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ear-worthy · 4 months

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WhiskyCast: A Podcast That Goes Down Smooth

"You don't know what you don't know." That phrase has gained in popularity after uttered by then U.S. Secretary Of Defense Donald Rumsfeld during the W. Bush Administration.

It also pertains to me due to a recent situation. I was on a cruise and my package included a free tasting of the best bourbon whiskeys at the lounge. Now, I know nothing about whiskey at all. Any light beer or a Pinot Noir red wine is my entire regiment of drinking alcohol.

The invitation said 7:00 PM. My partner Linda advised that we go right at seven, since "hardly anyone would show up to such an event."

Because of my fastidiousness about being early or on time, I talked her into arriving at 6:50. The lounge was packed. Clearly, we had underestimated the interest with bourbon whiskey. When the bartender, a Serbian man named Goran, talked about the history of whiskey and bourbon specifically, I, along with everyone else, was fascinated.

When I returned from the cruise, I wondered if there was a podcast about whiskey, which is a dumb question, because there is a podcast for almost every activity or interest.

That's when I discovered the WhiskyCast podcast.

To my delight and surprise, WhiskeyCast is one of the oldest podcasts in the industry. It's a podcast that began in 2005 and is still delighting its listeners today. WhiskeyCast has released over 1,000 episodes!

The podcast's subtitle is Cask Strength Conversation since 2005. Now, I don't even know what that means, but after listening to several episodes of WhiskyCast, I want to know more.

Let's define what whiskey is.

Whisky or whiskey is a type of distilled alcoholic beverage made from fermented grain mash. Various grains are used for different varieties, including barley, corn, rye, and wheat. Whiskey is typically aged in wooden casks, which are typically made of charred white oak.

People are passionate about whiskey. They're like wine drinkers, only less obnoxious.

Here's what retired psychologist and whiskey drinker Gary Beaufait says:"I'm into bourbon because it's a type of whiskey that's an American invention with certain criteria needed to be met to be an official, legitimate Bourbon."

Beaufait continues: "The process produces a smooth, palatable, and drinkable liquor of varying proofs - ranging from 80 upwards to 120+, but typically 90s. For me, the proofs in the high 80s and 90s are just right if the product is blended nicely. The different types and brands can be rather nuanced, so people have preferences. The most sought after are very hard to find, and a secondary market exists w rather high dollar amount-hundreds to thousands for a prized bottle."

Listening to WhiskyCast is like hearing a well-oiled machine hum along with seamless efficiency. Each week, veteran journalist Mark Gillespie brings listeners the latest whiskey news, in-depth interviews, tasting notes, and much more. Each podcast features brand-new content, and unless there’s a special occasion, and they do “best of” shows.

Gillespie is a terrific host. His voice is as smooth as some of the whiskeys they taste, and his delivery is effortless and pure. Gillespie is the winner of the International Wine & Spirits Competition’s 2023 Spirits Communicator Trophy, which seems to be quite an honor in the field. From the episodes I've listened to, the host deserves such an accolade. In his 18th year as host, Gillespie sounds as if he has the verve of his first episode. The podcast has a standard and successful formula. Each episode begins with whiskey news, and I underestimated how much such news there is. For example, the news covered the dominance of Jameson in the global and U.S. markets. Reportedly, Jameson accounts for 70 percent of U.S. whiskey sales and 40 percent of whiskey sales around the world.

In another episode, the news included a story about Jack Daniel’s being ordered to stop work on one of its new barrel houses after a neighbor sued over whiskey fungus problems, while Kentucky distillers are hoping a bill pending in the state legislature could mean the end of the “barrel tax.”

After the news, there is a main story like the one called "Choosing passion" on the March 5th episode. The episode details how Melissa Rift’s career path is anything but traditional for a whiskey maker. She started out as a family therapist before discovering her passion for Bourbon, and it’s led her to become the new master taster for Old Forester.

On the December 4th episode, during the What You're Tasting segment of the show, host Mark Gillespie reviewed a Waterford, a peated Irish single malt, which is apparently a relative rarity, that had notes of peat smoke, heather, honey and a nice maltiness.

In the news segment of the show, Gillespie reported that American whiskey is still subject to tariffs into EU nations because of tariffs imposed by the Trump Administration.

The main segment of the show dealt with luxury single-malt whiskeys as an alternative investment. In the interview with Duncan McFadzean, listeners learn that whiskey sales have increased by 11 percent in the last year, yet the investment value of luxury whiskey has dropped by seven percent, largely due to what McFadzean calls "flipping," which is the practice of buying whiskey and selling it for a profit on the secondary markets.

Other segments include a report on upcoming whiskey events. In the December 4th episode, listeners hear about whiskey tasting in Vermont and in London.

On the February 27th episode, the main story was about whiskey clubs. Unbeknownst to the whiskey obtuse such as myself, there are literally hundreds of whiskey clubs around the world, with more being formed all the time. On the episode, listeners hear from some club founders on how they started their clubs, along with advice for those thinking about forming a whiskey club.

In that same episode, WhiskyCast announced the launch of the new WhiskyCast Community mobile app, which is a smart monetization, brand loyalty, and brand extension move.

If you are a whiskey drinker and haven't heard of this podcast, I highly suggest listening to at least one episode. There, you'll find like-minded people who enjoy the social aspects of whiskey, its unique color and taste, and the artistic skill needed to make whiskey.

Check out WhiskyCast. I'll end by toasting you, dear listeners, with a glass of Buffalo Trace Kentucky Straight Bourbon Whiskey.

Raise your glass and listen to this podcast.

(NOTE: Photo by Terrick Noahs)

#podcast #podcasting #whiskey

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yourfriendanniefish · 1 year

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live tumbling ATUM Act II

avalanche— a cute intro in which the oroboros is formed; the influence the smashing pumpkins had on M83 folds back into what "a smashing pumpkins album" is in 2023. that's funny. this song is Just Okay— i am trying to bring myself to enjoy the fact that billy corgan sings the word "cybernaut" is pop-conviction. good for him! it's starting to feel like "the smashing pumpkins" are just billy and whoever is doing background vocals

empires— hey it's the rock song they've been playing at all their shows. i'm getting really sick of the background vocals that have been mixed too high on SP records since Zeitgeist. i also get why billy would kind of want to hide the fact that he wrote a Mellon Collie B-Side-level riff for the first time in 25 years. finally jimmy gets to... drum? lol.

oh wait, this doesn't sound like a mellon collie b-side. it sounds like an A Perfect Circle b-side. i don't know if that's a compliment or not, honestly.

neophyte— immediately this sounds like a breath of fresh air. like "embracer" on Act I, it's "billy's new devotion to synth pop" but Good. this sounds far closer to "eye" than anything else, which is DEFINITELY a compliment. it also... sounds like a smashing pumpkins song? a lot of these songs have been fine, good even, occasionally. but this sounds like it actually has a line you can trace back through the band's history.

if he had released a song like this instead of "Run2Me" in 2013, it would have A) saved his career (no it wouldn't have) and B) been my favorite song of the year. like seriously, what a weird year to give me a sudden pang of nostalgia. what about this sends me there? idk. good song, though.

moss— whoa, singing like this? billy hasn't let himself sound that ragged on record in a LONG time. this song is devoted to sounding "cool," she said, the moment the background vocals starting chanting "meow, meow." well, okay! this fills the same sonic space as like, "love" or "cupid de locke" on MCIS, a song where the sonics get weird, and it's a bewildering curio. bridge is cool. i might have a growing kind of fucked up love for this song? filling the "Hooray!" space. god, ATUM is a fucking weird album!

night waves— back to "baby's first arpeggiator," which... fine. the question remains... what do James and Jeff do on a record like this? when they were recording this and billy kept saying "we've done 33 songs," that sounded Sisyphean, but maybe if it's just billy in a room of synths for 80 percent of the time, then i guess it makes sense.

that's me kind of ignoring this song, which is again, not bad. but it does make me wonder "would this work better as a deranged Billy Corgan solo album?" No, obviously— it needs the branding to make sense.

again, a thought coming from this song I guess being a little forgettable— what makes this a sequel to MCIS and Machina?

space age— a great example against the last question: this sounds like TheFutureEmbrace. i'm not in the business of saying "this isn't a Pumpkins song," because honestly that's not my business. but there's nothing meaningfully different between this song and like, "Now and Then" from 2005, other than "Now and Then" is a much better song. ATUM's mid-tempo synth songs are its weakpoint... and it feels like there are more than a few of them. (or is that not true and it's that they just sound very similar). ugh, he's clipping consonants again!!!

every morning— desperately disappointed immediately that it is not a cover of the sugar ray song. okay fine i'll be nicer— this is a song for his partner, right? i mean it's sweet. when it starts kicking in it kind of feels like "pinwheels" from Oceania, which is one of my favorite minor epics of theirs. oh yeah, when it really gets going? that's my late-pumpkins shit right there. there's chords in this one that make it seem like there's some theming going on? like a motif getting born? if that's on purpose it's pretty cool. the sounds going around five minutes in are really great. this is a really nice song, a drone with a simple backbeat (he didn't make jimmy play this one two one two live though, did he? lmao).

to the greys— a huge "lol" of a title. and it's a kind of wide-eyed "lol" of a song, too? i mean, it sounds really nice— kind of a cousin to "everything," that time NIN wrote a paramore song. some guitar work that sounds extremely "classic SP," but also some guitar that sounds more like X&Y-era Coldplay. oh fuck, as soon as I wrote that, i realized that's it— that's the easiest comparison to make with ATUM. it's "what if X&Y was even longer" or "what if the alien cosmic bullshit of Music of the Spheres had the songwriting of X&Y," which is such a cursed fucking question.

anyways, despite myself, i feel like this will be the song i return to off this "act" of the record.

beguiled— the segue into this song is, well, beguiling. it comes out of nowhere. probably because "beguiled" feels like a bizarre outlier in the pumpkin's catalogue these days. which, now hearing it in context of the part of the record it comes from, makes it the obvious single. at the time i was like "oh, what, you just picked the 'rock' song from the record?" and now it's like "oh, right, you just picked the rock song from the record." this doesn't sound like anything else on the record. it sticks out like a sore thumb. hilariously it sticks out because it's the only song that sounds like the whole band might actually be performing on it. i admit the lizard-brain idiot-charms of this song have grown on me. it's a good rock single. that's nice to hear, i guess.

