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mostlysignssomeportents · 11 months

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The "religious liberty" angle for overturning the overturning of Dobbs

Frank Wilhoit’s definition of “conservativism” remains a classic:

There must be in-groups whom the law protects but does not bind, alongside out-groups whom the law binds but does not protect.

https://crookedtimber.org/2018/03/21/liberals-against-progressives/#comment-729288

Conservativism is, in other words, the opposite of the rule of law, which is the idea that the law applies equally to all. Many of America’s most predictably weird moments live in the tension between the rule of law and the conservative’s demand to be protected — but not bound — by the law.

Think of the Republican women of Florida whose full-throated support for the perfomatively cruel and bigoted policies of Ron Desantis turned to howls of outrage when the governor signed a law “overhauling alimony” (for “overhauling,” read “eliminating”):

https://www.orlandoweekly.com/news/this-is-a-death-sentence-for-me-florida-republican-women-say-they-will-switch-parties-after-desantis-approves-alimony-law-34563230

This is real leopards-eating-people’s-faces-party stuff, and it’s the only source of mirth in an otherwise grim situation.

But out of the culture-war bullshit backfires, none is so sweet and delicious as the religious liberty self-own. You see, under the rule of law, if some special consideration is owed to a group due to religious liberty, that means all religions. Of course, Wilhoit-drunk conservatives imagine that “religious liberty” is a synonym for Christian liberty, and that other groups will never demand the same carve outs.

Remember when Louisiana decided spend tax dollars to fund “religious” schools under a charter school program, only to discover — to their Islamaphobic horror — that this would allow Muslim schools to get public subsidies, too?

https://www.huffpost.com/entry/louisiana_n_1593995

(They could have tried the Quebec gambit, where hijabs and yarmulkes are classed as “religious” and therefore banned for public servants and publicly owned premises, while crosses are treated as “cultural” and therefore exempted — that’s some primo Wilhoitism right there)

https://www.cbc.ca/news/canada/montreal/quebec-francois-legault-crucifix-religious-symbols-1.4858757

The Satanic Temple has perfected the art of hoisting religious liberty on its own petard. Are you a state lawmaker hoping to put a giant Ten Commandments on the statehouse lawn? Go ahead, have some religious liberty — just don’t be surprised when the Satanic Temple shows up to put a giant statue of Baphomet next to it:

https://www.npr.org/2018/08/17/639726472/satanic-temple-protests-ten-commandments-monument-with-goat-headed-statue

Wanna put a Christmas tree in the state capitol building? Sure, but there’s gonna be a Satanic winter festival display right next to it:

https://katv.com/news/offbeat/satanic-temple-display-installed-at-illinois-capitol-next-to-nativity-scene-menorah-decorations-snake-serpent-satanic-temple-springfield-christmas-tree

And now we come to Dobbs, and the cowardly, illegitimate Supreme Court’s cowardly, illegitimate overturning of Roe v Wade, a move that was immediately followed by “red” states implementing total, or near-total bans on abortion:

https://pluralistic.net/2023/06/15/paid-medical-disinformation/#crisis-pregnancy-centers

These same states are hotbeds of “religious liberty” nonsense. In about a dozen of these states, Jews, Christians, and Satanists are filing “religious liberty” challenges to the abortion ban. In Indiana, the Hoosier Jews For Choice have joined with other religious groups in a class action, to argue that the “religious freedom” law that Mike Pence signed as governor protects their right to an abortion:

https://www.politico.com/news/2023/06/21/legal-strategy-that-could-topple-abortion-bans-00102468

Their case builds on precedents from the covid lockdowns, like decisions that said that if secular exceptions to lockdown rules or vaccine mandates existed, then states had to also allow religious exemptions. That opens the door for religious exemptions to abortion bans — if there’s a secular rule that permits abortion in the instance of incest or rape, then faith-based exceptions must be permitted, too.

Some of the challenges to abortion rules seek to carve out religious exemptions, but others seek to overturn the abortion rules altogether, because the lawmakers who passed them explicitly justified them in the name of fusing Christian “values” with secular law, a First Amendment no-no.

As Rabbi James Bennett told Politico’s Alice Ollstein: “They’re entitled to their interpretation of when life begins, but they’re not entitled to have the exclusive one.”

In Florida, a group of Jewish, Buddhist, Episcopalian, Universalists and United Church clerics are challenging the “aiding and abetting” law because it restricts the things they can say from the pulpit — a classic religious liberty gambit.

Kentucky’s challenge comes from three Jewish women whose faith holds that life begins “with the first breath.” Lead plaintiff Lisa Sobel described how Kentucky’s law bars her from seeking IVF treatment, because she could face criminal charges for “discarding non-viable embryos” created during the process.

Then there’s the Satanic Temple, in court in Texas, Idaho and Indiana. The Satanists say that abortion is a religious ritual, and argue that the state can’t limit their access to it.

These challenges all rest on state religious liberty laws. What will happen when some or all of these reach the Supreme Court? It’s a risky gambit. This is the court that upheld Trump’s Muslim ban and the right of a Christian baker to refuse to bake a wedding cake for a same-sex couple. It’s a court that loves Wilhoit’s “in-groups whom the law protects but does not bind, alongside out-groups whom the law binds but does not protect.”

It’s a court that’s so Wilhoit-drunk, it’s willing to grant religious liberty to bigots who worry about imaginary same-sex couples:

https://newrepublic.com/article/173987/mysterious-case-fake-gay-marriage-website-real-straight-man-supreme-court

But in the meantime, the bigots and religious maniacs who want to preserve “religious liberty” while banning abortion are walking a fine line. The Becket Fund, which funded the Hobby Lobby case (establishing that religious maniacs can deny health care to their employees if their imaginary friends object), has filed a brief in one case arguing that the religious convictions of people arguing for a right to abortion aren’t really sincere in their beliefs:

https://becketnewsite.s3.amazonaws.com/20230118184008/Individual-Members-v.-Anonymous-Planitiff-Amicus-Brief.pdf

This is quite a line for Becket to have crossed — religious liberty trufans hate it when courts demand that people seeking religious exemptions prove that their beliefs are sincerely held.

Not only is Becket throwing its opposition to “sincerely held belief” tests under the bus, they’re doing so for nothing. Jewish religious texts clearly state that life begins at the first breath, and that the life of a pregnant person takes precedence over the life of the fetus in their uterus.

The kicker in Ollstein’s great article comes in the last paragraph, delivered by Columbia Law’s Elizabeth Reiner Platt, who runs the Law, Rights, and Religion Project:

The idea of reproductive rights as a religious liberty issue is absolutely not something that came from lawyers. It’s how faith communities themselves have been talking about their approach to reproductive rights for literally decades.

The Clarion Science Fiction Writers’ Workshop (I’m a grad, instructor and board member) is having its fundraiser auction to help defray tuition. I’ve donated a “Tuckerization” — the right to name a character in a future novel:

https://www.indiegogo.com/projects/clarion-sf-fantasy-writers-workshop-23-campaign/#/

If you’d like an essay-formatted version of this thread to read or share, here’s a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2023/07/11/wilhoitism/#hoosier-jews

[Image ID: Moses parting the Red Sea. On the seabed is revealed a Planned Parenthood clinic.]

