie (like Mar-Vell being female instead of male).

The ones that I did find genuinely troubling. In this case, this last type would be pertaining to the Skrull, who (unlike the comics) are not a race of amoral imperialist aliens with ambitions of universe domination in war with the Kree (another race of imperialist amoral aliens with ambitions of universe domination). Rather, they are essentially a group of scattered refugees who lost their homeworld, and who use terrorist and guerrilla tactics to resist the imperialist advances of the Kree. While anyone who has read the comics will not be surprised that the Kree are the actual villains of the movie, the twist with the Skrull was something that I wasn’t expecting at all and I’m not sure I liked it. I frankly prefer how, in the comic books, both the Kree and the Skrull can be equally jingoistic, cruel and hateful. At least Talos (Ben Mendelsohn) is a fun character and Yon-Rogg (Jude Law) is actually a decent villain.

I shouldn’t be surprised that, with the ongoing “culture wars” raging on the Internet, this movie has accrued its share of controversy. However, I do think said controversy is one of the silliest and most overblown ones I have seen. I remember how there was suddenly a heavy backlash and outcry online against Brie Larson, the movie and the character of Captain Marvel herself, apparently product of some declarations that the actress had given to a magazine online. I remember wondering what she could have said that was so offensive to elicit such a response. I then checked the interview in question and was surprised by how, as far as feminist arguments and remarks go, her declarations were ultimately pretty mild. It makes me think that we male geeks/ nerds doth protest too much.

Now, as I mentioned before, the movie does have some feminist themes, but they aren’t anything particularly radical or groundbreaking, at least as far as such kind of narratives go. Indeed, they are really cliché to be honest. Carol’s backstory is ultimately revealed to be the standard tale of a woman entering on a male dominated career, receiving her share of pushback from her peers, then ultimately succeeding by sheer resilience and force of will. Nothing that hasn’t been seen before in that respect.

Goose is the MVP of the MCU. Nuff said!

#captain marvel #marvel #marvel cinematic universe #MCU #marvel movies #analysis #criticism #review

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aion-rsa · 3 years

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Could Sucker Punch Become the Next Justice League Snyder Cut?

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Sucker Punch, Zack Snyder’s sexified 2011 action-fantasy mashup, hit shortly after the director had come off his ambitious (although reliably divisive) movie adaptation of Alan Moore’s groundbreaking Watchmen comic title. With the director having notably made waves behind the camera for 2004’s Dawn of the Dead and 2006’s 300, Snyder’s perceived genre gravitas—and imagery of scantily-clad girls with swords and guns—was a clear selling point. While the film flopped, a recent reveal has, curiously, ignited fervor for a Sucker Punch Snyder Cut.

Snyder’s attention at the moment clearly centers on the premiere of Netflix film Army of the Dead, which stands as his first all-new feature since 2016’s Batman v Superman: Dawn of Justice, not counting his recently released HBO Max redux of 2017’s Justice League, the original of which saw him replaced by Joss Whedon. However, Snyder provided an intriguing update on the now-decade-old dormant topic of Sucker Punch in a recent video interview with Vanity Fair in which he breaks down notable entries on his film CV. It seems that, similar to Justice League, Snyder shot enough footage from the 2011 film to justify a lengthy re-release—at least, if anyone’s actually interested.

“[Sucker Punch] was the first time where I really faced, like, a true radical restructuring of the film for it to be more commercial,” says Snyder. “And there is a director’s cut of that movie that has yet to be released. I’ll say that out loud.” Snyder’s surprise disclosure of a Sucker Punch director’s cut could make momentous waves across the vocal fandom that managed the monumental feat of hash-tagging the heretofore-untenable, $70 million-boosted release of the Justice League Snyder Cut into actual existence; an act that has to be seen as a clear-cut victory, regardless of where a movie fan may fall on the proverbial Snyder spectrum. However, unlike the reworked DC megamovie, the obstacles standing in the way of a prospective redux of the 2011 film are more numerous and formidable.

Warner Bros. Pictures

The prospective redux’s most immediate impediment is Snyder’s massive, recently-revealed post-DC Extended Universe fallout with studio Warner Bros., which had been behind his signature films, including Sucker Punch, which—even during better times of his partnership with the studio—was not exactly a high point. Moreover, the subset of an already-niche audience who might actually want more of the film already have it, since an extended cut already exists. Released on Blu-ray, that version adds 18 minutes to the originally 110-minute movie that also alters the PG-13 rating of the theatrical release to an R.

Sucker Punch, which Snyder co-wrote with Steve Shibuya, takes place in the 1960s, centered on the ordeal of a young girl named Babydoll (Emily Browning), who is framed by an abusive stepfather for the murder (he actually committed) of her sister, and is institutionalized in a Vermont insane asylum. Unable to directly deal with horror of her dilemma, Babydoll constructs an elaborate action-teeming fantasy world through which to interpret her daily dealing. Her fantasies, which reimagines the facility as a high-end brothel, take shape through stylistically anachronistic action mishmashes of Steampunk, World War I and quasi-anime giant-robot imagery. However, the fantasy starts to bear real-world consequences once an elaborate escape plan is concocted along with fellow inmates Sweet Pea (Abbie Cornish), Rocket (Jena Malone), Blondie (Vanessa Hudgens) and Amber (Jamie Chung), all of whom appear in the sequences.

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Army of the Dead Review: Zack Snyder’s Most Fun Film to Date

By Nick Harley

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Will an “Aggressively Anti-Snyder” Warner Stop the SnyderVerse?

By Joseph Baxter

Unfortunately, the splattered nature of Snyder’s cinematic canvas, along with the film’s perceived sexually-exploitative imagery, opened Sucker Punch to substantial criticism, which certainly contributed to the film’s downfall. However, one whole decade removed from the film’s failure, Snyder not only remains a believer, but even makes an argument for its unrecognized social poignancy. “The movie to me is—you know, people don’t acknowledge it—but it’s a protest movie in a lot of ways. It’s a movie about genre,” explains Snyder. “I was asked at the time, ‘Why did you dress the girls like that?,’ and I always go, ‘I didn’t dress them like that, you did.’ I always saw it as an indictment, in some ways, of popular culture. I think, at the time, I was criticized for it being the opposite, like some sort of sexist rant, but it was fun to make and I still love it to this day.”

While Snyder may see Sucker Punch as a misunderstood agitprop piece (albeit one with leggy girls in lingerie swinging swords at monsters), most moviegoers—I daresay many of whom are actual fans of Snyder’s darkness-driven visions—still see the film as a forgettable curiosity. Moreover, there also happens to be a lack of bottom-line motivation, seeing as the film bombed spectacularly at the box office upon its March 24, 2011 premiere, having ultimately grossed a paltry $89.8 million worldwide against an $82 million budget, which had to have left Warner Bros. in the red after expenses. Moreover, Justice League remains an unlikely exception in the director’s cut craze, since the hashtag campaign that propelled it hinged on curiosity over what Snyder’s version would yield in contrast to Whedon’s. There’s no such curiosity with Sucker Punch, which was the full fruit of Snyder’s vision, and is hardly a beloved cult classic ripe for re-cuts like, say, Blade Runner.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Zack Snyder’s Army of the Dead, however, has arrived unimpeded on Netflix, and can be watched right now in all its Viva Las Vegas zombie-wrecking glory.