...is there a slightly different mix here on the record or have i just never given this a close listen before?

the culling— and right back to "baby's first synth" territory. in context, it really just underlines it— what the fuck is beguiled doing on this record? it makes it hard to hear this song honestly. this is a nice stab of genesis-ass prog rock here, minus the talented drumming and plus some cure-ass bass guitar.

it really cooks my noodle why you'd write 33 songs (or more like 50, honestly, since CYR is similar, rhythmically) that just do not make use at all of your drummer, one of the most versatile and talented rock drummers of the last 30 years. just like... dude you've got jimmy chamberlin... please use him. it's not like REM and bill berry— jimmy's not writing songs. maybe he's there to arrange (but knowing billy these days i doubt it) a little too, but he's not coming to practice with "everybody hurts." instead the greatest drummer of the 90s spends Two hours going "boom boom, clap clap" and it's bonkers.

this song ends in Pink Floyd Laser Show cacophony, and it kind of sucks. not like, deal breaker sucks, but it's dull and silly. it feels like someone thinking way too hard about what a Concept Album is instead of just writing one.

springtimes— the synth in the 8th bridge of "song for a son" strikes again. i immediately like this more. because it's fucking weird in a way i don't understand, and that makes me drawn to it.

"spring time, oum oum," cutting into some surprise tasteful acoustic guitar (have we heard that on this record yet?) it's just such a strange set of sounds to go together.

i could imagine Zwan having wound up here if they never "went big" and instead made bizarre records on indie labels for a decade. that's, believe it or not, a huge compliment.

—

well, okay. that's Act II! and, honestly, it hit a lot of the same "what exactly am i listening to" kind of feelings as Act I did. which at the end of the day i guess has to be good, even if it strains against the twin thoughts of "what makes this a Smashing Pumpkins album" and "what do i even want out of a Smashing Pumpkins album." i don't know. i do not hate this. i think CYR had some okay songs but now, nearly 3 years later... that record was not good. CYR sounded both thin and overworked, and honestly the songwriting was just weaker. ATUM sounds hungrier, stranger, like it's really pushing towards something. i don't fucking know where it's going, and when was the last time i could say that about a smashing pumpkins record? even if i don't love it, the fact that i can't wrap my head around it feels good. it feels better than whatever the else that dude's been doing.

#smashing pumpkins #atum #idk man

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sincerelyaminee · 4 years

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THE PROBLEM WITH THE Y2K AESTHETIC

There’s no denying that the early and mid-2000s fashion is making a comeback in recent years. The era of fashion that people used to ridicule for its low rise jeans and bold fashion statements is now the inspiration for the new generation 20 years later. This isn’t new in the fashion world, this is described to be the “20-year rule” the concept that something popular now will be popular again in 20 years. So in 20 years’ time, studded platform boots and emoji leggings will make their comeback in 2040… or for our sakes don’t.

However, the Y2K aesthetic is not as accurately represented as one presumes. It seems like nowadays people watch Mean Girls, A Simple Life, and House Bunny once and think that’s all there is to Y2K fashion.

It’s no surprise that the aesthetic quickly became whitewashed with white people taking the pink, the rhinestone, the playboy, and mini skirts and said, “YUP that’s the 2000s!” when that’s far from the truth. The 2000s fashion is more than just Paris Hilton’s closet and I’ll tell you why.

Before we start it’s important to differentiate the different subsections of Y2K fashion.

There are the early 2000s (2000-2005) this is the era that most people are fond of as the style was still heavily influenced by the late 90s.

Then there are the mid-2000s (2005-2007), this is the era with the questionable fashion choices like dresses over jeans, skirts over jeans, think young Ashley Tisdale on the red carpet.

Last, there are the late 2000s (2007-2009) that most associate with the 2010s, this era is kind of a mixed bag, from 80s fashion inspiration to the boho “hipster” gossip girl fashion.

My problem with the Y2K aesthetic (take a shot every time I say that), is that people fail to acknowledge the heavy influence of black culture. Without Black Americans, the trends we have today would be nonexistent. Ever heard of Nike Air Forces? Thank Nelly and other black artists of that time for popularizing it. Bandanas, chunky jewelry, tracksuits, bucket hats, are just a FEW of the trends that black people created.

One big trend that is usually looked over is Logomania, which is the practice of wearing garments with designer logos all over them. Daniel Day, better known as Dapper Dan would illegally screenprint luxury brands logos all over his designs. Black artists of the 2000s are the REASON why high fashion couture is so mainstream now within streetwear.

Brands like: Apple Bottoms, Baby Phat, FUBU, etc, and fashion icons like Lil Kim, Beyonce, Megan Good, Christina Milian, etc are often overlooked and not appreciated as much as the white celebrities of the time. What makes the situation worse is that, when black girls now in 2020 take inspiration from the 2000s they are labeled as “ghetto and trashy” but non-black people do it, it’s “yes y2k queen!” There’s racism in the y2k community that needs to be addressed especially when black people are the main creators of the trends we wear.

To conclude, the next time you want to take inspiration from the early 2000s, try looking at other celebrities, specifically non-white ones for inspiration. Because, the world has passed the need for Paris Hilton (who’s racist by the way).

Sincerely,

Aminee

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ms-demeanor · 4 years

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Some meandering thoughts about jokes about rape and cultural changes in the last decade and a half

Like, don’t get me wrong, I’m really glad we’re in a place now where we DO question rape jokes and it would be much harder to get away with “raping Jonah Hill is incredibly amusing” as the center of a scene the way that you could in 2007-2013 but I do kind of feel like we don’t talk about how sudden that change was enough.

People talk about how you should have always known that awful things are awful but if you’re surrounded by rape jokes and pedophilia jokes all the time and that’s what’s funny to the other kids around you and the adults in your lives and what makes up the jokes in the movies you watch then it’s hard to act like you always knew it was wrong.

Dead baby jokes were a HUGE thing when I was a teen and in my early twenties and sitting around swapping dead baby jokes was just a thing we did, and tossed in among them were things like:

A joke about incest with the punchline “Get off me pa, you’re crushing my smokes.”

This joke about a pedophile murdering a child.

Let’s not turn this rape into a murder.

And hell, look at the activity graph for “soap on a rope” on urban dictionary:

2014 starts a significant taper.

Letterboxd has their “sexual assault against men played for comedy page” and if you sort by release date there’s a downward trend with 2014 as a really stand-out year for rape jokes about men in popular movies:

2010 - 10

2011 - 12

2012 - 14

2013 - 12

2014 - 18 (jesus, which includes a prison rape joke in “Paddington”)

2015 - 9

2016 - 9

2017 - 11

2018 - 15

2019 - 4

2020 - 1

(this is of course with the caveat that this is only what has been documented so far)

Shock porn sites used to be a thing and they used to be a COMMON thing. A thing that would get remixed and have late night hosts make jokes about them and that got parody music videos.

So on the one hand I was really glad that in 2010 the hacker conference WASN’T asking me to make a rape joke on their tee shirt, but since Pool 2 Girl came up at every single “this is what defcon is about” discussion and some of the guys from the con had printed up “lemonparty.org” stickers to slap up around town it wouldn’t have been *surprising* if they’d been asking for that.

If you were a teenager in 2005 would you have known how much of a dick move goatse-ing people was? We didn’t have the same culture of trigger warnings (not that I disapprove of trigger warnings, they are good and I like them) and there was very much an attitude online at the time of “if you can’t handle it log off.”

I think the fappening was the turning point for a lot of this stuff - I think that was a big cultural moment that changed a lot of people’s attitudes really quickly and I’m seeing echos of that with what Chris Evans is dealing with right now: people are a lot faster to say “oh, that sucks, don’t be an asshole, report people for posting the pics” while I remember sitting and arguing in an imgur thread because there were a bunch of people saying “if you don’t like it don’t take nudes” about the celebrities who got caught in the icloud leak.

People look at Shane Dawson’s (admittedly gross and incredibly inappropriate) behavior with a poster of Willow Smith and act like it’s unprecedented***** but as someone who remembers not only Olsen Eighteenth Birthday countdowns but ALSO the jokes about fucking the Olsen twins that came BEFORE they were legal that’s just bizarre. Seeing people my age and older react to James Gunn’s pedophilic twitter jokes like they’re worse than Jay Leno’s jokes about Michael Jackson (which were made on TV! Across America! On a major network!) is just. It’s bizarre.

I’m glad we are where we are now, I’m glad that making rape jokes in public or jokes about incest or pedophilia (or murder or abortion) is less common and less okay (especially in children’s media, jesus fuck) and more likely to get criticized.