Image: Nina Paley (modified) https://commons.wikimedia.org/wiki/File:Moses-Splits-Sea_by_Nina_Paley.jpg

CC0 1.0 https://creativecommons.org/publicdomain/zero/1.0/deed.en

—

Kristina D.C. Hoeppner (modified) https://www.flickr.com/photos/4nitsirk/40406966752/

CC BY-SA 2.0: https://creativecommons.org/licenses/by-sa/2.0/

#pluralistic #religion #frank wilhoit #petard #gender #religious freedom #1a #abortion bans #dobbs #roe

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andreablog2 · 1 year

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There are quirky liberal arts upper class people who aren’t deranged/elitist but so many of them are. Another thing is bc of the internet they barely even register as unique anymore before they used to like be able to rely on the exclusivity of their references and interests but now their vibe is so ubiquitous that I just get like Greek life vibes w a slightly more perfomatively offbeat demeanor. And the way none of the mean ones are smart & all of the talented ones have less of an ego

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transpigeon · 3 years

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favourite video essays (these are all over 30 minutes and some are feature film length so tuck yourself in):

the neurosis of cat valentine - cj the x

the eldritch horror of coraline - cj the x

digital blackface? - khadija mbowe

the tragic fall of kanye west - f.d signifier (a 2 parter)

bo burnham’s inside and “white liberal perfomative art” - f.d signifier

the amanda bynes story - mila tequila (a 2 parter)

why shark tale is a cinematic disaster - schafrillas productions

click: the worst movie - big joel

youtube: manufacturing authenticity (for fun and profit!) - lindsay ellis

#mine #will update as i think of more !

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endlessdoom · 3 years

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Deadly Standards

By various authors

E1 Replacement for Ultimate Doom

2018

https://www.doomworld.com/idgames/levels/doom/Ports/s-u/standard

E1M1 - No Crates On Phobos by Liberation

The first map in this set is an intricate and stylish tech-base that successfully combines indoors with outdoors, giving excellent progression and offering tight, fast-paced combat with good progression thanks to perceptible and balanced enemy management as well as item positioning. A solid tech-base map that works as a perfect introduction. 4/5

E1M2 - Janus Complex by Capellan

A solid sequel expands in difficulty and layout but always remains stable, giving the player a good medium-length map with light challenge. 3/5

E1M3 - Main Reckon Facility by riderr3

What would be a fantastic map with realistic structures and good gameplay, is marred by a cryptic progression and a poorly understood sense of progress, with almost no clues as to what to do at the end. The rest of the factors at least hold up, offering excellent visuals and fun encounters, as long as you know which way to go. 2/5

E1M4 - Research Station by The_SloVinator

Simple and attractive. Its style is quite reminiscent of the classic E1, with excellent use of lights and combat based on teleporter traps that give it a nice change of style. 3/5

E1M5 - Third Moon Lab by CarpetolA

More tech-base! We have a simplistic map with more darker visuals and a good use of lights that work together to create a more tight and spooky ambience. 3/5

E1M6 - The Inner Port by mrthejoshmon

A short-bite-sized level with more height and lots of silver. Pretty simple and pleasing to the eye. 3/5

E1M7 - Eden Log by Angry Saint

Not a bad map at all. A large techbase that consist of lots of open-areas and fights that range from your typical corridor standoff to some more open and bloody battles. 3/5

E1M8 - Obliterate Anomalies by Spectre01

The last map swallows you whole into a gigantic arena of pure madness. What is otherwise and impressive-looking map, gets shaken by a very loose progression system and over-detail, to the point that I thanks my perfomance. Also doesn’t help that the first keys are pretty much hidden away. I’m sorry, but I just dislike this type of maps. 2/5

E1M9 - To the surface by riderr3

Simple, compact yet very fun thanks to a more simplistic layout that offers continous playtime and lots of fun little encounters that slowly scale in difficulty and change behavior. Pretty nice. 3/5

End.

Overall:

» A replacement episode for the original Doom, with a design as pleasing as a solid gampleya that evokes fantastic feelings of classic years of yesteryear. 9 maps in total and each of them a solid effort worth playing for any reason.Visually it's a fascinating work of art that is a welcome veneration of the tech-base genre; the maps are visually sweet to look at thanks to an excellent use of classic textures and a compact design that creates an atmosphere that allows you to more closely appreciate the details and design, as well as the comprehensible layout (on most maps) and the variety of synergistically connected rooms on each map. With little divergence from a general style, each author has decided to use small differences in design to give them an identity that fits the general rule of E1. The bases are sometimes compact, closed with a multitude of computers and darkness; other times they are open, large, with plenty of outdoors areas and a multitude of secrets, and of course, the ending is, this time, a little more complicated than the classic anomaly of always, closing the set in a different tone.Deadly Standards, despite the name, is not as deadly as we might expect. The fact that it's an episode for the first Doom means we'll have fewer enemies than before, but the lack of variety is rewarded with good enemy management and careful positioning designed to offer a solid challenge without going too far. A zombie-fest, you'll encounter hordes and hordes of these enemies, which are entertaining to kill, admittedly. On the other hand, if that bores you, the final map will throw you for a loop by giving you one last surprise. Personally I hated it, but more than one person will like it.You can't ask for more or less. This WAD manages to create the perfect balance between warmth and number. The 9 maps are solid, some may be more cryptic to explore than others, but each one offers something new without being too different from the rest, creating a good sense of cohesion that sticks and is enjoyable.

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davidshawnsown · 3 years

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MESSAGE IN HONOR OF THE 76TH YEAR ANNIVERSARY OF THE HISTORIC RAISING OF THE NATIONAL FLAG OF THE UNITED STATES OF AMERICA ATOP THE SUMMIT OF MOUNT SURIBACHI IN IWO JIMA

Ladies and gentlemen, to all the people of the United States of America and Canada, to all our remaining living veterans of the Second World War of 1939-1945 and of all conflicts past and present and their families, to our veterans, active servicemen and women, reservists and families of the entire United States Armed Forces and Canadian Armed Forces, and to all the uniformed military and civil security services of the Allied combatants of this conflict, to all the immediate families, relatives, children and grandchildren of the deceased veterans, fallen service personnel and wounded personnel of our military services and civil uniformed security and civil defense services, to all our workers, farmers and intellectuals, to our youth and personnel serving in youth uniformed and cadet organizations and all our athletes, coaches, judges, sports trainers and sports officials, and to all our sports fans, to all our workers of culture, music, traditional arts and the theatrical arts, radio, television, digital media and social media, cinema, heavy and light industry, agriculture, business, tourism and the press, and to all our people of the free world:

Today, the whole world remembers among others the arrival in 1778 of the great Prussian general Baron Friedrich Wilhelm von Steuben to the Continental Army quarters in Valley Forge, the beginning of the historic siege of The Alamo in 1836, and the anniversary of the 1847 Battle of Buena Vista, the 1905 formation of the Rotary Club, the beginning of the February Revolution and the formation of the Federal Communications Commission in 1917, the Miracle on Ice of 1980 and the attempted coup by several officers of the Spanish Civil Guard in the Cortes in 1981.

Today we join in the celebrations of the 51st anniversary since the declaration of the Republic of Guayana in 1970, the one hundredth and third year anniversary of the 1918 declaration of independence of the Republic of Estonia and the thirty-seventh year anniversary of the independence of Brunei Darussalam in 1984, as well as the 7th year anniversary of the closing of the Sochi Winter Olympic Games and the victory of the Ukrainian Euromaidan Revolution of 2014.

On this day in 1945 the Red Army and the Polish Armed Forces in the East ended the Nazi occupation of Poznan, the Philippine capital city of Manila was liberated from the Japanese despite its wartime damages and at the cost of so many lives, the Los Banos internment camp in the namesake town in Laguna Province was found and its POWs then liberated by a joint force of Filipino guerillas and American soldiers from the US Army’s 11th Airborne Division, and the RAF Bomber Command destroyed Pforzheim from the air.

Today marks 76 years since Easy Company, 2/506, 3BCT, 101ABN departed from Hagenau in northeastern Alsace, France, after weeks of helping its liberation and reinforcing its defenses against any remaining German resistance. Easy Company’s deployment in this part of France just miles from the Rhine was marked by times of sadness and joys among its men, most notably the return of Market Garden veteran David Webster and the promotion of some of its veteran officers.