The post Could Sucker Punch Become the Next Justice League Snyder Cut? appeared first on Den of Geek.

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#aion-rsa #Den of Geek

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melpomenecokr · 5 years

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﹟ ♡ THIS MONTH IN MUSIC : MAY 2019.

♡♡♡

May was a month that happened and I guess we need to talk about it.

As barren as the month seemed for impressive releases, there were a few diamonds in the rough, thank God, and as I’m sure you’ve figured out by now, it’s my job to bring them to light, and talk about why these hits stood out among the many (many) misses this month of May had to offer. All complaints aside, I present to you my top five musical recommendations for the month of May.

Just as they always are, links for purchase and streaming services will be provided at the end of each segment for their respective release. Please remember to support these artists and their music so we can hear more from them in the future.

#005. “DDU-DDU ddu-ddu (뚜두뚜두)” - SINGLE BY ETUDE♡ (습작) RELEASE DATE: 03 MAY 2019

You all often like to joke with me that I am, for the most part, boy group illiterate, so it may not come with much shock when I say I’ve only knowingly heard a few songs from this group in the past. I tend to listen to almost anything and everything that drifts into my recommended or that I stumble across while browsing MelOn and the like, and I believe that’s how I discovered ETUDE♡ existed in the first place. In the case of “DDU-DDU ddu-ddu” (like the professionals we are on this blog, we’re going to shorten that to just “DDU-DDU” from now on, thank you), however, I actually sought this release out after seeing the video teaser the day prior, because it seemed very intriguing -- and for once, I wasn’t deceived.

(Just to preface, we’re only going to be talking about the title of this release since this is not an in-depth review, but I would definitely recommend listening to the other two songs, if you’ve got the time.)

“DDU-DDU” is a pop-rap song heavily influenced by trap and EDM with its heavy bass and almost peculiar-sounding beat. Right from when the song starts and the group screams their name into your ear on the first beat drop, you get the sense this is going to be a power anthem about how great and capable they are and how they’re better than everyone else; and as eye-roll worthy as that sounds, that’s actually what makes the title track of this single so great. It knows exactly what it is and it accomplishes its goal perfectly with gutsy raps and surprisingly solid vocals.

The aforementioned raps are really where this song finds its footing because the chorus isn’t much, but that’s perfectly fine, because with a song like this, the chorus doesn’t have to be groundbreaking. The first rap is delivered by member Yejun, with a slow and suavé kind of flow to it; the kind of rap you would expect to play while the final boss of a video game or the big bad of an action movie makes their first appearance. The punchlines are a little weak, but I think the way this rap flows in itself makes up for that in earnest, it just sounds so good, you don’t really care much about what he’s actually saying. Then, the second rap, delivered by member Saint, follows the chorus and it’s the antithesis of what the preceding rap was; it’s fast-paced, hard-hitting, and really drives home the point of the whole song. I still don’t know that ‘that ddu-du ddu-du du’ is but I fully believe I was hit with it.

Not to undermine the vocalists, though, because they really did an outstanding job, despite this type of beat and vibe being more fitting for rappers. The main vocalist, Seongwoo, stood out to me because of the way he sang his lines. It’s hard for a lot of k-pop vocalists to portray bravado and confidence with their voices because they are trained to sing in very distinct ways, but he captured that vibe perfectly while still managing to sound stable and light. “DDU-DDU” is the kind of song you play when you need a confidence boost, no doubt about it, and it’s definitely made its way onto my playlist.

Listen to “ DDU-DDU ddu-ddu (뚜두뚜두)” here and stream the music video here.

#004. “BLAME IT ON YOUR LOVE” - SINGLE BY CHARLI XCX AND LIZZO RELEASE DATE: 15 MAY 2019

These two getting together was completely unexpected on my part, but it was the match made in Heaven that I never saw coming. A snippet of this song actually leaked sometime last year, which had many living in the XCX-verse on the edge of their seats waiting for the project to come back ‘round, and Charli and Lizzo made quite a wave on Twitter when they announced they were doing this piece together. Though I was definitely thrown, I was excited; both artists have a way of being so wonderfully simple and straightforward with their lyrics, but combine that with complex arrangements and composition and messages that it leaves you trapped between two different feelings, and it’s great when music can evoke that strong of a response.

“Blame It On Your Love” is no exception to this formula these two ladies employ in completely different ways, and their radically different styles come together with a harmony that makes this such a good, and unique song. I wouldn’t be against them forming a duo or doing a collaboration album, to be honest.

Anyway, “Blame It On Your Love” is an eccentric pop song about nervous jitters and different wavelengths making a relationship difficult -- the feelings seem unrequited but it’s hard for Charli to tell because she can’t get close enough to the object of her affections without turning into a nervous wreck, and sabotaging herself when it comes to opening up. Charli’s vocals are broken and slow and create a sense of nervousness and tension that the listener can resonate with, while Lizzo is confident and straightforward (as always) while delivering her short verse near the end of the song. She seems to be giving a completely opposite message than Charli, but because her high-energy rhymes are so different from Charli’s cautious vocals, it works. It’s not detached, either -- it doesn’t seem like it comes out of nowhere, as the production sets the dong up perfectly to have Lizzo give Charli this reality check. Her banter-like ad-libs really make this song so fun and enjoyable, too; despite Lizzo’s contributions seeming relatively small on the surface, she really did her part to make this song the summer-night anthem that it is.

Overall, I really enjoyed this release, as I knew it was going to be great the moment they announced via social media that they were working together, even if I didn’t immediately know what to expect. I hope these ladies collaborate again in the future; I think when wildly different artists come together and vibe the right way, it can make a memorable spectacle. We need more of that. Some artists are way too full of themselves these days.

Listen to “Blame It On Your Love” here.

#003. “DEDICATED” - STUDIO ALBUM BY CARLY RAE JEPSEN RELEASE DATE: 17 MAY 2019

If I could only recommend you one underrated artist to stan this year, it would be Carly Rae Jepsen. This is the first time I’ve discussed her on my blog for a while because she sort of fell off the radar after “Call Me Maybe” had the whole world singing in 5-syllable sentences for the better portion of 2012, however she came back onto my life on a better note when “Cut To The Feeling” was pretty much the Pride Anthem of last year. I went back and listened to pretty much everything I had missed from her and when I tell you this girl is not only talented, but pretty much dedicates her career to true retro-esque pop music, I mean it, and I couldn’t mean it more. While I’m sure none of us were as excited to hear “Dedicated” as my best friend’s boyfriend, there was a lot of anticipation surrounding Jepsen’s fourth studio album via her cult following. Now that it’s here, I can verify it was not only worth the wait, but that it didn’t disappoint in the slightest.