But I’m also pretty sure I’m going to get called a rape apologist by *someone* for saying “2010 was a different time, rape jokes were more common and we didn’t realize how shitty it was” when it really was a different time and rape jokes were more common and most people didn’t realize how shitty it was. I sure didn’t. I do now, and I’m glad I do now. But pretending that we should have ALWAYS known this, pretending that this was NEVER acceptable, pretending that it WASN’T a different time is ignoring the fact that for over a decade there was an entire genre of pedophilic rape jokes (that were frequently also racist) centered around one celebrity and that people told these jokes in public and in pop culture *all the time.*

Does that make it right? Fuck, I don’t know, shit is relative. It was still largely acceptable to electrocute gay kids and people tossed around the word “faggot” pretty freely. Mean Girls is full of jokes about how awful it is for people to think you’re a lesbian and Superbad is full of jokes about getting people shitfaced so they’ll sleep with you (so date rape) and there’s an entire “cute comedy” from the 80s starring Kurt Russel and Goldie Hawn that’s an extended rape-by-fraud joke. I think that as a whole we’re better now as people than we were in 2010 and the 90s and the 80s and the 50s and I don’t think that someone who made a sexist joke in the 80s is irredeemably evil and I don’t think people making rape jokes in the 2010s are rape apologists in 2020 and I wish there was a lot more understanding of both history and nuance in these conversations.

*****to be very, very clear Shane Dawson has been filmed kissing underage fans on the mouth and having explicit sexual conversations with his very young cousin - Dawson has done things that go beyond “inappropriate” and fall clearly into “wrong” “bad” “dangerous” “illegal” etc, which is all the more reason that it’s so strange to see people focusing on him fake masturbating on a poster of Willow Smith. YES doing that was gross but why is it even being compared to the way he’s been filmed interacting with fans? The lack of nuance, making “fake masturbating at a poster” and “creating a sexually abused puppet character” the same as “inappropriately touched and kissed minor fans and engaged a young child in explicit sexual conversations” is NOT GOOD. That is a bad thing. Two of those things are tasteless and two of those things are actively harmful and it’s the actively harmful stuff that we should be focusing on and part of why it’s really weird to see shit like “pizzagate conspiracist accuses James Gunn of making inappropriate jokes” like yes Gunn please don’t but can we maybe refocus and talk about the dude who can be pretty significantly assigned blame for a fucking shooting? https://www.theguardian.com/commentisfree/2018/aug/01/james-gunn-alt-right-marvel-film-director-tweets

Actually, you know what, I thought I was done ranting, I’m not.

It’s purity culture.

YES you should attempt to do less harm with your language, YES you should attempt to not use slurs, YES you should try to avoid making rape jokes. But there’s an entire huge group of people who are willing to drag up rape jokes from a decade when rape jokes were REALLY REALLY common in order to say that nothing you say or do today matters.

And that same group is ALSO really interested in expanding the concept of what pedophilia is to include age differences in adults or liking the wrong style of drawing and it’s a purity culture silencing tactic and can we PLEASE stop pretending that gross, tasteless jokes are the same thing as actually sexually abusing people? Can we stop pretending that pointing out “rape jokes were more common fifteen years ago and I feel bad about it but that’s just the way it was and I don’t make jokes like that anymore” is the same as saying “rape isn’t bad and you shouldn’t make a big deal out of it.”

It’s always good to try to be a less shitty human but if you’re only allowed to grow and improve and be less shitty if you never fucked up in the first place then it’s all just calvinist bullshit and none of us could ever really be saved in the first place.

I dunno, dudes. We got so careful about disapproving of the wrong kind of language that we let a white supremacist concern troll Disney into firing a director who caught the attention of the alt right by shit-talking the president.

I think perhaps we need to reexamine some strategy here.

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blazehedgehog · 3 years

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Are you of the opinion that giving a character voice acting essentially robs the reader/viewer of their agency on how they imagine a character sounded like? So to put it in another way, would no voice acting be better than any? A Sonic-related example would be Classic Sonic, who isn't voiced in Generations, but the main inspiration for this question is Bill Watterson's hesitancy in giving his characters voices.

I mean this is just a different version of the argument people sometimes make where, like... there were people who were against making movies based on the Harry Potter books, right. Because some kids might imagine themselves in Harry's shoes, or retroactively J.K. Rowling said she imagined different characters in different nationalities when she was writing them (famously I believe some people interpret Hermione as african-american).

The idea that movies might damper the imagination inspired by books isn't entirely incorrect. However, in my experience, it's also just different mediums and reaching different audiences, right.

I don't read a lot of fiction. I know I should, I've made more efforts to in the past, and it just never works out. Maybe it's my ADHD brain or whatever, but I'll start a book and never finish it. Even audio books are like this for me a lot of the time.

But there are two books I've finished in my life: Michael Crichton's Jurassic Park, and its sequel, The Lost World. They are pretty much the only fiction books I've ever read purely for fun, and also, more importantly, finished reading.

I would have never tried reading those books on my own terms if I did not see the Jurassic Park movie first. The movie is what sparked my interest in the books.

And the books, for what it's worth, are VERY different experiences! By their very nature, books are longer, more detailed stories than most movies. If you translated the Jurassic Park book into a movie, as an exact replica of the novel, it would be something like 6 hours long. Maybe closer to 8 or even 10 hours. To get a watchable movie, you have to cut a lot of scenes out and streamline things to a huge degree.

The Jurassic Park book opens with this long vignette that's practically a whole short film itself -- it starts with recapping the history of the "designer genetics gold rush" of its world, and focuses on a hospital at the edge of Costa Rica that continually receives patients with strange, poisonous bite marks from unidentifiable animals. The head nurse there suspects a conspiracy, because the patients are all InGen construction workers flown in from a nearby island and they refuse tell the doctors how they were injured. Clearly something else is going on. It weaves together with Costa Rican folklore about demons that visit cursed villages in the night and steal their children, only for one of the nurses to witness a creature in the newborn ward doing just that before seeing it skitter back in to the jungle. (The implication being that it was a dinosaur, of course)

If translated to film, that entire sequence would be 10-20 minutes long, if not more. Instead, it was condensed down in to the far more action-heavy "SHOOT HER!" opening scene. It gets some similar ideas across, but it is nothing like the book. It only lasts two minutes.

And not only is there a lot of stuff like that, but characterization is often dramatically different, too. John Hammond is much less sympathetic in the book, and much more of a villain. Alan Grant is more of an Indiana-Jones-type cowboy who is deeply ignorant of even the most simplistic modern technology. It goes on and on. There's one particularly great chapter where Grant is piloting a pontoon boat down a river while being stalked by a T-Rex that swims like a crocodile. They painted concept art for it for the movie, but it never even made it to storyboarding.

There's even a level for it in the Genesis game!

And if we're talking about The Lost World, well... 80% of that book is a completely different story from what ended up in the movie. The book has dinosaurs that camouflage like chameleons! It's terrifying!

For me, at least, it means that they don't even really compare. I find it much like how comic books feature multiverses and showcase many alternate versions of a character, where Ultimate Spider-man's Peter Parker is a different guy from the original "616" Spider-man. The book interpretations of Alan Grant, or Hermione Granger, or whoever are usually entirely different people from how they are portrayed in movies, or cartoons, or whoever. Ergo, it's hard to visualize Sam Neil as the book's version of Grant in Jurassic Park.

Even in comic books. A couple years ago I went through and read all of the original Dragon Ball. I cut my teeth watching the Saban dub of Dragon Ball back in 1995 and 1996, so I knew in my head what I thought these characters sounded like, but after reading deep enough in to the manga, that all kind of faded away and it just became it's own thing. Every now and then my mind would drift back to reading the dialog in the voices from the Saban dub (or the voices from Funimation's re-dub of Dragon Ball from 2005), but for the most part it stood on its own as its own thing. I mean, that's one of those things that lead to Dragon Ball Kai, right? Because the anime ended up just that different, and they wanted to re-edit it to be more faithful to the original books.

Not everyone has a good imagination. Reading can help facilitate and exercise a dormant imagination, I guess, but representing these things in other media formats can also aid those who struggle with the original text. Again, I'd never have read Jurassic Park if it wasn't for the movies. I'd never have read Dragon Ball if I wasn't feeling nostalgic for the anime. An important bridge was formed by adapting these properties so that other types of people could also enjoy them. It all contributes to a richer overall experience for all involved.

The only thing I'd say is that giving Classic Sonic a voice is a different kind of stylistic choice, because as Sonic Mania Adventures has shown, you can still use those characters to tell stories without necessarily having dialog. The difference there is that characters like Calvin or Hermione or Alan Grant are written with dialog in mind, and you change who they are by translating them across media types. How Classic Sonic is depicted is a bit more of a strange beast because he's been left mute. I suppose it's not that different, but it's still a little different regardless.

#questions #winstein-nin #sonic the hedgehog #sega #sonic team #harry potter #hermione #jurassic park #alan grant #reading #fiction #books #dragon ball #interpretation

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aliveandfullofjoy · 3 years

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So I was reading about the first Oscars ceremony, and it had a division between Outstanding Picture and Best Unique & Artistic Film, where Unique & Artistic was apparently meant to be an equal to Outstanding Picture but dedicated more for prestige artistic works. The next year, the two categories became one from then on, and Outstanding Picture was the only top prize. (If any of that is wrong, blame wikipedia.)