And today, ladies and gentlemen, in these changing times in the long history of our planet and of all humankind, together with the thousands of serving men and women of the United States Marine Corps, we celebrate 76 years since the historic moment that forever has been a part of the heritage of the Marine Corps and the long 245 year history of the United States of America: the diamond jubilee anniversary since the very day that the national flag of the United States of America was raised on the peak of Mount Suribachi in the Japanese island of Iwo Jima. What we are celebrating today is now in the clear light of the recent revelations of the United States Marine Corps which was made public on June 23 of 2016 and later on in 2019 thanks to efforts made by historians and history experts and resource persons concerned, ending years of speculation and mystery surrounding the events of this this battle that is, for all generations, part of the history of not just the Corps, but of the entire United States Armed Forces. It is a battle that deserves our profound remembrance and commemoration, and a historic moment that will be always remembered for all our generations.

The six Marine flag raisers of Iwo Jima, Sergeant Michael Strank, Corporals Harold Keller and Harlon Brock, and Privates First Class Ira Hayes, Franklin R. Sousley and Harold Schultz, all of the 2nd Battalion, 28th Marine Regiment of the 5th Marine Division, all participants of the heroic landing and battle for the liberation of Iwo Jima from the military might of the Empire of Japan, are the very people that represented the hundreds of thousands of Marines of V Amphibious Corps who fought on that island together with their fellow servicemen of the Army, Air Force, Navy, Coast Guard and the National Guard Bureau. It was these six servicemen who represented the millions of Marines who fought in the Pacific Theater of Operations, as well as serving in Navy and Coast Guards vessels in all theaters of the war. It was they who represented the diversity of peoples from all walks of life and from ethnicities and nationalities who during the long war served as part of the victorious armed forces, resistance organizations and security forces of the Allied Powers. It was they who on this day 76 years ago, chosen by destiny to stand on behalf of millions of Americans, flew the flag of the nation on the summit of Mount Suribachi and became part of the long and cherished memories of a victory that will last forever. It was this flag raising that would be forever be immortalized in the 2005 movie Flags of our Fathers.

These six men, who came from different parts of the United States, were the ones who 76 years past raised our symbol of liberty and independence in the summit of Mount Suribachi, motivated by the foremost wishes of the then Secretary of the Navy, James Forestal, that the Iwo Jima campaign be symbolized by the flying of the national flag not just as symbol of the power and dignity of the Armed Forces and as proof of the American liberation of the island, but also to show the world that the United States Marine Corps has once more performed to the world its primary responsibilty of perfoming amphibious conventional and un-conventional warfare operations for the sake of the defense of the people and government of the United States, its foreign interests and business abroad and in defense of its overseas diaspora and the freedoms and liberties of millions all over the world. The historic flag raising that we remember today is just part of a long history of faithful service of the branch of the Armed Forces to the nation and people of the United States from its beginnings in 1775 during the Revolutionary War under the authority of the Second Continental Congress to overseas operations today in Iraq and Afghanistan and in support of federal, state and regional authorities in fighting the COVID-19 pandemic and the ongoing vaccination program in the United States and it its military bases abroad. Once more it honors the memory of the heroes and martyrs of one of the greatest military operations in United States history, and the legacy of the heroic valor shown in this island has been forever immortalized in stone in the Marine Corps War Memorial in Arlington, Virginia, for over six and a half decades.

As we recall the flagraisers of Iwo Jima, we today recall the legacy they left to our country and people on this very day in our history as they threw open the doors of victory and peace that would in just a few months be upon the world with the victory over the Axis Powers, first in Europe and Northern Africa, and then in the Asia-Pacific.

We will never forget that these six Marines, whose contributions to the legacy of the defense and security of our nation were made on this day, were among those who were worthy to ensure the fierce physical and mental training required to be United States Marines and thus made themselves part of the long and distinguished history of this institution. In these changing times of our history, by our acts of remembrance and honor in memory of the events of the long battle for the liberation of Iwo Jima against the forces of the Empire of Japan, we never forget to remember the heroic actons done during the days of this great battle and most especially the six thousand American military servicemen who perished in this tiny island for the sake of the freedoms, dreams and aspirations not just of the people of the United States of America but also of all the millions of people of the free world. These Marines, together with those who served with them in V Amphibious Corps, are once more a reminder to the nation and the world of the patriotic and internationalist duties of the men and women of our armed forces, whether be active or reserve, together with the National Guard and the state defense forces and state naval forces, in the defense of the independence and liberty of millions all over the world and of both American and common international interests, and the responsibility of all Americans to help not just in national defense but in the building of national prosperity, security and safety, preservation of the country’s religions and cultures, safekeeping the enviroment and the sites of national importance, and becoming active in sports and recreation, as well as in spreading the values of our nation and people to millions all over the world.

The legacy left today by these men in scarlet and dark blue, which has become a part of our military historic and patriotic patrimony and heritage as a people and nation, and a eternal memory of the millions who fought and died in the Second World War, reminds us that as one people we owe a lot to the men and women of our Armed Forces and the National Guard and their veterans in the defense of the ideals of freedom and independence of our country and its continued existence amongst the community of united and independent nations of the world.

Ladies and gentlemen and people of our free world:

As one united people, in the midst of the worst pandemic in human history, it is with deep respect and gratitude, with humble respect and our deepest thanks not just to those who died but also to those who survived and our remaining veterans of this great battle living among us, as the whole world remembers and celebrates this very moment in our history and most of all in the history of the glorious United States Armed Forces, we, in remembrance of all the fallen and with profound thoughts of all who serve today in the armed forces and in our uniformed security and civil defense services, greet each other and the men and women of the United States Marine Corps as we celebrate together as one nation and one free world the seventy-sixth year anniversary of the historic raising of the national flag of the United States of America by these 6 brave Marines of the 5th Marine Division, risking even to lose their very own lives in the defense of their country and her people. The diamond legacy left by this historic act remains part of our long history and the patrimony of her Armed Forces, and thus is one of the greatest defining actions by the millions who served during those critical times of our history, those who are collectively called as our “greatest generation” of the armed forces, resistance organizations and our civilian security services. Only few remain living among the thousands who survived the battle and helped win one of the greatest operations in the military history of the United States, and today we thank these remaining living veterans of Iwo Jima, who 76 years ago helped bring forth the victory over the Empire of Japan in the Asia-Pacific, for their service to the nation and for their contributions to the victory won in this part of the world. To them, we owe our gratitude and pledge thus to honor the legacy they left behind in our history and to forever remain committed to fight just as they did long ago towards a better world.

May this great moment, which forever belongs in the annals of American military history, be for all generations a moment that will be forever a part of our history and sacred patrimony, and a part in the long 246-year history of the United States Marine Corps and the 74 years of the modern United States Armed Forces, truly a sacred and memorable moment of national pride that will be forever be remembered and never forgotten in our hearts for years and decades to come and in the hearts of all the people of the free world, and most of all of the American people, a memorable moment that will be treasured to our children. For this very immortal battle, one of many Allied victories in the Pacific Theater of Operations and one of the greatest military victories of the United States Armed Forces in this part of the world during the Second World War, shall be remembered as the one very battle that showed the world the bravery, courage and determination of the United States Marine for the defense of the American nation and all the free peoples of the world, and for the preservation of the values of freedom and liberty on which the United States was formed, thanks in part of the courage and gallantry shown by the US Marines in the early years of the nation that it helped to build. Today, as we honor this historic anniversary of such a great moment by these 6 Marines for our country and Corps, we once again recall the sacrifices made by the men and women of our Armed Forces in the victory won in this battle and many other combat operations in the Second World War in Europe, northern Africa, the Middle East and the Asia-Pacific, flying the flag that today was raised in triumph in the peak of Mount Suribachi and in all our installations and military bases, in the sacred cause of the defense of the republic and her people and the cause of independence and liberty of the peoples of the free world. Once more, we today reaffirm that no matter what the dangers this world might face, with the strength and determination of the thousands of servicemen and women in the Armed Forces and the National Guard Bureau, and the inspiration of our heroes of the past, we will overcome all trials and disasters, and forge onwards towards the goal of a better tomorrow for our future generations.