Carly (I’m going to call her by first name for the rest of this segment because I feel foolishly close to her) has the energy and ambition of a pop star with the innocence and modesty of the girl-next-door, and I absolutely love that about her. As much as I need to hear a good, old-fashioned pop song about having sex with a stranger in the back of a stolen SUV every now and then, there’s something so refreshing about Carly’s innate curiosity about love and how desperately she wants to experience it as a young (33 is young, shut up) woman with a big heart. I believe “Dedicated” is the clearest glimpse into her world she’s ever given, and with that, the songs I would like to highlight from this 13-track (not counting the bonus tracks) wonderland of an album are “Now That I Found You”, “Right Words Wrong Time”, and “Real Love.”

If you haven’t heard “Now That I Found You” by now, I want you to know that I am deeply disappointed in you. This song is everything you’d expect from CRJ and more -- the retro vibes, the high-energy, the stellar vocals and the addictive lyrics blend together to make this not only the song of the summer, but the song of every summer. The delivery of the lovesick lyrics is so earnest and bright that it not only puts you in a great mood, but makes you want to go outside and dance in the rain, regardless of who’s watching, or your high chances of catching a cold. This is exactly the kind of pure, unadulterated pop that Carly delivers consistently without getting stale; it’s so easy to get lost in her world that you won’t even realize 3 minutes and 20 seconds has gone by and you’ll want to replay it 20 times on your drive to work or while sniffing melons at the supermarket. I know this sounds oddly specific, and that’s because it is. I listen to every piece I review 3 times over at least, and this was one of the easiest songs to follow that rule with to date.

“Right Words Wrong Time” is the second-to-last song on this album, and I think that was done with a concerning degree of intention. It’s a slow, melancholic track about a relationship that just isn’t working because the two lovers are on two different wavelengths. It rings consistent with Carly’s desire for passionate and confident love, as she’s frustrated with her lover for not prioritizing her enough to know what she really seeks in their relationship until its too late. I was considerably surprised by this track, but I think it works so perfectly for this album’s overarching layout and themes because it teaches the listener that you should never settle in a relationship, and you should know when you’ve given enough chances. It’s not a song you could break out in a full-choreographed dance to at any given time, but it doesn’t need to be for the message it’s trying to convey. Carly’s soft vocals and the simple, tastefully-repetitive beat amplify what she’s saying in a way that really resonates with the listener, which is exactly what the lyrics of this song demand. It works perfectly.

Remember that point about “Right Words Wrong Time” intentionally being toward the end for a reason? Well, “Real Love” ends this album and that same concept must have been employed here, too, because this song ties this album together so perfectly, it could honestly work as a formal outro. It sums up what Carly has always been about, wanting “real, real love” in a cold and unforgiving world when she doesn’t know who to trust or who is telling the truth. It’s such a wholesome desire that I think most people can relate to in one way or another, because at the end of the day, a lot of humans just want real, honest relationships that give them a reason to get out of bed on a particularly tough day, or to reassure them that they’re worth something when the world gets them down. This energetic pop song and earnest ballad hybrid showcases just how much CRJ makes music for normal, everyday people who aren’t glamourous rich pop stars constantly feeling like they’re the best. It’s so honest and I can feel how naked she must have felt writing and putting out a song like this, and it shouldn’t go without appreciation.

Listen to “Dedicated” here and stream the music video for “Now That I Found You” here.

#002. “90s BXTCH” - SINGLE BY KKUMA (꿈아) RELEASE DATE: 26 MAY 2019

If I had been on top of my game this month, this song almost certainly would have missed the cutoff date to be included in this list -- so I guess my turmoil was a blessing in disguise (though it could have always been included in next month’s, I know, but I like to be optimistic sometimes).

Kkuma is one of those artists that, even if by some tragedy you don’t like her, you have to respect her because of how iconic her style is, what she stands for, and the fact that she’s probably produced some of your favourite Korean artists’ biggest hits. She’s really been outdoing herself this year by releasing so much music after leaving her fans with very little the last year and a half, and nothing she’s put out has been bad. Period.

(The reason I haven’t been reviewing them all individually is because I’m nearly certain that she’s gearing up to release an album this year, by the way. I’m not a fake stan, I promise).

“90s BXTCH” stood out to me this month because of how utterly Kkuma it is -- she’s basically pioneered the 90′s aesthetic in the Korean music industry and she knows that with a song like this, from the descriptions of classic 90′s aesthetics and imagery to the way this song sounds like it could have been ahead of its time during its release in 1996. The chorus references “Sade,” though I’m not entirely sure if it’s referring to the solo artist or the band she was in that was named after her -- either way, Sade is a 90′s icon known for her soulful vocals and unique style, and Kkuma mirrors that in 2019 in a way that is indescribable. It’s a perfect allusion.

As the single description states, the track is an ambitious mix of 90′s R&B and contemporary hip-hop, and it works so beautifully, showing that old trends really never die because they always come back in one way or another. Kkuma makes it clear through this song that while she’s a simple woman, she isn’t basic; she enjoys the finer things in life but they’re not all she cares about. The song has an underlying message about being true to yourself no matter what everyone else is doing, and also that it’s a beautiful life when you mind your own business and do things your own way. The seamless blend of vocals and rap is done so well that it’s nearly undetectable when she’s switching from one to another, and I love that this woman literally has no rules when she puts out a song -- that she can do whatever she wants and still make something incredible.

The beat of the song is just as relaxed and confident as the lyrics, and given that Kkuma writes and produces her own music, I’m not surprised by this, though I am impressed by how in-tune she is with her own aesthetic and her own music. Kkuma prioritizes aesthetics a lot in both her visuals and sound, and “90s BXTCH” is like the final boss as all of that culminates and she shows you exactly who she is and what she’s about in just one song. It takes strength, confidence, and self-awareness for an artist to do that, and Kkuma’s got all of that and more. I really hope to see this included on a future album of the same caliber.

Listen to “90s BXTCH” here and stream the music video here.

#001. “DUSK V. DAWN (황혼 대 새벽)” - REISSUE ALBUM BY NINEBANG (나인뱅) RELEASE DATE: 03 MAY 2019

If you’ve spent more than five minutes on my blog at any given time after NINEBANG’s debut in May of last year, this probably is no surprise to you. Especially when his age bracket and status as a rookie is considered, NINEBANG is one of the best artists out there right now, and the best male vocalist in the industry, by far. I was elated to see that his second mini-album “Eclipse” was being repackaged into a full-length album, and boy am I satisfied with the new material sprinkled into an already-great work.