If the split had remained, and there was a more commercial-y movie top prize and a prestige art top prize, what are some notable movies that suddenly pick up wins?

okay wait........ this is a brilliant question and i am ashamed to say i’ve never really given it much thought until now.

idk if you’ve seen wings and sunrise but they’re both pretty great and they do represent wildly different kinds of filmmaking. while it’s safe to say Wings is the more commercial film, it has great craftsmanship behind it and it very clearly created the template for accessible, capital-i Important, and well-made best picture winners to come.

and, full transparency, sunrise is one of my, like, top 15 favorite movies, so i’m hella biased, but that movie is a gorgeous and strange and thrilling piece of work. the title “unique and artistic film” is impossibly vague, but watching sunrise makes it very, very clear that it fits that bill for that category. and while we’ll, of course, never know what might have happened if that category had continued, it’s tempting to think that all the winners in unique and artistic film would be of sunrise’s calibre, but knowing the oscars... that’s clearly a fantasy, lol. while sunrise is a wildly inventive and artistic film, it’s important to remember that it was fully on the academy’s radar -- janet gaynor won best actress in part for her performance in the film, and it also won best cinematography. so while it’s tempting to think the academy would always recognize a truly unique and artistic achievement every year, in all likelihood, they probably wouldn’t stray too far from the movies that were already on their radar.

so for this thought experiment!!

it’s probably safe to assume every best picture winner has to go in one of the two categories. there are only a handful of winners that stick out as maybe missing out on the big win in this new system, but only a handful.

so uh. this is way more than you asked but i got hooked. here’s what i think might have happened if the two best picture categories had stuck around. as i was working through the years, it became clear to me that, unfortunately, in a lot of years, the unique and artistic film would likely end up going to the more overtly “prestigious” films, such as the song of bernadette or the life of emile zola, while their far better and more commercially viable rivals (casablanca for bernadette, the awful truth for zola) would win outstanding picture. the actual best picture winners have an asterisk next to them. what’s also interesting to consider is the importance of the best director category: most of the time, a split in picture and director will tell you what’s clearly the runner-up. those years, usually, give you a good sense of how the two awards would shake out.

Outstanding Picture / Unique and Artistic Film

1929: The Broadway Melody*; The Divine Lady

1930: The Big House; All Quiet on the Western Front*

1931: Cimarron*; Morocco

1932: Grand Hotel*; Bad Girl

1933: Little Women; Cavalcade*

1934: It Happened One Night*; One Night of Love

1935: The Informer; A Midsummer Night’s Dream (** this is one of the few years i think the actual BP winner, Mutiny on the Bounty, would miss out; The Informer was clearly the runner-up for BP with wins in director, actor, and screenplay, while Midsummer was seen as THE artistic triumph of the year, and with its historic write-in cinematography win, there was clearly a lot of passion for it)

1936: Mr. Deeds Goes to Town; The Great Ziegfeld*

1937: The Awful Truth; The Life of Emile Zola*

1938: You Can’t Take It With You*; Snow White and the Seven Dwarfs or Grand Illusion (** this one’s tough... Grand Illusion made history as the first non-english movie nominated for BP, and it clearly had a lot of support, but Snow White was such a monumental moment in Hollywood, and the academy clearly acknowledged that with its honorary award)

1939: Gone with the Wind*; The Wizard of Oz (** this is one of the first years with a clear runaway favorite for best picture, which makes guessing the way the other award would go very difficult! i’m leaning towards Oz purely because of its technical achievements, but i’m not confident about that choice at all.)

1940: Rebecca*; The Grapes of Wrath

1941: How Green Was My Valley*; Citizen Kane

1942: Yankee Doodle Dandy; Mrs. Miniver*

1943: Casablanca*; The Song of Bernadette

1944: Going My Way*; Wilson

1945: The Bells of St. Mary’s; The Lost Weekend*

1946: The Best Years of Our Lives*; Henry V

1947: Gentleman’s Agreement*; A Double Life

1948: The Treasure of the Sierra Madre; Hamlet*

1949: All the King’s Men*; The Heiress

1950: All About Eve*; Sunset Boulevard

1951: A Place in the Sun; An American in Paris*

1952: The Greatest Show on Earth*; The Quiet Man

1953: Roman Holiday; From Here to Eternity*

1954: The Country Girl; On the Waterfront*

1955: Marty*; Picnic

1956: Around the World in 80 Days*; Giant

1957: Peyton Place; The Bridge on the River Kwai

1958: The Defiant Ones; Gigi*

1959: The Diary of Anne Frank; Ben-Hur*

1960: Elmer Gantry; The Apartment*

1961: West Side Story*; Judgment at Nuremberg

1962: To Kill a Mockingbird; Lawrence of Arabia*

1963: Tom Jones*; 8½

1964: Mary Poppins; My Fair Lady*

1965: The Sound of Music*; Doctor Zhivago

1966: A Man for All Seasons*; Who’s Afraid of Virginia Woolf?

1967: In the Heat of the Night*; The Graduate

1968: Oliver!*; 2001: A Space Odyssey

1969: Midnight Cowboy; Z

1970: Airport; Patton*

1971: The French Connection*; The Last Picture Show

1972: The Godfather; Cabaret

1973: The Sting*; The Exorcist

1974: Chinatown; The Godfather, Part II

1975: Jaws; One Flew Over the Cuckoo’s Nest*

1976: Rocky*; Network

1977: Star Wars; Annie Hall*

1978: Coming Home; The Deer Hunter*

1979: Kramer vs. Kramer*; All That Jazz

1980: Ordinary People*; Raging Bull

1981: Chariots of Fire*; Reds

1982: E.T. the Extra-Terrestrial; Gandhi*

1983: Terms of Endearment*; Fanny and Alexander

1984: Amadeus*; The Killing Fields

1985: Out of Africa*; Ran

1986: Platoon*; Blue Velvet

1987: Moonstruck; The Last Emperor*

1988: Rain Man*; Who Framed Roger Rabbit

1989: Driving Miss Daisy*; Born on the Fourth of July

1990: Ghost; Dances with Wolves*

1991: The Silence of the Lambs*; JFK

1992: Unforgiven*; Howards End

1993: Schindler’s List*; The Piano

1994: Forrest Gump*; Three Colors: Red

1995: Braveheart*; Toy Story

1996: Jerry Maguire; The English Patient*

1997: Titanic*; L.A. Confidential

1998: Shakespeare in Love*; Saving Private Ryan

1999: The Cider House Rules; American Beauty*

2000: Traffic; Crouching Tiger, Hidden Dragon (** this is another year where i think the actual BP winner, Gladiator, might have missed out. it was a tight three-way race going into oscar night, and if there were two BP awards, i think this consensus might have settled, leaving Gladiator to go home with just actor and some tech awards.)

2001: A Beautiful Mind*; Mulholland Drive

2002: Chicago*; The Pianist

2003: Mystic River; The Lord of the Rings: The Return of the King*

2004: Million Dollar Baby*; The Aviator

2005: Crash*; Brokeback Mountain

2006: The Departed*; Babel

2007: No Country for Old Men*; The Diving Bell and the Butterfly

2008: The Dark Knight; Slumdog Millionaire*

2009: The Hurt Locker*; Avatar

2010: The King’s Speech*; The Social Network

2011: The Artist*; The Tree of Life

2012: Argo*; Life of Pi

2013: 12 Years a Slave*; Gravity

2014: Birdman*; Boyhood

2015: Spotlight*; The Revenant

2016: La La Land; Moonlight*

2017: Three Billboards Outside Ebbing, Missouri; The Shape of Water*

2018: Black Panther; Roma (** again, i think Green Book gets bumped out in this scenario, i think Black Panther is precisely the kind of movie that benefits from an award that’s seemingly more ~populist~ while Roma easily snags the unique & artistic prize)

2019: 1917; Parasite*

2020: The Father; Nomadland*

but of course i have no idea at all, and most of these are just my gut reactions lol. what a fun question!

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xxkellsvixen19xx · 3 years

Text

Spotlight: A Life Of A Troubled Celebrity Heartthrob Ch 8

Word Count: 3,940

"Y/N, I need you in your dressing room now," Michelle grabbed mt arm as soon as we stepped out of the limo, "we don't have much time." She hurried them along, security surrounding them at every turn.

"I'll see you in a bit sweets," Colson called out and blew her a kiss as they separated.

Y/N blew one back and he caught it, causing her to blush furiously.

"I see your husband has beefed up your shadows," Michelle said wryly.

"Yeah, yeah he has. I don't have a say in the matter unfortunately," Y/N shrugged.

"Can't blame him though. You and Colson have been the entertainment headline news ever since he announced your wedding on social media," Michelle opened the door of the dressing room and Y/N followed behind.

"Please remove your clothes and wear this gown," Michelle handed her a short black silk gown

"Really? We've been on the news?" Y/N furrowed her brows, wanting to continue the previous conversation.

"Sweetheart, which planet have you been living on? Anything to do with Colson Baker is news. Sit," Michelle commanded as she pulled out a chair.

"I kinda went of the grid after..you know?"

"I know," Michelle gave her a knowing look and laughed, "I can tell by the marks he left on your body sweetie."

"Oh," Y/N covered her face, embarrassed.

"No need to be ashamed," Michelle laughed, "if I wasn't already married to Byron I would gladly stand in line to jump Colson's bones," she joked, "so does he live up to his rep or nah?" she pried.

"What?" Y/N blushed again.

"Sorry. I don't mean to pry," she pursed her lips.

"No, no. It's okay. I'd like to think we're friends?" Y/N asked.