In closing, may the eternal memory of these brave 6 Marine flagbearers, who risked their futures and their lives for the sake of our liberty 76 years ago when they raised the very symbol of our freedom, sovereignity and independence, be honored all the more by our efforts by all of us today, the people of this great land together with the free peoples of the world, everyday and by the generations to come – the very eternal memory of them and of all the millions who fought in the Second World War who will never be forgotten and will be honored for all time, in very age, century upon century, for the peace of our world and for the future of humanity!

And may this historic moment live on the hearts of the millions of American people and forever remain a celebration worthy to be honored as forever a part of the history and patrimony not just of the United States Marine Corps and the United States Armed Forces, but also as a great moment in the history of our great independent homeland the United States of America!

ETERNAL GLORY TO THE FALLEN OF THE BATTLE OF MANILA AND THE BOMBING OF PFORZHEIM!

LONG LIVE THE 37TH NATIONAL DAY OF BRUNEI DARUSSALAM, THE 51st ANNIVERSARY OF THE DECLARATION OF THE REPUBLIC OF GUAYANA, AND THE 7th ANNIVERSARY OF THE CLOSING OF THE SOCHI WINTER OLYMPIC GAMES AND THE VICTORY OF THE EUROMAIDAN REVOLUTION!

ETERNAL GLORY TO THE MEMORY OF THE 6 MARINES WHO ON THIS VERY IMPORTANT DAY IN AMERICAN HISTORY EXACTLY 76 YEARS AGO ON THIS VERY DAY IN OUR HISTORY, ATOP THE PEAK OF MOUNT SURIBACHI IN IWO JIMA, RISKING EVEN TO SUFFER DEATH BY ENEMY GUNFIRE, BAYONETS AND GRENADES, RAISED THE VERY SYMBOL OF FREEDOM AND LIBERTY, OUR GLORIOUS NATIONAL FLAG OF THE UNITED STATES OF AMERICA!

ETERNAL GLORY AND MEMORY TO THE HEROES, MARTYRS AND VETERANS OF THE GREAT BATTLE OF IWO JIMA, ONE OF THE GREATEST BATTLES EVER FOUGHT BY THE MEN OF THE UNITED STATES MARINE CORPS!

ETERNAL GLORY TO THE MEMORY OF ALL THE VETERANS, ALLIED HEROES AND FALLEN OF THE SECOND WORLD WAR IN THE PACIFIC THEATER OF OPERATIONS!

LONG LIVE THE GLORIOUS, INVINCIBLE AND LEGENDARY UNITED STATES MARINE CORPS, ALWAYS FAITHFUL TILL THE END FOR THE PEOPLE AND THE ENTIRE UNITED STATES OF AMERICA AND OF THE FREE WORLD!

GLORY TO THE VICTORIOUS PEOPLE OF THE UNITED STATES OF AMERICA AND HER UNIFORMED SERVICES!

AND FINALLY, GLORY TO THE ARMED FORCES OF THE UNITED STATES OF AMERICA, DEFENDERS OF OUR FREEDOM AND LIBERTY AND GUARANTEE OF A FUTURE WORTHY OF OUR GENERATIONS TO COME!

May our Almighty God bless our great country, the land of the free and the home of the brave, the first of the free republics of our modern world, our beloved, great and mighty United States of America!

Semper Fidelis! Oorah!

1800h, February 23, 2021, the 245th year of the United States of America, the 246th year of the United States Army, Navy and Marine Corps, the 127th of the International Olympic Committee, the 125th of the Olympic Games, the 80th since the beginning of the Second World War in the Eastern Front and in the Pacific Theater, the 76th since the battles of Iwo Jima and Okinawa and the victories in Europe and the Pacific and the 74th of the United States Armed Forces

Semper Fortis

John Emmanuel Ramos

Makati City, Philippines

Grandson of Philippine Navy veteran PO2 Paterno Cueno, PN (Ret.)

(Honor by Hans Zimmer) (Platoon Swims) (Rendering Honors)

#hbo war #battle of iwo jima #raising the flag over iwo jima #the pacific #flags of our fathers

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rhonamay13-blog · 5 years

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history about music videos

Lately I’ve been researching a lot about music videos and thought it might be interesting to post a small and incomplete history of the wonders of this medium. The objective of the post is to briefly outline its evolution and provide visual references to better comprehend where we are today.

This is only an introduction to future posts that will deeper analyse the topics of: music videos before television, the influence of early Russian cinema in what we commonly see nowadays as the norm for music video (and I would love to do a post on each director and their specific characteristics).

I’m very biased towards certain directors that create a personal vision through works that span multiple artists and years. Thus I will only marginally focus on very known directors that mostly developed the mainstream music video aesthetics.

I divided the post in 4 eras to simplify the reading. They are by no means official divisions and do not in any matter convey the complexity of such a rich and diverse history. Feel free to jump to whichever interests you the most. This is how I divided the post:

Early era

Sorting out what is what

Video killed the radio star

The rise of the directors

The Youtube Era

With that out of the way, turn up the volume, close all tabs, and let’s board on the history of music video!

The early era (? – 1965)

The first news when music first merged with film was in 1894 when a sheet music publisher hired electrician George Thomas to synchronise a live performance with a magic lantern that would show projected images. This became very popular at the time and if you ever have the chance to see a magic lantern in a museum it will surely blow your mind. The quality of glass plate photography is still far beyond any digital projection available today.

1927 – The Jazz Singer

If you were working in the late 20s and 30s in Hollywood your life was certainly going to change. The silent era of cinema was beginning to fall and a whole industry that was still developing its own language had to renovate itself and start from zero on how sound could integrate the films. At the time lots of film theorists claimed that cinema ended at this transition. For others this was a necessary step to endure through and to try to understand how sound could affect the moving image.

The Jazz Singer was the first film to sync audio and image. This meant that for the first time you could actually see a music performance that wasn’t live! Up until then you could only hear your artists, see a picture of how he looked like or be lucky enough to see them live.

1930 – Crying for Caroline (Spooney Melody)

The Spooney Melodey series were the first to introduce the concept of short-films mixing live-action footage of the performer. It was shown at the movie theaters before the main presentations. So now you didn’t actually need to see a full feature talkie to here music and sound, you could see the performer playing in quick segments of a music! Magic!

1958 – Le poinçonneur des Lilas (Scopitone)

The iPhone of 1958. If you dreamt of watching music videos outside a movie theater the inventor Serge Gainsbourg had the newest gadget for you – the Scopitone! During the 60s these jukeboxes started popping-up all over bars and nightclubs around Europe and in the US.

A jukebox that played 16mm film synced with audio (technology invented for the WWII) was the rage of the 60s. Francis Ford Coppola even lost a small fortune by heavily investing in a Scopitone competitor in the US, and Robert Altman directed a short Scopitone film also.

In questions of film language the Scopitone brought a very interesting dimension to the table and is heavily linked to the the video era and small screens like our iPhones– framing and preparing for a small screen. We see almost no wide angle shots and instead focus on more medium to close-up shots of the artist playing, something that had to be planned since the screen will be crammed in a corner with lots of people around it.