Whenever K-pop artists do repackage albums, I get a bit nervous that they’re either going to add bland remixes or re-hash the same song structure they had in the initial release, or completely destroy the synergy of the original release, if it had any to begin with. As much as I admire NINEBANG, I couldn’t evade those worries with him, and I was pleasantly proven wrong as the new material fits like a glove among the original material in terms of themes and structure. Whoever arranged this tracklist deserves a gold medal, as I especially appreciated how the new songs weren’t just tacked onto the end like an afterthought.

So, that considered I want to exclusively focus on the new material, as I reviewed “Eclipse” in the past. The songs I have selected to pitch to you are, of course “WANT”, “Artistic Groove”, and “Nightdrive.”

Starting with the title track, “WANT” is perhaps the best of this dark, sultry image NINEBANG is exploring with both this album and it’s initial release. It’s a contemporary R&B and Pop hybrid, drawing the listener into NINEBANG’s sultry charms and powerful yet versatile voice. The lyrics are actually pretty simple and somewhat repetitive, but the way they are delivered makes this song the great listen that it is. I actually recommend you watch live performances of this song, too, because they are really something. I’ve never been a good dancer but watching someone not only outsing the industry but move so fluidly while doing so is beyond my realm of understanding. Anyway, “WANT” does its job to make you horny but it also incites this sense of curiosity in the listener, too; like the feeling you get when you know you’re about to indulge in a sinful pleasure but you wonder what the consequences will actually be, and if they’ll even be worth worrying over in comparison to the pleasure itself. This song spells out temptation with bold letters between NINEBANG’s seductive vocals and the spell-like lyrics. It’s not a listen for the faint of heart, but it’s a great song by a great artist, and that’s always worth your time.

Next is “Artistic Groove,” and if you thought “WANT” was a little dirty, we’re just getting started. This song is packed with innuendos and suggestive tones, to the point where my eyebrows were almost flying off my face the entire time I was listening to it. It’s so good, though; the way he lays out his sexuality and sensuality for the listener to explore. It, in turn, can make the listener feel confident and sexy, on top of being the kind of song you just have to move to. It makes a fleeting attraction feel like something deep and profound, like the excuses you make in your head before a hookup, and while that can be a little dangerous for the weak-willed (like me), it’s the kind of unapologetic self-expression and view into the artist’s mind that I like to see in music. I like to know that I’m listening to a person sometimes, and not some untouchable god, as much life as that can give me, too.

Finally, let’s end this segment right by talking about Nightdrive. I actually wasn’t sure how I felt about this song the first time I listened to it, but it grew on me by the second time, and by the third, I was belting out the chorus to my neighbours’ dismay. This track features another great vocalist, June of GEMINI, who you may remember from last months’ TMIM post. I can tell these two are friends because they work together really well; their singing styles are pretty different and wouldn’t work together in even a slightly different setting, but they made them work in this suave R&B track about a blossoming attraction in the confined space of a car. The way the verses and bridge build up to the loud and funky chorus via both the lyrical structure and the arrangement of the song itself is so smooth and easy on the ears, while it simultaneously builds anticipation in your chest, and I really enjoy getting invested in a song like that. Their chemistry is really what makes this listen so enjoyable, because I honestly feel as though if anyone else released this song, it wouldn’t have been that great. It just goes to show how specific music can be.

Listen to “Dusk V. Dawn (황혼 대 새벽)” here and stream its music videos here and here.

This concludes May’s installment of “This Month in Music”! I hope you found something new or learned to appreciate something you may not have before through these recommendations. Please remember to support the artists by visiting their respective links, and enjoy their music legally. Also, be sure to tell me about your own recommendations from this month in the comments, and feel free to respectfully discuss any of the points I’ve made here, whether you agreed or disagreed.

Love always, see you next month! ♡

#r: multi #s: tmim #a: etude♡#a: charli xcx #a: lizzo #a: carly rae jepsen #a: kkuma #a: ninebang

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ucflibrary · 7 years

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Women’s History Month began as a week-long celebration by in Sonoma, California in 1978 which was centered around International Women’s Day on March 8. A year later during a women’s history conference at Sarah Lawrence College, participants learned how successful the week was and decided to initiate similar in their own areas. President Carter issued the first proclamation for a national Women’s History Week in 1980. In 1987, Congress (after being petitioned by the National Women’s History Project) passed Pub. L. 100-9 designating March as Women’s History Month. U.S. Presidents have issued proclamations on Women’s History Month since 1988.

Here at the UCF Libraries, we have created a list of suggested (and favorite) books about women’s history in both fact and fiction. Please click on the read more link below to see the full list with descriptions and catalog links.

Almost Astronauts: 13 Women Who Dared to Dream by Tanya Lee Stone What does it take to be an astronaut? Excellence at flying, courage, intelligence, resistance to stress, top physical shape, any checklist would include these. But when America created NASA in 1958, there was another unspoken rule: you had to be a man. Here is the tale of thirteen women who proved that they were not only as tough as the toughest man but also brave enough to challenge the government. They were blocked by prejudice, jealousy, and the scrawled note of one of the most powerful men in Washington. But even though the Mercury 13 women did not make it into space, they did not lose, for their example empowered young women to take their place in the sky, piloting jets and commanding space capsules. Suggested by Jamie LaMoreaux, Acquisitions & Collections

Enter Helen: the invention of Helen Gurley Brown and the rise of the modern single woman by Brooke Hauser Chronicles the rise of a cultural icon who redefined what it means to be an American woman. In 1965, Helen Gurley Brown, author of the groundbreaking bestseller Sex and the Single Girl, took over an ailing Cosmopolitan and soon revamped it into one of the most bankable--and revolutionary--brands on the planet. At a time when women's magazines taught housewives how to make the perfect casserole, Helen spoke directly to the single girl next door, cheekily advising her on how to pursue men, money, power, pleasure, and, most of all, personal happiness. Bringing New York City vibrantly to life during the sexual revolution and the women's movement, and featuring a rich cast of characters, including Hugh Hefner and Gloria Steinem, Enter Helen is the riveting story of a polarizing pioneer who bucked convention to define her own destiny, baiting a generation that both revered and rejected her. Suggested by Richard Harrison, Subject Librarian

Fight like a Girl: How to be a Fearless Feminist by Megan Seely Fight Like A Girl offers a fearless vision for the future of feminism. By boldly detailing what is at stake for women and girls today, Megan Seely outlines the necessary steps to achieve true political, social and economic equity for all. Reclaiming feminism for a new generation, Fight Like A Girl speaks to young women who embrace feminism in substance but not necessarily in name. Suggested by Mary Rubin, Special Collections & University Archives

Flow: The Cultural Story of Menstruation by Elissa Stein Flow spans its fascinating, occasionally wacky and sometimes downright scary story: from mikvahs (ritual cleansing baths) to menopause, hysteria to hysterectomies - not to mention the Pill, cramps, the history of underwear, and the movie about puberty they showed you in 5th grade. Suggested by Megan Haught, Teaching & Engagement/Research & Information Services