"Of course! I should be hurt that you'd even-" she held the make-up brush mid-air.

"Okay, I'm sorry," Y/N squeezed Michelle's hand, "but he was more than I ever thought or imagined!" she gushed.

"I knew it!" They giggled like a pair of giddy school girls. They were interrupted when someone knocked at the door.

"Michelle," Colson cleared his throat as he stood at the door, "can you excuse us for a minute?"

"Make it quick and don't even think of spoiling her hair and make-up," Michelle glared at him before leaving the room.

"Well.. you heard the lady Bambi.." Colson locked the door and discarded his t-shirt at the door. He flexed his muscles like he had just entered a boxing ring.

"Colson..noo," Y/N held out her hands in a futile attempt to stop him from getting to her.

"I prefer it when you scream out yes.." he lifted her off the chair and switched places with her. She straddled him as he trailed hot kisses on her neck, causing her to lose herself in him.

"Michelle.."

"Can wait.." he claimed her mouth possessively and all resistance crumbled..

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Good Evening Brussels!! How's everyone doing toniiight???!" Colson bounced onto the stage like he owned the world and everything in it.

The crowd went ballistic and he reveled in their screams and shouts. "Colson! Colson! Colson!"

He smiled and made a turn round the stage, psyching himself up for his performance. He ran from one end of the stage to the other touching and high-fiving as many fans as possible. Some fangirls passed out as soon as he made contact with them and guys ran around in circles. The crowd was in a frenzy and Colson hadn't even started performing yet!

"COLSON BAKER WE LOVE YOU!" the fans chanted over and over again.

"I LOVE YOU ALL! I LOVE YOU BRUSSELS!" Colson shouted over the screams and shouts as he sprinted from one end to the other one last time. More screams, crying and fainting ensued. The paramedics would be busy tonight.

"Tonight we have a very special guest on the ones and twos-please give it up for my one and only doe-eyed beauty-my wife Y/N Baker!!" Colson swept his hand towards Y/N as she stood behind the sound engineers desk. She waved shyly and slipped on her headphones. She was going to be taking Slim's place as sound engineer and DJ for the night. Michelle had dressed her up in a short Saint Laurent sequin embellished cocktail dress, epitomizing the band's statement sex appeal. She looked daring and fearless and it was a head-turning number, She completed the look with studded leather boots and her hair was a 80s messy look .

"You're looking hooot baby!" He winked at her and walked back to the edge of the stage. "I just want to give a shout out to my wife for taking care of me when I was sick. I don't know many people that would wipe puke off my face -for free-but you did it babe. I'm so grateful for you. This first song is for you sweets," he winked at her and positioned himself on a high-stool, "The song is called "Hangover Cure ," Colson strummed his guitar and his angelic voice resounded all over the stadium.

The audience was undoubtedly entranced and mesmerized by Colson. He had a commanding stage presence that sucked everyone in and all they could do was be fixated on him and him alone. Girls in the crowd were openly crying like he was singing the song to them and when he hit his signature high notes they were in a state of delirium. Banners and placards went up everywhere with words expressing how much his fans loved him. And he was truly loved by all of them.

Colson continued the next several songs on a mellow vibe and the crowd was falling more and more in love with this side of him. At one point he removed his baseball jacket and gave it to an adoring fan; who ran around the stage like a headless chicken. Of course the paramedics had to be called in to remove her from the stage after she had passed out.

"So tonight we're going to switch things up a bit," Colson carefully laid his guitar down and stood up again, "I'm going to get a few fans from the crowd to come up here and we're going to sing some of your favorite songs together. Can we do that?" The fans roared in agreement.

"I hope you all still have your ticket stubs cos' I'm just going to randomly call out a ticket number and if it belongs to you then you get to do a duet with me. That okay?" Colson grinned and the fans went wild.

"For the purpose of time and logistics, I'll call them out all at once and I hope you can make it to the front..if not then we will have to pick out someone else okay? Ready? Here goes..Drum roll please!" Colson said dramatically.

"Ticket number 2005, 5721; uhh-3688; 1012, 4562 and last one-6000? Please make your way to the front and produce your ticket to protocol otherwise..you all know the drill," Colson drank some water and a crew member rushed forward to wipe down his body. He wasn't feeling well but he pushed himself, he had to. "Music please," he called out to his band before hurrying over to Y/N.

"Sweets, I don't feel one hundred. Can we please go backstage for a few minutes?" he whispered in her ear and she nodded.

"Bathroom-" he ran to the restroom, clutching his stomach and Y/N asked security to wait outside while she checked on him.

"Are you okay babe?" she tapped on the door lightly.

"Yeah..noo-" he grunted before she heard him spilling his guts into the lavatory again.

"I'm coming in," Y/N announced, his meds and a bottle of water in her hand. She found him seated on the floor, with his back against the wall. His face was pale and his forehead had beads of sweat. Y/N handed the pills and water to him; then started to wipe him down with his face towel.

"Sorry," Colson held her against him.

"It's okay," Y/N gave him a weak smile, "I need to rinse out your towel, I'll be right back okay?"

"Hey! Are you guys okay?" Jax called out from outside, "Can I come in?"

"Come inside Jax," Y/N swung the door open and walked back to Colson, Jax close on her heels.

"Hey, are you okay kid?" Jax crouched next to Colson's slouched frame.

"Yeah, please get Byron to get a supporting act to cover for me for a while. I'll go and lie down in my dressing room for a bit. Help me up?" Jax pulled him off the floor effortlessly.

"I've already told Byron to take care of it. You sure you want to continue?" Jax asked skeptically.

"I will have to manage somehow..can't let the fans down. Beside I just have fan-dues and then I'll be done," Colson said as he put his arm around Y/N for support.

"If you're sure.." Y/N looked at him with concern.

"I'll be okay sweets; stop stressing," Colson leaned forward and kissed her temple.

"Fine," Y/N muttered.

"Okay, I'll leave you two to rest then. Will half-an-hour be enough?" Jax asked as they stopped in front of the dressing room?

"Yeah," Colson nodded.

"Okay, I'll be here to escort you back on stage," Jax replied.

Y/N opened the door for him and helped him lie down on the soft couch.

"Stay with me?" He pleaded. Y/N lay down next to him and he wrapped his arms around her.

"Your body is so hot," Y/N said in alarm.

"Ooh, tell me more baby.." he drawled and buried his nose in her neck.

"Colson, I'm serious..you're burning up," she turned to face him.

"Shh..stop worrying," he kissed her forehead, "I've taken my medication so I'll be fine in a minute. Go to sleep baby."

"You go to sleep Baker," she replied, "I'll be right here," she said softly.

"Thank you baby," he said before he drifted off to sleep.

*********************************************

"Are we really going to the after party?" Y/N frowned at her husband.

"Yes WE are!" Colson laced his hands with hers. They were standing in the foyer at the hotel where the after party was already in full swing.

"But you're not well?" she raised a perfectly shaped eyebrow, courtesy of Michelle.

"We won't stay for long. Promise," he kissed her chastely, "I have to make an appearance you know that right? Plus I really need to get you home so I can finish off what we started in the dressing room.." he nuzzled her neck

"Hmm..and no drinking tonight? Agreed," she looked at him with her pretty E/C eyes.

"Sweets, come on!" he whined, "can we just go and have fun please? I could really use it," he massaged his temple with one hand.

"Why are you avoiding my question?? I'm watching you Baker," she eyed him suspiciously.

"I don't mind baby," he hugged her and gave her a long kiss.

"That's blackmail," she said, breathless.

"Is it working?" His breath danced on her lips.

"Let's go," she pushed him away playfully, "I really need to get this over and done with so I can go home and rest. I'm overdue on sleep."

"Sorry, that's my fault, I know," he said sheepishly.

"Just remember that when partying the night away and I have to drag you home," she muttered under her breath.

"I heard that Mrs Baker," he laughed softly as he hugged her waist.

"Good," she replied.

"What's he doing here?" Colson froze and Y/N followed his gaze. It landed on Slim. Jax and Byron were arguing with him in a corner.

"Let Jax handle it okay?" Y/N put her hands against his chest and pushed him back gently, "Let it go. Please?"

"Fine," he said through gritted teeth and walked away.

"Hey Colson! Hi Colson! Great show Colson!" was all Y/N heard as Colson held her hand all night.

"I need the bathroom," Y/N whispered in Colson's ear.

"Let me come with you," he stood up with her.

"No. Stay with your friends," she said with a wave of her hand, "I just spotted Ash so I'll go with her," Y/N pointed over to where Ashleigh was standing.

"You're sure? Slim is lurking about so I'm a bit uneasy," he confessed.

"I'll be fine okay"" she kissed the side of his mouth and he smiled.

"If you're going to kiss me then you should make it count Bambi," he crushed his lips against hers and kissed her breathless.

"Hurry back before I start missing you," he said as a parting shot.

"Hey there stranger!" Ashleigh practically jumped on her.

"Hey! Careful," Y/N giggled.

"How have you been? How are you handling having your face and relationship splashed all over the tabloids?" Ashleigh asked.

"Colson prefers it if I don't see that," Y/N replied, "probably doesn't want me to get worked up I guess,"

"So you've already become the little submissive wife have you? You consummated the marriage yet?" she smiled and nudged Y/N with her elbow.

"Something like that.." She laughed.

"I want all the deets but let's go and get something to drink first," Ashleigh pulled her over to the bar.

"I really didn't want to drink today Ash.." Y/N said hesitantly.