Sorting out what is what (1965-1974)

With film technology and 16mm getting a little bit cheaper and more accessible, the growth of broadcast television and consequently the rise of pop culture the late 60s and early 70s was a time of exploring all these new phenomenons as a way to promote the music artist.

1965 – We Can Work it Out (The Beatles)

Considered to be the first music video to broadcast on television. The Beatles were already making some very popular full feature movies and were looking for a way to promote their record releases without having to make in-person appearances (primarily the USA). The concept is fairly straight forward and was meant to blend in with the television shows that were being made at the time.

1966 – Paperback Writer (The Beatles)

Together with the director Michael Lindsay-Hogg music video starts its baby steps to distance itself from the recording of live-perfomance and start exploring more options in the cinematic language realm.

1966 – Subterranean Homesick Blues (Bob Dylan)

The precursor to the lyric video?

1967 – Strawberry Fields & Penny Lane (The Beatles)

Long live the director Peter Goldman! Finally we start seeing some avant garde and underground techniques that were already being used for decades in cinema in a music film.

1968 – Interstellar Overdrive (Pink Floyd)

With the path being open by Goldman and his films for The Beatles, artists and labels start to finally interact more with experimental filmmakers. As a result music films start consolidating itself as a valid platform for more audacious experimentations in the aesthetic realm. What was previously only relegated to art houses is now being seen by millions of people.

1968 to 1974 – The era of experimentation in film

Rolling Stones, Pink Floyd, David Bowie, The Kinks, etc. I’ll leave this whole era to another post since there are so many things happening here to briefly explain. Free from constraints of promotional requirements (thanks Beatles and Goldman again!) and open to experimentations this was one of the most interesting eras to explore how music and film worked together.

Video killed the radio star (1974- 1992)

The endless possibilities of video revolutionises how music video are made and open up a door for endless possibilities. Together with the creative opportunities a whole new platform rises to once and for all kill the radio star.

1974 – Bohemian Rhapsody (Queen)

The music video that practically invented MTV 7 years before its launch. This song is “widely credited as the first global hit single for which an accompanying video was central to the marketing strategy”(Fowles, Paul (2009). A Concise History of Rock Music. Mel Bay Publications, Inc. p. 243.)

1980 – Ashes to Ashes (David Bowie)

The most expensive music video made until then, and also one of the most iconic. Bowie’s interest in exploring a more complex nature turns this film a stepping stone to deeper layers of meaning in music videos.

1981 – MTV LAUNCHES – Video Killed the Radio Star (The Buggles)

The first music video aired on MTV prophesizes the impact that it will have in the music industry. Music videos become one of the main platforms for new artists to gain attention and for consolidated artists to show their latest works. The DIY video approach that initially inundated the MTV in the early 80s soon fade toward huge production budgets and an era where music video cost more than feature films.

1983 – Thriller (Michael Jackson)

Premiered worldwide on MTV, Michael Jackson and John Landis bring back the idea of blending films with music video (remember the Beatles feature films from the 60s?).

The rise of the directors (1992-2004)

Almost 10 years after its launch MTV in November 1992 began listing directors with the artist and song credits reflecting the fact that music videos had increasingly become an auteur’s medium. Directors like David Fincher (that in the 80s were making music videos) focus on directing feature films while a whole new breed of young and talented directors take the scene to express their unique vision.

Spike Jonze

What I personally love about Spike Jonze is how good he explores the american visual vernacular (TV shows, ad campaigns, B-movies) turning them inside out and also how in his works body movement surpasses choreography to take a life of its own. Both themes come from the director’s natural interest and the dichotomy between his persona Spike Jonze and his real name Adam Spiegel.

Adam Spiegel grew-up in Maryland and is part of the family that runs the catalogue business Spiegel (a multibillion dollar company founded in 1865). Nevertheless this never stopped him from pursuing his passions. He got nicknamed Spike Jonze in a BMX shop where he worked and ended up moving to Los Angeles to work on a skate magazine directing skate videos, and after directing music videos and films.

In his work we can see both Adam Spiegel through his references to the american imaginary and Spike Jonze, the free-spirited skateboarder kid where movement reigns.

*If you’re interested, this article is quite good on who is Spike Jonze.

1994 – Sabotage (Beastie Boys)

Beastie Boys didn’t feel like going through a major production and opted instead for Spike Jonze and his low budget idea of going around LA in a van shooting a music video without any license. The result is one of the most iconic music videos from the 90s in a throwback to the traditional cop American television series.

1994 – Buddy Holly (Weezer)

Weezer in Happy Days (a tv show from the 70s)? My favorite Spike Jonze music video. Mind bending in the 90s and still today.

1997 – ElektroBank (The Chemical Brothers)

If one video clip was to sum-up the intermingling between Jonze’s influences and main themes this would be it–the perfect american imagery boiled-up with the body movement as a form of liberation.

1999 – Praise You (Fatboy Slim)

The body movement as the main vehicle of expression! Jonze literally cuts to the basic putting himself in front of the camera together with the invented Torrance Community Dance Group.

2000 – Weapon of Choice (Fatboy Slim)

The same concept as Praise You, just a little bit more elaborated.

Michel Gondry

The director that turns his dreams into imagery. The master of visual techniques Michel Gondry manages to blend reality with dreamlike imagery and a quirky and unique sense of humor into his music videos. The images created by Gondry resemble an invention where the viewer is invited to peep into its inner workings and see how the mechanism turns.

1996 – Sugar Water (Cibo Matto)

One of the signature styles of Gondry is how he plays camera movement and mise-en-scène to create mind bending concepts.

1997 – Around the World (Daft Punk)

Around the Wold is considered by Gondry as the music video he most likes and we can see why– It packs all the elements that he got famous for, the visualization of the music through choreography, a minimalistic set design and dreamlike imagery that later became his signature.

1999 – Let it Forever Be (The Chemical Brothers)

Now blend great mise-en-scène, analog camera movements with VFX and the choreography that and set design that made the director famous two years before and you have Michel Gondry at his best!

2001 – Star Guitar (The Chemical Brothers)

Everything seems normal until it’s not. Till today the idea of how he came with the idea of transforming the view from a train into an audio waveform surprises the spectators, and is a marvel of modern music video.

2002 – Come Into My World (Kylie Minogue)

One, two, three… Kyle Minogue simple stroll through the plaza turns into an oppressive oversaturation of everyday life.

2002 – Fell in Love With a Girl (The White Stripes)

Gondry goes back to being a kid making lego movies fun again!

Other directors

The list of brilliant directors goes on for this period. As covering everyone is just impossible I list a few examples of some that distinctively marked the era with their personal style.

Chris Cunningham – Come to Dady (Aphex Twins, 1997) & All is Full of Love (Björk, 1999)

Dark electronic distopic futures was the mark that Cunningham brought to the end of the 90s.

Floria Sigismondi – Little Wonder (David Bowie, 1996) & Beautiful People (Marilyn Manson, 1996)

Her sensibilities and jittery camera movements gave light to dark textured worlds always lurking in a deeper part of our minds.

Hype Williams – Sock It 2 Me (Missy Elliot, 1997) & Gotham City (R. Kelly, 1997)

The director that almost single handedly created a whole aesthetic for the R&B and Hip Hop music videos. Joining ludicrous concepts with a materialistic approach, Hype Williams is one of heaviest influences to the contemporary music videos.

The Youtube Era (2005-?)

Although you could find music videos on the internet since 1997 it was in 2005 when Youtube launched that the whole music industry had to change. Paired with the fact that MTV by mid-2000s largely abandoned showing music videos to air reality tv shows, Youtube became the home for artists and directors to explore new concepts and reach out to a worldwide audience.

The mid-2000s started to feel like when MTV first launched. A focus on new ideas made low budget music videos go viral and unshackled from the censorship of broadcast television. Ideas that weren’t possible to be broadcasted before started appearing in music videos.