Girls to the Front: The True Story of the Riot Grrrl Revolution by Sara Marcus Girls to the Front is the epic, definitive history of Riot Grrrl—the radical feminist uprising that exploded into the public eye in the 1990s and included incendiary punk bands Bikini Kill, Bratmobile, Heavens to Betsy, and Huggy Bear. A dynamic chronicle not just a movement but an era, this is the story of a group of pissed—off girls with no patience for sexism and no intention of keeping quiet. Suggested by Carrie Moran, User Engagement Librarian

Juliette Gordon Low : the remarkable founder of the Girl Scouts by Stacy A. Cordery In celebration of the Girl Scouts' centennial, this biography is a salute to its maverick founder. Born at the start of the Civil War, Juliette Gordon Low grew up in Georgia, where she struggled to reconcile being a good Southern belle with her desire to run barefoot through the fields. Deafened by an accident, "Daisy" married a dashing British aristocrat and moved to England. But she was ultimately betrayed by her husband and dissatisfied by the aimlessness of privileged life. Her search for a greater purpose ended when she met Robert Baden-Powell, war hero, adventurer, and founder of the Boy Scouts. Captivated with his program, Daisy aimed to instill the same useful skills and moral values in young girls, with an emphasis on fun. She imported the Boy Scouts' sister organization, the Girl Guides, to Savannah in 1912. Rechristened the Girl Scouts, it grew rapidly because of her unquenchable determination and energetic, charismatic leadership. In this biography, the author paints a dynamic portrait of an intriguing woman and a true pioneer whose work touched the lives of millions of girls and women around the world. Suggested by Richard Harrison, Subject Librarian

Letters to Alice on First Reading Jane Austen by Fay Weldon Alternating between passages from Jane Austen’s novels and accounts of her own career, Weldon reveals the connections between art and life, and charts Alice’s trajectory from unpublished writer to celebrated author, her success ultimately outstripping that of her famous “aunt.” Letters to Alice puts Austen’s works into a contemporary perspective as it explores the craft of writing fiction, the pitfalls of publishing too early, the conventions that stifle the creative impulse, and more. In paying tribute to Austen, Weldon opens an illuminating window onto reading, writing, and why literature matters. Suggested by Jamie LaMoreaux, Acquisitions & Collections

Little Women by Louisa May Alcott Lovely Meg, talented Jo, frail Beth, spoiled Amy: these are hard lessons of poverty and of growing up in New England during the Civil War. Through their dreams, plays, pranks, letters, illnesses, and courtships, women of all ages have become a part of this remarkable family and have felt the deep sadness when Meg leaves the circle of sisters to be married at the end of Part I. Part II, chronicles Meg's joys and mishaps as a young wife and mother, Jo's struggle to become a writer, Beth's tragedy, and Amy's artistic pursuits and unexpected romance. Based on Louise May Alcott's childhood, this lively portrait of nineteenth-century family life possesses a lasting vitality that has endeared it to generations of readers. Suggested by Cindy Dancel, Research & Information Services

Mercury 13: the true story of thirteen women and the dream of space flight by Martha Ackmann In 1961, just as NASA launched its first man into space, a group of women underwent secret testing in the hopes of becoming America's first female astronauts. They passed the same battery of tests at the legendary Lovelace Foundation as did the Mercury 7 astronauts, but they were summarily dismissed by the boys' club at NASA and on Capitol Hill. The USSR sent its first woman into space in 1963; the United States did not follow suit for another twenty years. In addition to talking extensively to these women, Ackmann interviewed Chuck Yeager, John Glenn, Scott Carpenter, and others at NASA and in the White House with firsthand knowledge of the program, and includes here never-before-seen photographs of the Mercury 13 passing their Lovelace tests. Despite the crushing disappointment of watching their dreams being derailed, the Mercury 13 went on to extraordinary achievement in their lives: Jerrie Cobb dedicated her life to flying solo missions to the Amazon rain forest; Wally Funk went on to become one of the first female FAA investigators; Janey Hart had the political savvy to steer the women through congressional hearings and later helped found the National Organization for Women. Suggested by Jamie LaMoreaux, Acquisitions & Collections

My Life, My Love, My Legacy by Coretta Scott King The life story of Coretta Scott King--wife of Martin Luther King Jr., founder of the King Center for Nonviolent Social Change, and singular twentieth-century American civil rights activist--as told fully for the first time, toward the end of her life, to one of her closest friends. Coretta's is a love story, a family saga, and the memoir of an independent-minded black woman in twentieth-century America, a brave leader who stood committed, proud, forgiving, nonviolent, and hopeful in the face of terrorism and violent hatred every single day of her life. Suggest by Missy Murphey, Subject Librarian

My Life on the Road by Gloria Steinem Gloria Steinem had an itinerant childhood. Every fall, her father would pack the family into the car and they would drive across the country, in search of their next adventure. The seeds were planted: Steinem would spend much of her life on the road, as a journalist, organizer, activist, and speaker. In vivid stories that span an entire career, Steinem writes about her time on the campaign trail, from Bobby Kennedy to Hillary Clinton; her early exposure to social activism in India, and the decades spent organizing ground-up movements in America; the taxi drivers who were "vectors of modern myths" and the airline stewardesses who embraced the feminist revolution; and the infinite, surprising contrasts, the "surrealism in everyday life" that Steinem encountered as she traveled back and forth across the country. Suggested by Carrie Moran, User Engagement Librarian

Odd Girls and Twilight Lovers by Lillian Faderman As Lillian Faderman writes, there are "no constants with regard to lesbianism," except that lesbians prefer women. In this groundbreaking book, she reclaims the history of lesbian life in twentieth-century America, tracing the evolution of lesbian identity and subcultures from early networks to more recent diverse lifestyles. She draws from journals, unpublished manuscripts, songs, media accounts, novels, medical literature, pop culture artifacts, and oral histories by lesbians of all ages and backgrounds, uncovering a narrative of uncommon depth and originality. Suggested by Missy Murphey, Subject Librarian

Olivia by Dorothy Strachey Captures the awakening passions of an adolescent girl sent away for a year to a small finishing school outside Paris, where she develops an infatuation for her headmistress. Although not strictly autobiographical, Olivia draws on the author’s experiences at finishing schools run by the charismatic Mlle. Marie Souvestre, whose influence lived on through former students like Natalie Barney and Eleanor Roosevelt. Olivia was dedicated to the memory of Strachey’s friend Virginia Woolf and published to acclaim in 1949. In 1999, Olivia was included on the Publishing Triangle’s widely publicized list of the 100 Best Gay and Lesbian Novels of the 20th Century. Suggested by Megan Haught, Teaching & Engagement/Research & Information Services