"Just have one with me?? We haven't hung out for a while..please?" Ashleigh coaxed.

"Okay fine," Y/N sighed in defeat, "just one," she held up her index finger for emphasis. They went to the bar and Ashleigh ordered two cosmos.

"Can we go to the bathroom?" Y/N shifted around in agitation, "otherwise I will pee on myself," Ashleigh laughed as she handed Y/N her drink.

"Let's just go up and use the one in my room?" Ashleigh suggested and Y/N nodded, "I-uh-need to get my phone. Need to take pics you know. It's our last week on tour," she said as the stepped into the elevator.

"Sommer!" they cried out in shock. Sommer was curled up in a ball, whimpering in the corner of the elevator. Her face was badly bruised, her nose was bleeding and she was a mess. Usually she was well dressed, without a hair out of place but tonight she looked like a junkie.

"Who did this to you?" Y/N demanded as she crouched next to Sommer.

"Just leave me alone okay!?!" Sommer snapped, "you and your perfect little life! Just leave me alone! Go away!" she yelled.

"I want to help you!" Y/N said, forlorn, "please allow me to help you?"

"Let's take her to her room, Maybe she needs to clean up a bit and sleep it off," Ashleigh looked around, nervous.

"If you're sure..?" Y/N said hesitantly.

"Look, why don't you go use the bathroom in my room and I will take care of Sommer? I'm sure Slim must already be looking for her of something," Ashleigh babbled.

"No! No Slim!" Sommer backed away in fear, "don't call him. Please?" she grabbed my arm.

"Okay, I won't," Y/N assured her. Something strange was going on here but she couldn't put her finger on it.

"Come on Sommer let's get you cleaned up. You'll need a change of clothes as well," Y/N steered her in towards her hotel room.

"Let me do it!" Ashleigh said too quickly, "well..since you needed the bathroom so badly-I can help Sommer. You go ahead-I got this," she said with a tight smile.

"Okay.." Ashleigh was acting very strange today, maybe she was high on something, Y/N thought. Y/N looked walked into Ashleigh's hotel room and got a sense of foreboding but she just shrugged it off. She went into the bathroom and relieved herself and as he was washing her hands she heard hotel room door open.

She thought it was Ashleigh so she hurried out of the bathroom to find Slim standing at the doorway with a smug expression on his face.

"Hello Bambi..so glad you could make it," he slammed the door shut and locked it.

********************************************

Y/N stared at Slim as he stood at the door, lazily leaning against it. He looked at her the was a lion on Animal Planet would eye it's prey before it moved in for the kill.. This was like déjà vu to Y/N but this time she wasn't going down without a fight. She had to think quickly before he had his way with her and by the way he was undressing her with his eyes, he was going to pounce on her any minute from now. Her short cocktail dress would make it so much easy for him.

"I've waited for this day for a very long time and I'm going to savor every inch of that delectable body.." he licked his lips and continued to trail his eyes down her body.

She was saved by a loud pounding on the door that startled both her and Slim.

"Slim!" Sommer called out from behind the door, "I know what you and Ashleigh planned-don't do it! Please! I'm begging you!" she said her voice breaking.

Y/N took this opportunity and dashed back into the bathroom and locked the door. If Sommer kept up the racket long enough then help would arrive soon. Slim snarled and he pounded on the door; Y/N searched around frantically for an opening but found none.

"You can try and run from me but you're only prolonging the inevitable," he taunted as he tried to beat the door down, "I'm going to have you and you're going to enjoy it my precious."

Y/N was wringing her hands, trying to figure a way out when her eyes fell on her Apple Watch that Colson had got her just last week. She quickly scrolled to the phone app and dialed Colson's number and he answered on the second ring.

"Hey I've been looking all over-"

"Help me please! I'm stuck in the bathroom in Ashleigh's room and Slim is outside-he tried to-he wants to-" Y/N's voice broke-.

" I'll be on my way. Hang tight okay?" Colson rang off.

The room was silent and she couldn't hear Slim moving around so she began to panic. What was he up to? Suddenly the bathroom door swung open and Slim stood with a self-satisfied smirk.

"I know how to pick locks my precious," he held a paper clip between his fingers. He threw the pin on the floor and locked the bathroom door again from the inside. Y/N tried to back away but the room was constricted. She started to hyperventilate and pressed redial on her phone, wishing and hoping that Colson would get here quicker.

"Told you..you can run but.." he trailed his finger along her cheekbone and she spat in his face.

"You're going to regret that," Slim gave her a dagger and pushed her against the tiled wall, "I'm sorry this is going to be quick and rough..I would have liked to take it slow but time is not on our side," he grabbed her roughly, lifted her up and placed her on top of the sink. Y/N began to scratch at his face and to kick and scream, but he grabbed her hands and tied them with his bandana.

"You're making this so hard for yourself precious..if you would just give in then we would enjoy the ride together but-I guess you like it rough," he tried to yank her dress further up her thighs but it was too tight and it was proving to be difficult. He pulled her off the sink and pushed her against the wall, "turn around," he said roughly. She faced the wall and started to cry.

"Save your tears for Colson. They're not going to work on me," he unbuckled his belt and she heard his pants fall to the floor.

"I'm not going to run like Scott. I'll just plead insanity due to drug addiction and they will let me go. I'm going to stick around so I can keep coming back for seconds," he pushed her face against the wall and whispered into her ear, "that's if you're good enough..hope I won't be disappointed Precious," he stuck his tongue in her ear and she cried out.

"Please don't!" she whimpered, her tears cascaded down her cheeks.

Suddenly, someone came crashing through the door and hurtled towards them. Slim had no time to register what was happening but a pair of hands grabbed his neck, threw him on the floor and started to strangle him. Y/N sank onto the floor and broke down. Sommer ran over to her and hugged her.

"I'm so sorry Y/N-I didn't know-" Sommer cried along with Y/N, "he and Ashleigh had planned it. I had nothing to do with it-I swear! Please believe me!"

"Colson!" Jax shouted, "You're going to kill him-let go!"

"Death is too good for this scum!" Colson screamed as Jax and the other body guards dragged him off Slim. His eyes fell on Y/N and he dashed over to her. She had passed out probably due to shock or relief or maybe both.

Slim took advantage of the distraction and made his escape, spluttering and fighting for breath. Jax eyed him warily and decided to let him go. He knew he would be back.

"It's okay sweets. I'm here now. You're safe. I got you baby." he lifted her limp form in his arms and carried her out of the room.

"Do you want me to go after him?" Jax walked beside them.

"No. I'll get him. One way or another, I'll get him," Colson narrowed his eyes, "I want you to get that spawn of Judas-Ashleigh. I want her to look me in the eye and explain why she did what she did to my wife," the elevator doors slid open and Jax held them back to allow Colson to step inside.

"She's already in a car and is on her way to the house," Jax reported, "I have a few things to say to her as well. I hope we're pressing charges? We can't let them walk-Y/N deserves justice," he said vehemently as he opened the car door.

"Oh we're going to make them pay..then we're going to hand them over to the police," Colson laid Y/N inside and jumped in beside her.

Colson clenched and unclenched his fist as he looked out the window. Ashleigh had messed with the wrong person. He was going to deal with her personally. Her career was officially over before it even began.

"Jax, can we make a quick stop at a hospital? I need to make sure she's okay," Colson caressed Y/N's face as she lay on his lap, "plus we need to gather evidence."

"Sure thing Boss," Jax nodded.

Colson hoped and prayed that he had got there on time but Slim's pants were down and Y/N's dress was-he shook his head and blinked his eyes rapidly. He couldn't-didn't want to even think about it. His heart bled a thousand times when he thought about what he saw when they crashed through the door. He shouldn't have allowed her to go with that snake-he should have listened to his gut; trusted his instinct.

Now Y/N was a wreck and it would take a while to piece her back together again.

#machine gun kelly #colson baker #mgk #colson baker x reader #colson baker imagine #machine gun kelly imagine #machine gun kelly x reader #fan fiction

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introvertguide · 3 years

Text

Star Wars: The Franchise

Back in the mid 70s around Modesto, California, it is doubtful that George Lucas could have imagined that his idea for a space opera would become the second highest grossing movie franchise of all time. There has been some questionable content, however, since the groundbreaking original, and the returns have not been as great. There were also some one-offs that a lot of the younger fans might not be aware of. For my own sanity and organization, here is a listing of all feature length movies in the franchise:

Star Wars IV: A New Hope (1977) -

Definitely the most successful film (heck, one of the most successful films of all time) that made almost a billion dollars at the box office worldwide...in the 80s. Amazing. The story mimics the hero's journey as described by Joseph Campbell, giving it basically the most satisfying story imaginable. Nobody except for friend of George Lucas, Steven Spielberg, thought it would be as successful as it was. This kind of popularity meant there was going to be some sequels and, since George Lucas was the man behind the whole thing, only one man was about to get tasked with future success.

Star Wars Holiday Special (1978) -

This was a TV movie that was made to cash in on the massive popularity of the first movie while the second one was in production. It is terrible. I generally try to hold back judgement and point out subjective opinions, but I think I can say that this made-for-TV movie is objectively bad. It is the equivalent of a variety show, a format which was popular at the time, and it was awful. It is widely considered to be one of the worst visual productions of all time. Just to give a hint of its awfulness, the movie follows the adventures of Chewbacca's Wookie family and they only speak in growls with no interpretation or subtitles. Laughably awful.