Combine all these factors with the prices of digital cameras going down and the quality of the images produced going up, resulted that by the end of the first decade indie filmmakers could produce images similar to high budget blockbuster movies.

All this comes with an explosion of music videos. Thus never so many videos were produced and the sheer mass of new videos released each day made it even more important to figure out narrative and commercial ways to reach the audience.

Below I select only a few of the directors and music videos that best exemplify some key concepts from the times we are now living.

Ok Go – Here it goes again (Ok Go, 2006)

If Youtube had a son and he became a band it would be Ok Go. The band is probably the example of how a group that nobody ever listens to gets famous single-handedly by their music video (I may be exaggerating seeing that they already had a modest career since 2002). Since their first video in 2005 A million Ways turned into a youtube viral the band has been burning their brains out trying to figure the new head turning idea for the next video clip, from treadmills to a single take zero-gravity fall in a Russian plane.

Ace Norton – Hustler (Simian Mobile Disco, 2007)

Ace Norton have been routinely applauded for their combination of curious imagery and bizarre optical illusions, all of which are likely to elicit more than the occasional double-take. And while an affinity for practical effects, analogue formats, and a largely handmade aesthetic have helped characterize Norton’s output in the past, recently his work has taken on a more narrative quality as can be seen in his recent fashion films.

Romain Gavras – Born Free (MIA, 2010)

Romain Gavras was directing music videos and films since 2001, and got on the map with his music video for Justice. It was Born Free that established his directorial style– the roughness of street and ghetto life with high energy images and a handheld documentary style camera (maybe it’s the influence of his father Costa Gavras and his political movies like Z?). A 9 minute long film that would be hard to pass on any television and stirred the media when it was first launched on Vimeo due to Youtube restrictions at the time.

Although Gavras has now risen to international fame his directorial style is clearly visible through his new films.

DANIELS – Houdini (Foster the People, 2012)

DANIELS is the collective name of directing duo Daniel Kwan and Daniel Scheinert. They’ve established themselves with an incredible body of work that combines very physical comedy, bizarre choreography, and an irrepressibly immature charm. Taking a crazy idea to its extreme and making it cohesive during the whole music video isn’t a easy task, and that’s one that DANIELS have mastered to the point of making a whole feature filmwith the same key concepts that they have worked on their music videos.

Emily Kai Bock – Yet Again (Grizzly Bear, 2012)

Bock developed a style centered very much on powerful emotional character studies, such as the struggling figure skater in her video for Grizzly Bear (above). With a storytelling ability that allows her to switch between music video and documentary seamlessly, her style has taken her from strength to strength as she delves more into narrative with each video. Her recent work for Arcade Fire on “Afterlife” saw her team up again with cinematographer Evan Prosofsky to create a moving portrait of a father struggling to raise his children.

Hiro Murai – Never Catch me Flying (Flying Lotus, 2014)

Hiro Murai’s background in illustration and visual effects means his videos are full of incredibly subtle tricks and motifs, forcing your eyes into every inch of the screen just to make sure you’ve taken it all in. While this alone is enough to make a strong impression, when combined with such compelling visual concepts as he is known for, the results are nothing short of mesmerizing.

Nabil – Hunger of the Pines (Alt-J, 2014)

Nabil Elderkin came to notoriety as a director through his frequent collaborations with Kanye West. Since then, Nabil has become one of the most exciting music video directors of his generation, evolving from still to moving images, creating memorable videos for artists such as Frank Ocean, John Legend, Antony and the Johnsons, Bon Iver, The Foals, and The Arctic Monkeys. With a gorgeous cinematic aesthetic, a strong narrative voice, and more than just a dose of magical realism that binds his work together, his videos never fail to captivate.

The Future

Since 2005 there wasn’t any groundbreaking revolution that significantly changed the way artists distribute music videos so it’s quite hard to predict the future. Last year and mainly in 2006 Virtual Reality technology started reaching consumers around the world. Nevertheless it’s still hard to quantificate its impact since the prices are so high and many are worried that it will be only a fad, and will quickly go away or stay in limited enthusiast circles.

Now more than ever it’s harder and harder to sort through all the crap that is constantly published and find those precious gems that really engage you in a more profound way. Services like Vimeo Staff Picks have gained lots of popularity, and being selected may define the success of your video gaining a wider audience since on Youtube it’s harder to find good quality content.

Thus maybe the future is creating better curation tools to bring to light and to the public music videos that otherwise would be lost. Maybe it’s VR, HDR technology, argumented reality or maybe it’s just something that hasn’t come up yet. The only way to know is now waiting a couple of years while checking out the latest music videos being released 🙂

Obs.: Since it’s impossible to write about every important music video and director please leave on the comments anything that I might have missed.

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gdesignfordisplay · 4 years

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Ten Pioneering Works of Queer Art That Changed History

https://www.anothermag.com/art-photography/9694/ten-pioneering-works-of-queer-art-that-changed-history

1. The Critics by Henry Scott Tuke (1927)

Slade-trained artist Henry Scott Tuke made his name painting young Cornish men bathing, swimming and sunbathing – images that undoubtedly gave distinctly homoerotic pleasure to his many male patrons. The Critics is one of Tuke’s most successful. Two undressed young men resting on the seashore are seen from behind, completely unaware of their archetypal allure as they joke with a third youth obscured by the water. Sensual in subject matter, tonality and brushstroke, the viewer’s perspective is that of the adoring voyeur reminiscent of E. M. Forster’s novel Maurice.

2. Going to be a Queen for Tonight by David Hockney (1960)

In the early 1960s Hockney’s abstract Going to be a Queen for Tonight might easily have been mistaken for an angry republican protest. For the queer few however, it playfully located ‘queening’ as a perfomative trope, as easily slipped on as off. There are scrawled words and numbers on the painting’s surface, a vertical and a horizontal repetition of the word Queen and a five-digit number. Initially the faceless numbers provoke anxiety: the Queen is branded as a prison inmate. Yet like Queer, Queen and ‘Queening’ are also archly reclaimed – just as Susan Sontag would soon reclaim Camp in her famous Notes on Camp, the five-digit number a head count of all the subversive Queens out on the town tonight.

3. Self Portrait and Nude by Laura Knight (1913)

Described by critics in 1913 as “vulgar”, the self portrait of Nottingham-trained artist Laura Knight is confident in a ‘hidden triptych’ that claims the power of her own creative gaze, cast sensuously upon a delicately turned female nude knowingly reproduced on the canvas to their left. With art schools of the period forbidding female students from attending life classes and reminiscent of a character from D. H. Lawrence’s novel Women in Love, Knight improvised at home with her model friend Ella Naper, arresting and reversing centuries of what the feminist critic Laura Mulvey called the ‘male gaze’.

4. Drawing of Two Men Kissing by Keith Vaughan (1958-73)

This simple, accomplished pencil drawing on paper is the most radical piece on display; its delicate, ephemeral quality only enhancing its historic importance. Two men kissing with evident passion is, to say the least, a subject profoundly uncommon in the history of European art. Drawn briskly but with deliberate care, Vaughan’s sketch was conceived during a decade of fear and completed in a decade of liberation. That the sketch is black-edged, however, feels prescient. The AIDS crisis of the 1980s soon returned fear and pain to a new generation of queer men.

5. Paul Roche Reclining by Duncan Grant (c. 1945)

Bloomsbury artist and Charleston-resident Duncan Grant spent much of his life painting the male nude. His monumental Bathing (1911) is on display here too yet his portrait of a reclining Paul Roche best displays the sensuality of Grant’s vibrant Post-Impressionist palette. Apparently sleeping, Roche provocatively arches his back, protrudes his powerful chest and parts his legs wide like the dying Adonis. An invitation to look is explicit, but the touching – at least for Grant – proved rather more difficult (Roche was ordained to the Catholic priesthood two years before the portrait was painted and later married).