Olivia by Ian Falconer A new and unexpected heroine emerges with the irresistible Olivia. Olivia is a spunky little pig with an abundance of energy and enthusiasm. Her daily activities of singing the loudest of songs, creating art on walls, and building skyscrapers do not tire her in the least. Rather, when it is time for bed, she asks for a plethora of books to be read! Olivia's mom, on the other hand, is drained. Parents and kids alike will marvel at Olivia's abounding energy and her mom's abounding patience and love. Suggested by Susan MacDuffee, Acquisitions & Collections

Queen Victoria: A Personal History by Christopher Hibbert The unearthing of lively, telling anecdotes is the special province of Christopher Hibbert, who delights in forcing readers, in the most entertaining way, to reassess all their notions about some of the world's most intriguing historical figures. His biography of Victoria is no exception. We learn in these pages that not only was she the formidable, demanding, capricious Queen of popular imagination, but she was also often shy and vulnerable, prone to giggling fits and crying jags. Often puritanical and censorious when confronted with her mother's moral lapses, she herself could be passionately sensual, emotional, and deeply sentimental. Her 64-year reign saw thrones fall, empires crumble, new continents explored, and England's rise to global and industrial dominance. Hibbert's account of Victoria's life and times is just as sweeping as he reveals to us the real Victoria in all her complexity: failed mother and imperious monarch, irrepressible woman and icon of a repressive age. Suggested by Peggy Nuhn, Regional Librarian

Rise of the Rocket Girls: The Women Who Propelled Us, from Missiles to the Moon to Mars by Nathalia Holt In the 1940s and 50s, when the newly minted Jet Propulsion Laboratory needed quick-thinking mathematicians to calculate velocities and plot trajectories, they didn't turn to male graduates. Rather, they recruited an elite group of young women who, with only pencil, paper, and mathematical prowess, transformed rocket design, helped bring about the first American satellites, and made the exploration of the solar system possible. Suggested by Megan Haught, Teaching & Engagement/Research & Information Services

Savage Beauty: The Life of Edna St. Vincent Millay by Nancy Mitford If F. Scott Fitzgerald was the hero of the Jazz Age, Edna St. Vincent Millay, as audacious in her love affairs as she was in her art, was its heroine. She embodied, in her reckless fancy, the spirit of the New Woman, and gave America its voice. Nancy Milford was given exclusive access to Millay's papers, and what she found was an unimaginable treasure. Hundreds of letters flew back and forth between the three sisters and their mother - and Millay kept the most intimate diary, one whose ruthless honesty brings to mind the journals of Sylvia Plath. Suggested by Larry Cooperman, Research & Information Services

When God Was a Woman by Merlin Stone Documents the ancient worship of the great creator Mother Goddess under a diversity of names and details the rewriting of myths, the recasting of rituals and religious doctrines, and the transformation of the Goddess into a wanton, depraved figure by invading patriarchal tribes. Suggested by Megan Haught, Teaching & Engagement/Research & Information Services

Women in early America: Struggle, survival and freedom in a New World by Dorothy Mays "Women in Early America: Struggle, Survival, and Freedom in a New World "provides insight into an era in American history when women had immense responsibilities and unusual freedoms. The coverage begins with the 1607 settlement at Jamestown and ends with the War of 1812. In addition to the role of Anglo-American women, the experiences of African, French, Dutch, and Native American women are discussed. The issues discussed include how women coped with rural isolation, why they were prone to superstitions, who was likely to give birth out of wedlock, and how they raised large families while coping with immense household responsibilities. Suggested by Peggy Nuhn, Regional Librarian

You Learn by Living: Eleven Keys for a More Fulfilling Life by Eleanor Roosevelt Eleanor Roosevelt, one of the world’s best loved and most admired public figures, offers a wise and intimate guide on how to overcome fears, embrace challenges as opportunities, and cultivate civic pride: You Learn by Living. A crucial precursor to better-living guides like Mark Nepo’s The Book of Awakening or Robert Persig’s Zen and the Art of Motorcycle Maintenance, as well as political memoirs such as John F. Kennedy’s Profiles in Courage, the First Lady’s illuminating manual of personal exploration resonates with the timeless power to change lives. Suggested by Carrie Moran, User Engagement Librarian

For information about the whole host of Women’s History Month events at UCF, please visit the UCF Office of Diversity and Inclusion Women’s History Month site.

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transformersaesthetics · 4 years

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Transformers: Cybertron

Good moooorning Tumblr! I’m super excited about today’s essay. We’ll be discussing Transformers: Cybertron, a line almost as well loved as Armada. While the line itself is really cool, the main reason I’m excited is, as I mentioned last time, this is the last essay of the Modern period. From here on out, Transformers experiences some radical shifts in style, and I’m really looking forward to dragging all of you through that. Cheers folks, hope you’re keeping well.

After the lukewarm run of Energon, Transformers: Cybertron was largely able to revitalize the brand. The presence of a strong, unified gimmick, comparatively sophisticated engineering, and the introduction of the groundbreaking Legends of Cybertron subline all combined to carry Cybertron to financial success and a fonder place in the memories of the fans. The line was so large in scope that it had something to offer every fan. For collectors, Cybertron had the first ever figure of Primus, envisioned as the robot mode of the planet Cybertron itself. For kids, the line reintroduced Mini-cons, and pioneered the aforementioned Legends class, simple, small scale toys of main characters such as Optimus Prime and Megatron.(Derik; Corbet) The more conventional figures were each from various colony planets, each with its unique aesthetic. (Saix). In many ways, Cybertron took the themes of the earlier entries of the Unicron Trilogy and explored them to their full potential.

The core gimmick of the Cybertron line was Cyber Keys and the several colony planets. Fictionally, the concept was that Transformers had long ago expanded from their initial home planet of Cybertron, colonizing other worlds. However, they eventually lost contact with these colonies, and as they reestablished connection to them, discovered diverse groups of radically different Transformers. (Saix) Each planet had its own style of Cyber Key, which could unlock new features on a Transformer. (Dracokanji) In practice, Cyber Keys functioned much like Mini-cons; each toy came with one, and it could be used to activate spring-loaded gimmickry of various levels of complexity, depending on the size of the figure. (Dracokanji) Each Cyber Key had a serial code on the back that could be entered into Hasbro’s website for more in depth character information about the figure. (Dracokanji). Especially in contrast with Energon’s vague combination theme, the Cyber Keys were well defined, and provided a strong unifying element to the line.