The Empire Strikes Back (1980) -

Arguably the best of the films as far as story and plot, this film was actually directed by Irvin Kershner with a George Lucas story adapted to the screen by Lawrence Kasdan. This film is legitimately fantastic and not just new and fun. It is so well written and directed with the famous reveal between Luke and Darth Vader. It also is incredibly downbeat at the end that perfectly sets up the next film. I personally think this is the best example of fine film in the franchise, although it doesn't have as much big action and no giant space laser. Well worth watching and makes the third film a must see.

Return of the Jedi (1983) -

Well, not as good as the first two, but still pretty darn good. This film introduced the Ewoks and the Endor moon battle. Many fans thought that the introduction of living teddy bears was a mistake that distract from the story. What really made the film, apparently, was the whole sequence at the beginning that takes place at Jabba the Hut's palace and involves Princess Leia in a metal bikini. We also find out that Luke and Leia are twins, so that kiss in the second film suddenly becomes kind of awkward. This becomes kind of a theme from here on out: should we disavow canon or put in throwaway lines and scenes to cover things that were mentioned in previous movies. It plagues the prequels.

The Ewok Adventure (1984) -

I get a lot of garbage about it, but I love these movies because I grew up with them. They are not that great and the copy that I saw over and over had ads from the early 80s throughout. Heavy nostalgia. Also, some of the Ewoks were played by established actors from what is now called Episode VI, Warwick Davis as Wicket and Tony Cox as Widdle. It was a lot of fun, but definitely a higher budgeted TV movie. It did become so successful that it got a theater release as Caravan of Courage: An Ewok Adventure. This naming style stuck around for the spin off films that were made in the late 2010s.

Ewoks: The Battle for Endor (1985) -

Hot dang, they made a second one with Wilford Brimley! Both of the Ewok films were thought up by George Lucas and sold to ABC. Both films were also given special Emmy awards for special effects. I can't fault either Ewok film as far as visuals since both got the ILM treatment. I have stated that I liked both of these movies more than some of the prequels, and I stand by that.

The Phantom Menace (1999) -

The next three films followed the first three episodes in the Star Wars saga and are now generally known as the prequels. They are also pretty widely hated. One reason for that was the introduction of young Anikan Skywalker (eventual Darth Vader) and his growing attachment to Lord Palpatine (Darth Sidious). The problem with the prequels is that it was a path leading to a result that had been established over 20 years ago in the first film. They also introduced a character named Jar-Jar Binks who was just awful. There was a great pod racing scene and an epic Sith vs. Jedi battle that really were the highlights of the film. The music was also pretty epic, but the film was otherwise not that great. It was completely made under the helm of George Lucas and fans were suddenly starting to wonder if he was the genius they had thought him to be. What I consider to be the best YouTube deep dive movie review of all time, a group called Red Letter Media made a seven part review that explains why the movie was such a problem. You can watch the first part and it will auto load all seven here:

(1) Star Wars: The Phantom Menace Review (Part 1 of 7) - YouTube

Attack of the Clones (2002) -

Alright, here is where things really start to go down hill. There is a fine actor by the name of Hayden Christiansen that is just awful in this film. He is given nothing to do for the most part. He is supposed to be this amazing Jedi general, but he spends most of his time walking around speaking in a very monotone voice. He does have some fun piloting scenes, but he is written as such a whiny brat. There are two epic battles (the coliseum and Dooku vs. Yoda) and we get to see a bounty hunter in action. It does seem like a lot of fan service glued together by boring politics and horrifically bad acting.

Revenge of the Sith (2005) -

This is widely considered the worst of the prequel movies and generally laughable at some points. There is supposed to be an epic lava battle at the end, but it is just a bunch of screaming about a failed bromance. We get to see the end of the characters in the prequel and set up the original movies...that were now almost 30 years old. It was unsatisfying and not even slightly worth the wait. It was at this time that George Lucas said that there would never be a seventh episode that would follow the original trilogy.

Star Wars: The Clone Wars (2008) -

There was a very compelling series of Star Wars shorts in 2003 made by Genndy Tartakovsky that did very well. George Lucas saw this and decided that a lot of the most interesting Star Wars events had occurred during the time between the prequels and the original series. Lucasfilm put out an animated movie to test the waters and it was so successful that 7 seasons of great animated adventures were made to show the epic battles that were supposed to take place between the second and third episode. I honestly believe that this was the very best space action of the entire franchise.

The Force Awakens (2015) -

George Lucas sold the Star Wars franchise over to Disney and fans got a new movie that was never supposed to happen. Once Disney came on board, the brand became much more prolific. Until the pandemic, there were plans to put out a Star Wars movie every year for a decade. The first was episode seven and was made by J.J. Abrams. It was similar to the first film (episode IV) in so many ways that fans started to think it was just a remake. It even had a lot of the characters from the original trilogy. It was much better received by fans following the prequels and introduced a storyline that was not already spoiled by previous movies. There was a lot of unnecessary fan service for those who loved the original trilogy. This makes since because it involved Lawrence Kasdan, who helped with the screenplay for episode five and six from the original trilogy.

Rogue One: A Star Wars Story (2016) -

A full big budget release of a Star Wars movie that wasn't one of the episodes was an interesting idea. It was an entire movie to explain a throwaway line from the original 1977 movie. I lot of people died to get some plans for the big weapon in the first film and people wanted to know exactly how that happened. Actually they didn't. But Disney thought it was a good idea and it seemed like it would make a lot of money (it did). It gave the producers a chance to make a movie with new characters and only mentions of the famous story (this was important because the other actors where making the next episode).

The Last Jedi (2017) -

This was an interesting change of pace from the rest of the films because it seemed to drop the idea of the "chosen one" and say that anyone could be a Jedi. It is basically one giant escape story and is closer to Mad Max in space than it is to the other Star Wars films. It was given in full by Disney to Rian Johnson and it shows. This was the first episode film that had nothing in common with any of the production group from the original trilogy. No Kasdan, no Kirschner, no Lucas, all Disney. It was not very well received.

Solo: A Star Wars Story (2018) -

The worst performing of any of the Star Wars live action feature length films, this was the story of Han Solo. That's it. There is not a lot of history about the character and he is so cool, fans needed to have a stand alone movie about his youth. That's a lie, Disney wanted a movie to come out between episode eight and nine. This was the best that the suits could come up with and it definitely made money, but it is lame.

The Rise of Skywalker (2019) -

Well, the movie completely helmed by Rian Johnson was not popular enough so there was a total retcon situation and this film basically picked up where episode seven left off. It was the same team from episode seven (since that film was so much more popular) and they made a final film that wraps up with a bow. Sort of. There was definitely room in the film world for more Star Wars movies to be made (it is owned by Disney) and I really don't believe it is finished as a franchise.

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Just in case there are people who were nervous that this was the end of the franchise, there is currently a stand alone film called Rogue Squadron that is supposed to come out in 2023. Thank goodness. There was also the popular Mandalorian series on Disney +. But the franchise has been making huge films for almost 45 years now, so maybe it is time to stop. We have the MCU that has made almost twice as much money as the Star Wars universe, so most movie goers have picked their setting that they want to see. Maybe there could be a crossover (I am kidding, please no) and it would be the most watched film of all time.

#star wars #franchise #lucas #disney #introvert #introverts #movie franchise

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dontasktheradiodemon · 2 years

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Ok, fine. To start, Alastor, why specifically do you like American Psycho? Is it because it’s a book about a serial killer? Or is it because of different reasons?

🎶 "Well, sure, I suppose serial killers are intriguing enough, but I wouldn't say they're a particular interest of mine—no more than any other notably disruptive criminals. Although I'm on good terms with a few, fascinating folks, quite interesting worldviews!

🎶 "But no, I'm interested in that vile worldview of his—and it is vile, no question! Such a hollow, pleasureless existence! Nothing that gives him happiness, nothing that touches his soul, nothing that can sink into his spirit any deeper than his immaculately cleaned pores. My goodness, it really is an incisive, damning analysis of that exact sort of person, isn't it. Born a little prince and raised to be nothing but a face that would look fitting on a dollar bill. He's more pitiable than he is detestable, but he only manages it because he really is so, so pathetically pitiable. The benefits of such a close viewpoint, I think; it sacrifices an objective understanding of his world, sure, but in exchange for an enthralling psychological study of a very damaged man.

🎶 "Plus, there's a delightful chapter in the book that was left out of the movie, if I recall correctly—and the original version of the movie, I mean, not that embarrassingly poorly-acted Hellish remake in 2005, I don't count it—and it's such a pity it was left out because I really quite enjoyed that chapter—the chapter where Pat makes a hash of trying to cannibalize a lady. I'm always thrilled when there's more mainstream depictions of cannibalism—especially from the mortal realm, that's rare!—and it's even more rare when the depictions are so humorous! And not in a way that derives the humor from those embarrassing old 'man-eating savage' cliches, thank God for that! Sure, you can tell the author's never indulged, he gets a few little details wrong—but I won't fault him for trying to write about cannibals from outside the community! If he'd gotten the details right, he'd probably be in prison!"

❌ I'm typing up his review of American Psycho trying to decide on a scale of 1 to 10 how much of a red flag it is—because someone saying they like American Psycho is an automatic red flag of some sort, right, like there's a 20% chance they're some kind of chill sociology student and an 80% chance they're a misanthropic proto-shooter—and over three paragraphs his score went from an 8/10 to a 3/10 to a 20/10.

❌ I don't know why I bothered scoring him. Being the Radio Demon IS the red flag. He wears a red flag disguised as a suit.