6. Figures in a Landscape by Francis Bacon (1956-57)

In life and art, Dublin-born Francis Bacon enjoyed the courting of jeopardy and the elision of sex with violence. In his pictures wrestlers become lovers; lovers become enemies. Rather than courting, lovers claw at each other’s skins in lost desperation. In a decade where homosexuality could prove a prison-sentence, the double bed here becomes a crime scene. As in James’s Baldwin’s contemporaneous novel Giovanni’s Room, criminalised love is painful, and lovers can be brutal. The title invites visions of Arcadian nudes, yet here the hostile outside world becomes internalised, the figures mutilated aliens trapped in a filthy (prison) cell.

7. Sappho and Erinna in a Garden at Mytilene by Simeon Solomon (1864)

Prominent Pre-Raphaelite Simeon Solomon was born in London to an artistic Jewish family who encouraged his training at the Royal Academy. A pivotal figure of the Victorian avant-garde, Solomon was twice arrested and imprisoned because of his sexuality. The damage these scandals proved to his artistic career forced him into the workhouse for the last 20 years of his life where he understandably succumbed to alcoholism. His Sappho and Erinna, however, is a bold and joyful poetic manifesto of same-sex love and desire symbolised by the commitment of fidelity, the beauty of music and poetry, the blessing of the gods, the haven of a sheltered garden and the potential of a new spring.

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tempi-dispari · 5 years

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New Post has been published on http://www.tempi-dispari.it/2019/09/16/il-videoclip-di-c-r-g-casa-renato-guttuso-sesta-tappa-del-tour-perpetuo-di-perfomance-musicali-degli-elettronoir/

Il videoclip di “C.R.G. Casa Renato Guttuso”, sesta tappa del tour perpetuo di perfomance musicali degli Elettronoir

Prosegue “Panorama Sonoro / This Land is my land”, il tour perpetuo di perfomance musicali estemporanee degli Elettronoir in luoghi d’Italia poco conosciuti, dimenticati o alterati. La sesta tappa è a Bagheria, in provincia di Palermo, nella terra di Renato Guttuso: il video, il sesto di questo tour online a partire da oggi, è girato all’interno della Casa Museo Guttuso ed è dedicato alle opere di dell’artista bagherese, che sembrano rompere il silenzio di un’apparente decadenza. Opere di un pittore visionario, di un pittore del popolo, di una vera e propria pop star italiana, celebrata, ambita, esportata come esempio di pittura neorealista e pop, Guttuso è stato un confidente del sentimento profondo di una terra, di un tempo, di un taglio visivo unico ed irripetibile. Sfrontato, eccessivo, realista, psichedelico. Eccolo: https://youtu.be/b6em75-iBoY

“Panorama Sonoro / This Land is my land” è un progetto di video documenti musicali live, improvvisati al momento, senza post-produzione, ripresi e montati col linguaggio del videoclip con l’obiettivo di trasmettere solo impatto sonoro, ambientale ed emotivo, rigorosamente senza pubblico con l’obiettivo di riportare l’attenzionedel pubblico in luoghi d’Italia poco conosciuti, dimenticati o alterati. Il pubblico, come i precedenti tre video, verrà raggiunto solo dopo con l’uscita dei videoclip sui profili social di Facebook, YouTube e Instagram della band.

I primi cinque video (tutti con la regia di Guido D) sono: “Vasca” (https://youtu.be/5pHwTA526JY), una perfomance situazionista che si è svolta a Località Bagno Vignoni (Siena) in una vasca termale del 1500, incastonata dentro un borgo di rara bellezza all’interno della Val d’Orcia (Siena), oggi ridotta a location per aperitivi e ristoranti turistici: un live che racconta la poesia ed i set cinematografici delle opere di Bertolucci, Tarkovskij, i fratelli Taviani, fra tutti. La corsa della persona (è il regista) in collina, nudo e scalzo, con una temperatura di -4 gradi, è stata un’improvvisazione del momento, durante il live.

Il secondo è “Pozza” (https://youtu.be/dKg6Y1xNs2g), sempre a Località Le Pozze, Bagno Vignoni (SI), ma questa volta sotto il borgo, in particolare sotto la vasca del primo video: lì si trovano altre vasche termali, fino a pochi anni fa, libere piscine per il pubblico. Con le concessioni date agli alberghi del paese sovrastante, sono state ridotte a pozzanghere di acqua fredda. Raccontano nel calcare sedimentato in centinaia e centinaia di anni, forme di vita, insetti, semi e tracce di piante custodite e prigioniere di una lenta sedimentazione. Il concerto è avvenuto a stretto contatto con le presenze e le memorie conservate fra le rocce formate in epoche lontane, grazie alla caduta costante di acqua solfurea, calda. I prossimi videoclip saranno tra giugno e luglio per riprendere a settembre.

Il terzo video è “Fabbrica”, girato a Località Pienza (SI), all’interno di una fabbrica abbandonata, per raccontare il concetto di industria moderna calata come un meteorite in una realtà rupestre: l’alienazione e l’abbandono, la scommessa persa fra linguaggi contrastanti. Il set completo è durato 50 minuti circa, il video proposto è un estratto di 3 minuti e 40 di musica originale: https://youtu.be/Bz4sF8asNJ4

“Cripta” è stata la quarta tappa: in questa clip, girata in Località Abbadia San Salvatore (SI), la band racconta della cripta longobarda dalla quale si erge un’intera abbazia, luogo di passeggio distratto per pochi casuali turisti. Un volume a forma di crocifisso, perimetrato da trentadue colonne ognuna diversa, ognuna con il proprio stile. L’austerità dell’eleganza, il raccoglimento laico e contemplativo, come un caleidoscopio, come la psichedelia. Una leggera sovrapposizione di luci e echi. Il set completo è durato 45 minuti circa, il video proposto è un estratto di musica originale: https://youtu.be/zuSYgPYkX8Q

Il quinto video è girato alla Riserva Naturale Duna Feniglia (Grosseto): una spiaggia dentro una riserva naturale, un luogo di villeggiatura d’élite. Uno spazio che racconta di un pittore, che nel tentativo disperato di recuperare alcune tele trafugate, rincorse dalla spiaggia la nave diretta in Spagna che le trasportava. La leggenda narra che non riuscendo nell’impresa, si accasciò ‘lasciandosi finire’. Così morì Michelangelo Merisi detto Il Caravaggio’”. Il set completo è durato 50 minuti circa. Il video proposto è un estratto di musica originale: https://youtu.be/zqtebeh9m3c

“Come Woody Guthrie (This Land Is My Land), – raccontano gli Elettronoir – durante gli anni della depressione economica USA, girava per strada con la chitarra arrivando ovunque per suonare le sue poesie di protesta ed amore, così noi abbiamo intrapreso questo viaggio per contribuire con la nostra produzione a mettere sotto i riflettori ambienti da rivitalizzare attraverso sonorizzazioni ambientali, uniche ed irripetibili.