This element of unity was useful in part because of the substantively different aesthetics of the colony planets. Velocitron was the speed plane; “The vehicle modes are futuristic and fantastical” (Saix; Dr.Fang). Most of the figure’s alternate modes were streamlined and racing focused. Gigantion, the construction themed planet, featured transformers that were comparatively large.(Saiax;ItsWalky) To emphasize this height difference, each of them came with a Mini-con partner, who could ride or man the vehicle mode of the larger figure in some way. (Saix; Derik) These figures also all featured a work mode, essentially the robot mode with the proportions readjusted to be more squat. (MSipher) Animatron, the jungle planet, featured figures with “deeply-complex, nigh-organic sculpting that brings to mind the Transmetal IIs of Beast Wars”. (Saix) In many ways, this enabled Cybertron to tie together many themes that had been explored by earlier lines. The line now had a fictional conceit that allowed it to have cybertronian styled vehicle modes, more earth based modes, futuristic robotic animals, and other aesthetics, all at the same time.

Like Armada and Energon before it, Cybertron released some truly massive figures. Perhaps most memorably, the line created the first ever new mold figures of one of the most important characters in the Transformers mythology, Primus. (Octopus Prime) Primus, essentially the Transformers god, turned into the titular planet, Cybertron, in some ways mirroring the Unicron of the Armada line. Like the powermasters in the days of yore, Primus could only be transformed by inserting a key (which itself held four Cyber Keys, one for each planet) into various places on the toy, ‘unlocking’ it from itself. (Octopus Prime) In that same size class, HasTak also saw fit to release… An upscaled version of the voyager class Starscream figure.(S.H.I.E.L.D. Agent 47) The toy came with his crown, in a reference to Starscream’s famous death scene in the 1986 Transformers film. (Spoilers guys Starscream dies in the movie)

But perhaps the most innovative thing Cybertron did with size was at the other end of the spectrum. First, and unsurprisingly, Cybertron reintroduced Mini-cons, creating some new mold teams and rereleasing many Armada figures. (Derik) Secondly, the Legends class was introduced. Legends class figures were small, 2-3 inch figures of the show’s main cast, with simplified articulation and transformation schemes. (Corbet) These figures “[gave] kids the chance to own an Optimus Prime or Megatron they could keep in their pocket”, in many respects making these characters accessible to children who might not be able to obtain a larger figure. (Saix) Many, many subsequent toylines have capitalized on this idea.(Corbet) Although HasTak have since discontinued the use of the Legends moniker, the core concept continues to be a staple of the brand, almost two decades after Cybertron’s initial release.(Corbet) Indeed, the creation of the Legends class concept is arguably the most influential part of the line.

As with almost every toyline since Beast Wars, Cybertron continued the practice of redecoing earlier toys and releasing them again to pad out the end of the line. Indeed, at this point, the practice was so commonplace that it almost ceases to be worth mentioning; I will likely omit it from essays at this point, since it is a near universal occurrence.

Cybertron also featured a remarkable percentage of more obscure references to other franchises. Of particular note is the Longrack figure. Longrack was a redeco and minor retool of Armada Hoist. (Quickstrike) The figure’s deco and name were references to a Beast Wars Neo character that never saw release in the United States. (Quickstrike) Although this sort of arcane reference would eventually become a common practice, (especially with the advent of the TFwiki, making it so folks like myself can gain knowledge without earning it like the folks who write the wiki had to back in the old days) in 2006 it was fairly novel, especially in a line not aimed at collectors. These references are among the very first of something that would prove to be a staple going forward.

Overall, Transformers: Cybertron is a fondly remembered toyline. Between the robust, Armada style engineering, the reintroduction of spring-loaded gimmicks, and the presence of more accessible, smaller scale figures, Cybertron serves as a fitting capstone to the Unicron Trilogy. It is a line of toys in many ways dedicated to making toys fun for kids to play with, which was arguably the greatest virtue of Armada and Energon. Figures such as Hot Shot, Optimus Prime, and Primus are famous and well loved; the Legends of Cybertron line continues to influence the brand to the present day. Cybertron even had something for older collectors, in the form of references to earlier characters and figures. The regard the fans hold for Cybertron is quite tangible; Cybertron is one of very few toylines to receive modern, retail figures that directly homage characters and toys from an older line. (Siax) Cybertron marks the successful end of a comparatively successful series of ideas. But, as the furmanism goes, it never ends. Cybertron proved to be, not an ending, but a pause, a segue to the most dramatic reinvention it had experienced since Beast Wars; The live action Transformers movies.

Works Cited

Autobus Prime et al. “Animatron” TFwiki. https://tfwiki.net/wiki/Animatron Accessed 7/18/2020

Corbet et al. “Legends Class (2005)” TFwiki. https://tfwiki.net/wiki/Legends_Class_(2005) Accessed 7/18/2020

Dark T Zeratul et al. “Scorponok (Energon)” TFwiki. https://tfwiki.net/wiki/Scorponok_(Energon)#Cybertron Accessed 7/18/2020

Deceptitran et al. “Megatron (Armada)/toys” TFwiki. https://tfwiki.net/wiki/Megatron_(Armada)/toys#Dinosaur Accessed 7/18/2020

Derik et al. “Mini-con” TFwiki. https://tfwiki.net/wiki/Mini-con Accessed 6/26/2020

Dracokanji et al. “Cyber Key” TFwiki. https://tfwiki.net/wiki/Cyber_Key Accessed 7/18/2020

Dr Fang et al. “Velocitron” TFwiki. https://tfwiki.net/wiki/Velocitron Accessed 7/18/2020

ItsWalky et al. “Gigantion” TFwiki. https://tfwiki.net/wiki/Gigantion Accessed 7/18/2020

MSipher et al. “Quickmix (Cybertron)” TFwiki. /https://tfwiki.net/wiki/Quickmix_(Cybertron)#Toys Accessed 7/23/2020

Octopus Prime et al. “Primus” TFwiki. https://tfwiki.net/wiki/Primus#Toys Accessed 7/25/2020

Saix et al. “Transformers: Cybertron(toyline)”TFwiki. https://tfwiki.net/wiki/Transformers:_Cybertron_(toyline) Accessed 7/18/2020

S.H.I.E.L.D. Agent 47 et al. “Starscream(Armada)/toys” TFwiki. https://tfwiki.net/wiki/Starscream_(Armada)/toys#Cybertron Accessed 7/25/2020

Quickstrike et al. “Longrack (Cybertron)” TFwiki. https://tfwiki.net/wiki/Longrack_(Cybertron)#Toys Accessed 7/18/2020

#Transformers #Aesthetics #Cybertron #Primus #HotShot #Hot Shot #Optimus Prime #TFwiki #Tl;dr #unicron #unicron trilogy #Armada #Energon #Starscream #legends

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pixie-skull · 5 years

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Idun: How important is youth to you? Apollo: Do you have a favorite music? Poseidon: Happiest memory with water?

Idun: How important is youth to you?

XD I mean I am not the Evil Queen from “Snow White and the Huntsman”, yet I do think to try to enjoy when literally young, yet also do not be ashamed of things (if books, movies, tv shows, food etc) that you can love that makes you feel young. Such as for me I am still a huge fan of The Lord of the Rings movies (2000′s and animated ones) and when I learn a fun fact about them, I know younger me would be so happy to learn more about movies that meant and still mean a lot to me.