#((in this verse he's never publicly admitted he's a serial killer. mainly because he's a smug fuck about never having been caught.))#((so if he gets questions trying to pointedly tie him to serial killers he just quietly sidesteps them))#corruptapostasy #ask #((left out of this answer: the fact that he CAN in fact relate closely to Patrick's worldview. he just thinks Pat's a downer about it))

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passionate-reply · 3 years

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In 1993, Billy Idol--yes, that Billy Idol--went completely mad and made an electronic album full of futuristic themes, samples, and techno beats. Many consider Cyberpunk one of the worst albums of all time, but on this week’s installment of Great Albums, we provide a somewhat more positive approach. Check out the video, or read the transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums! In this installment, I’ll be taking a look at an artist one might not normally associate with the usual “pantheon” of synthesizer jockeys I usually talk about: Billy Idol. Initially known as the frontman of punk outfit Generation X, Idol found success as a solo artist in the early 1980s, fusing tough-as-nails punk aesthetics with a lavish, almost camp sense of glam, and his visually arresting pop-rock made him an MTV-friendly star of the “Second British Invasion.” While one couldn’t fairly argue that Idol was an “electronic musician,” his early work does contain moments of mild electro-curiosity, perhaps most notably the mercurial ballad, “Eyes Without a Face.”

Music: “Eyes Without a Face”

But despite the minor synth touches of the hit single “Eyes Without a Face,” few in the 1980s could have possibly expected the turn Idol’s career would eventually take by the time of his 5th studio LP: 1993’s Cyberpunk. Cyberpunk is, of course, an album with a reputation that precedes it, and that reputation is not a particularly good one. Cyberpunk is a deeply fraught album, which commercially underperformed upon release, and did even worse in the eyes of critics, with the magazine Q dubbing it the 5th worst album of all time. In the nearly 30 years since the album’s release, opinions on it don’t seem to have softened that much, either. But as with everything I choose to talk about, I think Cyberpunk is worth listening to. I think it’s a daring and challenging work of art, and one that stands on its own terms when approached head-on. Whether you’re familiar with this album or not, I encourage you to give it a fresh listen, and a fair shake.

Music: “Wasteland”

Perhaps the most immediately apparent feature of Cyberpunk is its increasingly electronic soundscape, including a prominent sample-based hook on the track “Wasteland.” The album was created in less than a year, and chiefly through use of computers and digital audio software, which Idol evidently found easier to explore and use than earlier forms of music technology. I’m partial to the argument that sees the use of digital software as perfectly compatible with the famed DIY ethos of punk, and hence, not far from Idol’s wheelhouse at all. In the 1990s, computers were still something that far from everyone owned, but in our contemporary world of Soundcloud rappers on seemingly every street, it’s easier to accept the notion of computer music as a grassroots, egalitarian field where even the unskilled are welcome--perhaps even moreso than punk ever was, in the 20th Century. This is one sense in which I think Cyberpunk has aged better than anyone could have possibly imagined. Besides pushing the texture of Idol’s music into new territory, Cyberpunk is also a fairly risky album structurally, opening with a sort of manifesto being read, and peppered with brief interludes between its tracks proper.

Music: “Interlude 3”

It’s only fitting that an album so concerned with the bleeding edge of technology might also try to push the boundaries of the still-fresh CD age. Liberated from the confines of designing chiefly for vinyl, artists like Idol were empowered to create CDs that ostensibly had 20 “tracks,” with no need for empty grooves to separate these brief interludes from the album’s major compositions. This avant-garde touch adds significant amounts of texture to the album, and, dare I say, a sense of world-building. Undoubtedly, one main reason why this album was so poorly received at the time is that it is, quite simply, not what one expects a Billy Idol record to sound like--at least, with the possible exception of its second single, “Shock to the System.”

Music: “Shock to the System”

“Shock to the System” feels like something of an orphan in the tracklisting of Cyberpunk. While tracks like “Wasteland” certainly maintain a rough-edged rock mentality about them, and could never be confused for straightforward techno floor-fillers, “Shock to the System” feels more like it was tacked onto the album just so that it would have something that appealed to those who exclusively prefer Idol’s earlier style--and, given that most of Idol’s greatest hits compilations tend to include “Shock to the System” and nothing else from Cyberpunk, this may have worked. Cyberpunk, as a genre, is often concerned with political themes--its great literary progenitor, William Gibson, once said that “the future is already here, but it’s unevenly distributed,” epitomizing the extent to which the intersection between technology and class is a central issue in cyberpunk media. “Shock to the System” is the most overtly political track on Cyberpunk, inspired by the wave of riots that broke out in Los Angeles following the acquittal of police officers alleged to have used excessive force in the arrest of a Black man, Rodney King. While the role of computers in daily life has changed a great deal since the 1990s, police brutality and anti-Blackness have sadly remained quite similar.

Few have commented on the perhaps uncomfortable implications of Idol’s dramatization of the LA riots from outside, which seems to transmute the scene into one of high-tech fantasy while largely eliding over the racial implications of why people were rioting in the first place--something that seems particularly strange when one learns how upset members of the underground “cyberculture” were about the alleged co-opting and appropriation of their culture. Some have characterized Idol as an honest appreciator of cyberpunk who just wanted to make art that engaged with its ideas, and others more cynically consider him a profiteer who thought he could commercialize a more palatable version of the counter-culture. While the latter hypothesis may well be true, I’m not sure if it can rightfully be said that Idol had “no right” to mine cyberculture for inspiration, particularly since cyberculture has often encouraged amateur participation. Still, as a sometime fan of the literary genre myself, I’m tempted to agree with those who have questioned how deep Idol’s understanding of cyberpunk actually was, particularly when faced with tracks like “Neuromancer.”

Music: “Neuromancer”

In William Gibson’s novel of the same name, Neuromancer is a super-advanced AI with the ability to preserve people’s personalities in virtual reality...though you probably wouldn’t have guessed any of that from this track. Many who interviewed Idol seemed to think he had a weak grasp on the finer points of cyberculture, and even Gibson himself, upon meeting Idol, failed to take him seriously. Still, I don’t think it’s entirely fair to draw a line in the sand, as some have done, and say that Idol was particularly, individually, responsible for the dilution of cyberpunk ideals, as presented by authors like Gibson. While it may be easy to poke fun at the clownish, overwrought figure of Idol, as the embodiment of people who love books they don’t understand, it’s not like that many people owned this album. I think the success of popular films like Blade Runner and The Matrix has done much more to simplify and proliferate ideas cribbed from Gibson.

But however you feel about this, it’s clear that Cyberpunk was an album that ended up appealing to nearly no-one--it alienated Idol’s existing fans with its stylistic diversions, as well as feeling too commercial and inauthentic to cyberpunk enthusiasts. Something else that I haven’t seen mentioned in discussion of this album is the fact that Billy Idol really wasn’t the first to combine the ideas of cyberpunk and music. By the early 1990s, industrial acts like Front 242 and Front Line Assembly had already been making electronic music about cyber brain implants for years, albeit largely underground and often unnoticed by rock-focused critics. I can’t help but think that the prior existence of this stuff was yet another factor that caused Cyberpunk’s failure to thrive. Compared to the electronic body music scene, Cyberpunk comes across as less subtle, less insider, and much more surface-level.

The cover art of Cyberpunk has attracted nearly as much derision as the associated music. The image of Idol’s face bleeds and distorts “into” and “against” a gridlike field, perhaps the greenish terminal of an early computer screen, a representation of the hacker figure entering the virtual world of cyberspace, and identity blurring along those lines. With its wobbly image distortion and queasy complementary colour palette of yellow and purple, it instantly evokes not only cyberpunk aesthetics generally, but more particularly the fusion between cyberpunk and another popular aesthetic of the early 90s: psychedelia, which experienced a substantial resurgence around this time, related to rave culture and its embrace of hallucinogenic party drugs. So-called “cyberdelic” themes abound on the album as well, particularly on the hypnotic “Adam In Chains,” a track that sounds less like 80s New Wave, and more like 90s New Age.

Following the release and subsequent panning of Cyberpunk in the 1990s, Billy Idol went silent for over a decade. While he claimed that his disinterest in making new music was rooted moreso in mismanagement by Chrysalis Records than it was the album’s failure, it’s very tempting to look for a correlation here. Over the years, Idol was often asked if he ever planned to make more electronic music, and consistently claimed that he was chiefly interested in guitar-centric rock, while never completely trashing his vision for Cyberpunk. True to his word, when Idol finally did return to music with 2005’s Devil’s Playground, he delivered on his “classic” sound, and he’s continued to do so ever since.

Music: “Scream”

My favourite track on Cyberpunk is its lead single, the total showstopper “Heroin.” “Heroin” is actually a cover of a song by the seminal Velvet Underground, and it’s everything I think a cover ought to be: exciting, bizarre, and capable of taking something familiar and kicking it into a whole new territory. What’s the point of covering something without changing it and doing something a bit different? “Heroin” is naturally one of the most psychedelic-oriented tracks on the album, being a cover of a drug-themed 1960s classic, as well as one of the tracks with the most influence from dance genres like techno, boasting a very appealing extended outro that makes it feel like a 12” remix. While I think Cyberpunk is a fascinating album, “Heroin” is the one track I think really crosses the bridge from being interesting to being, quite simply, good, and it’s something I’m much more inclined to sit down and listen to recreationally. That’s everything for today--thanks for listening!

Music: “Heroin”

#music #great albums #album review #album reviews #billy idol #cyberpunk

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