Apollo: Do you have a favorite music?

I like old rock and roll (Queen and The Beatles), a LOT of ‘emo’ (Evanscene, Broken Iris, Within Temptation, Linkin Park, etc), ‘Christian Emo’ (RED, Three Days Grace), Enya, a touch of pop (old Katy Perry), whatever Lady Gaga, drabble of musical “Phantom of the Opera”, and good party music. XD So sadly not a favorite, rather favorites. XD Only, if I had to say what my personal repeats share in common is just music that is able to tell you a story and bonus if poetic.

Poseidon: Happiest memory with water? I have thought of two and both radically different. One was when REALLY young (so maybe 5-8) going to Hawaii with family, I liked going to waves and turn my back last second and let them push me. Oddly the feeling being surrounded by water and even a forced cartwheel (I took gymnastics when younger) felt powerful. Of course now to do that sounds beyond brain spinning and the idea of saltwater rushing past you makes me unedge. XD

Meanwhile my last one is one of my siblings in his senior year of school (making me in middle school at most) and he was in his last game and heard if he won, he gets into a lot of good colleges. Younger me did not understand of course there more than that, but to hear someone can do something are passionate about and be encouraged something I loved. However, when he was in that goal, I remember praying that everyone has a fun time, but if his team could win. To me when praying you have to also act out some parts of the pray yourself seeing it is what you want, just doing nothing can be iffy. Like I had a friend who was worried about a job, so I prayed the higherups saw her skills give a good description over the phone, and she did the best she could. She got the job, yet I do know she should be proud of how hardworking she is, as well as thank the Lord in what he (or she or they) could do. Back to the story so he and his team did well and he made a groundbreaking goal (as goalie please note) where he threw the ball across the ball into the opposite team’s net.

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aion-rsa · 4 years

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The History of Star Wars Widevision Cards

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This story appears in the Den of Geek x eBay special edition trading card magazine.

The notion of somehow making Star Wars bigger seems ridiculous in 2020, but 25 years ago, that’s precisely what The Topps Company did with the Star Wars Widevision trading cards. The result was not only groundbreaking for movie trading cards, but the 1995 Widevision series literally made Star Wars bigger for Topps with a legacy that continues more than two decades later.

“Star Wars cards in general are part of the legendary Star Wars experience,” says Gary Gerani, the original editor of the Topps series and author of Star Wars Widevision: The Original Topps Trading Card Series, Volume One, published by Abrams ComicArts. “Star Wars Widevision happens to be the most glorious example of the trading card form that I can think of.”

So how did a 120-card base set of trading cards, based on a franchise that hadn’t seen a new entry in 12 years, make such an impact?

As it happened, Topps had been in the Star Wars business since it made the original 1977 set (with the blue border and white stars) that largely targeted young fans.

“[The original sets] were mass-market items sold on candy counters across the country,” Gerani says. “But in the ‘90s, the direct sales comic book market opened up, allowing new card products to be created that were aimed at the true fan audience.”

Gerani came up with the name Star Wars Galaxy, which became a card series featuring artist interpretations, illustrations, and movie posters. It was a success for the company, and it began exploring ways to refresh the movie cards.

In discussions with Topps’s New Product Development executive Ira Friedman, Gerani made the “radical suggestion” of changing the size and shape of the card itself. This would be a departure from the original cards, which featured square-shaped unit photography.

The idea they landed on reflected the full widescreen movie frame, and though “long cards” had been done before, Gerani and Topps set out to make the most sophisticated Star Wars set ever. The longer size also meant they could reproduce the original Star Wars Panavision frames in their entirety.

The new oversize format cards, measuring 4 7/8 by 2 3/4 inches, were certainly big. They expanded on the scope of the original 1977 set, and the large clear image was framed by thin blue bars along the top and bottom. Along with the Topps and Star Wars logos, each featured a simple caption (e.g. “Int. Tatooine – Mos Eisley – Cantina”; “Int. Death Star – Detention Area”).

Moreover, the back of the card featured the original storyboard for the movie images presented on the front. Other “stations of information” (behind-the-scenes, etc.) were included on the back because of the extra length of the card.

“It was, without question, the most sophisticated trading card I ever conceived/edited, and I’ve edited a few hundred over the years,” says Gerani, who adds that he took a scholarly approach to the project.

“I wanted this set to be worthy of The American Cinematographer or any high-level exploration of motion picture making, while still functioning as an entertaining trading card product for our regular buyers.”

As for the name itself, Gerani says he landed on “Widevision” as a nod to the previous Galaxy sets, which utilized the word “Vision.”

“It seemed appropriate; people were calling it ‘widescreen’ at first, so I had to correct them every now and then.”

The template of the Widevision cards would essentially follow A New Hope’s storyline without having to spell out a plotline everyone pretty much already knew by the ‘90s. After selecting front images, Gerani went hunting for corresponding “making of” back images, like storyboards.

That meant going through a lot of material, which he says was “sorta fun,” but still sounds like quite a task.

“We had access to all the right visual material — state-of-the-art digital blow-ups for the front images, along with a treasure trove of ‘making of’ graphics,” he says. “This material had been accumulated since the movies came out, as the caretakers of Star Wars were always very aware of the saga’s place in pop culture history.”

Beyond the size and overall scope of the cards, the Widevision set was innovative in the way images were obtained. Gerani says “in the old days,” he would mostly print from slides and color transparencies. For this project, however, the images came directly from the film.

“We hooked up with the Telecine Research Center at Universal, an outfit recommended by Lucasfilm,” says Gerani. “They were sent 35mm prints of all three movies, I would go down there and screen them, and we’d stop whenever I wanted to pull a frame. They would then process that selection through their digital computer setup.”

While working on the project, the editor says there was a sense that the fans would love what Topps was creating. Indeed, the result was not only a massive step forward for movie trading cards, but the Widevision set itself is simply gorgeous. And for Gerani, it does the Star Wars franchise “full justice.”

“I had been writing and editing Topps’s Star Wars cards since the very first series, so Widevision played like a state-of-the-art remake of the 1977 original sets.”

Topps’s game-changing Star Wars Widevision set was collected in the 2017 book Star Wars Widevision: The Original Topps Trading Card Series, Volume One. The book includes the front and back of the base set, along with chase cards, wrapper art, A New Hope Special Edition cards, and new cards made exclusively for the book.

“It was just great to have these old cards of mine between two covers, which gives the sets added validity and places them in the proper historic context.”

For Gerani’s personal history, looking back on 25 years of Star Wars Widevision, he says the project holds a special place for him and was a tough act to follow. As for which of those “old cards” is his favorite?

“There are so many cool compositions in Star Wars. I suppose firing up the Death Star, with the beam shooting through that shaft, was always one of my favorites. It certainly filled the wide frame.”

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