I videoclip saranno visibili su

FACEBOOK: https://www.facebook.com/groups/298563201019992/?ref=share

INSTAGRAM: https://www.instagram.com/marco_elettronoir

YOUTUBE: https://www.youtube.com/channel/UCj3KchU-gHynXh9IHEr9uzA

SITO: www.elettronoir.com

Gli Elettronoir nascono nel 2005 dopo la fine di una storia d’amore. Da allora hanno prodotto 5 album in studio (l’Ep: –ELETTRONOIR -Italia, 2007; Dal Fronte Dei Colpevoli – Italia, 2005; Non Un Passo Indietro – Italia, 2008; E Che Non Se Ne Parli Più – Italia, 2014; Suzu – Italia, 2017) e suonato un centinaio di volte in tutta Italia: tra i più importanti il live davanti a 30 mila persone in occasione dell’Imola Heineken Festival in apertura ai Depeche Mode e Morrisey. Hanno scritto e prodotto colonne sonore per spot internazionali, spettacoli teatrali, mostre, cortometraggi e lungometraggi, contribuendo alla vittoria del 30esimo Torino Film Festival del film “Fatti Corsari” (Italia, 2012), come del Berlino Film Festival con “L’Ultimo Tango” (Italia, 2015). Sonorizzato le colline del Chianti ricevendo una menzione speciale da Art Tribune che li ha catapultò alla Biennale di Venezia. Sono stati più volte ospiti in televisione e in radio, da Red Ronnie, su MTV e web TV. Hanno suonato con Rachele dei Baustelle, Agostino Maria Ticino, Birgan Valentin, e collaborato con il maestro Roberto Catani (il più grande animatore fumettista italiano), con Fausto Paravidino (regista, attore, drammaturgo), con Stefano Petti ed Alberto Testone (registi), Giona Nazzaro (produttore e critico cinematografico), Paolo Mannarino (regista), Francesco Paolucci (regista), Corso Codecasa (regista, produttore), il soprano Michela La Torre, Emergency, la casa di moda Blu Marine, Air BnB, Sky, Radio DJ, Nissan, Ubi Banca, Comune Di Roma, con gli scrittori Carlo Lucarelli, Mauro Smochovich, con il poeta Stefano Zuccalà, con il fotografo Stefano Corso, il VisualArtist Robeat ed il Videomaker Fotografo Guido D.

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jtogo-brisby-blog · 5 years

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Tautai First Friday Talks with Albert Wendt, Jasmine Togo-Brisby & perfomance by Sema

As part of my daughter’s social studies class – they are required to do a presentation entitled “origins of me”. On Wednesday morning she says “Mumma...what’s the quickest and easiest way to describe what a south sea islander is?”

I paused for a bit…this hurt...this is the question I have been trying to find the answer to my whole life…

I said “unfortunately baby, there is no easy way, but this is what makes us so special ey?”

She said “I guess…But I don’t want to tell them mum…not yet…Can I just say that we are from Australia and Vanuatu?”

I said “ok, and when you feel strong again, maybe on your next project then you can tell them about us ok?” She agreed and went back to writing.

She has never asked this before, you see my daughter knows who she is, she will proudly say she is a South Sea Islander the Australian born descendants of the pacific slave trade…but she also knows from her brief life experience that it doesn’t end there, that her identity will trigger an onslaught of questions that at the age of 13…at her new high school, she just doesn’t have the strength for… this week she doesn’t want to stand up in front of her peers and teachers and be the one to educate them on the pacific slave trade, to answer all their questions and have them probe in and out of our families history….and that’s ok cause sometimes at the age of 36 I don’t have the strength to do that either, it’s painful…it’s intrusive...it wears you down and sometimes you just can’t.

I often get asked in interviews “when did you first discover that you were a south sea islander?”….and I can’t help but wonder…do other artists get asked such stupid questions? Do Samoan artists get asked “when did you first discover that you were Samoan??

I’ve tried to pinpoint a time… a distinct moment of enlightenment…but truth is I always knew I was South Sea.…I don’t ever remember not being south sea…some of my earliest memories are of my mum and my family calling us little south sea gals. Perhaps I didn’t know exactly what it meant… but I knew it meant we were islanders…I knew it had something to do with the sugarcane plantations, and the pride that my uncles took in their cane knives. I knew that being south sea meant that we had great physical strength, whenever I would pick something up that apparently I shouldn’t have the be able to...my mum would sing out “ey look at this proppa south sea breed, too strong!! I knew that our hair was propa south sea, and that I had to have ‘hand me down shoes’ from my uncles it was cause my feet were ‘propa south sea’.

We ALWAYS knew we were south sea…Me and my 3 big sisters were born in a tiny town of northern NSW, we lived in the bush and were pretty isolated from the world, no running water, self-sufficient, all that stuff. So I was quite sheltered, I didn’t really know we were different until my first day of school.

I was following my big sisters footsteps in the puddles as we walked through the courtyard of the school grounds, the bell was sounding for us to go to class. I noticed a group of girls perched under a building who appear to be looking at us, as we cross their path they began to call out ‘black kanakas! black kanakas!’….my sisters pace picked up and I had to run to keep up with her, we arrived at the toilets and she locked herself in a cubicle. I was scared, I started crying, I didn’t say anything, I just waited. The door unlocked, my sister appeared, tears streaming down her face.…“don’t you ever let them see you cry! Never!! Do you hear me??!!... I was 5, she was 7…

Kanaka or kanak the word taken from the islands used by the traders, plantation owners and authorities, in such a derogative manner that it became a synonym for nigger, and both words were used liberally throughout newspapers and documents in Australia when discussing us…’the kanaka problem’, over time we have reclaimed kanaka as our word once again and proudly use it within our communities.

I knew I was South Sea because people referred to me as such, but as a child I didn’t really grasp what this meant….not wholly not until I was about 8 years old. We moved from the little racist town of NSW up to far nth QLD, we went to school with all our cuzzies, it was amazing, finally with our people, I’d estimate at least 75% of my school was indigenous population, it was deadly!

This was home, or at least it was the closest thing to it, yet I still had a very real sense that we did not belong. Most of my South Sea Island cousins are also of Aboriginal Australian heritage and they were able to tap into those roots to ground themselves and their sense of identity within Australia. For me however, I didn’t have this grounding, and while, as kids, we never perceived or treated each other any different, there were constant reminders that me and my sisters were different. After school one day my cousin Izzy convinced me to an afterschool program with him. As I entered the room the auntie running the program said “‘oh no, sorry bub, you can’t stay here, I know your mum, you’re south sea, you’re not murrie’, this is just for indigenous kids.” I was so ashamed that I ran home and didn’t even say goodbye to my cousins.

My mum and aunties would always go into battle for us against the teachers, but it still hurt to be rejected by the community that I felt most at home with. Not black enough to be black, but not white either. Something else, something other. Other to the Other even. An in-between. The non-Australian Australian. The alien Australian. That is how I felt as a South Sea child in Australia.

That day when my mum returned from work, I asked her what exactly does it mean to be south sea…who are we? And why aren’t we indigenous? You see, now that I am a mother, I understand the responsibility of dispensing this knowledge, that we have to guide and release the transferal of information with great care, our mummas know that our inheritance can be traumatic. Postmemory’ is very real for our community it is connected to the past and not actually mediated by recall but by imaginative investment, projection, and creation…our identity was formed on these events it happened in the past, but their effects continue into the present and into the future.

My mum told me everything…at least it was everything that she knew…. the story of her great grandparents, that granny was 8 years old collecting shells on the beach of Ambae when a schooner arrived and abducted her, that she was possibly taken to New Caledonia where she was sold, then taken to Sydney where she was sold again to a wealthy family, where she was raised and groomed to be their servant. Our great grandfather didn’t know how old he was, but he was abducted that same year 1899 from Santo Island and sold to the same family as granny and that’s how they met and fell in love and that’s how our Togo family began. She told me that our family is still searching for missing pieces of our story, and there is a lot that we don’t know.

”our people were slaves’ bub! They were stolen and forced to work here on the sugarcane and in rich people houses"

I must have asked my mother a hundred questions that day, because the next day she arrived home from work and handed me this book…

”This is who we are!! …This is where we come from!!" She turned the book over and drew her finger along the map retracing her grandparents’ journey. “You see we are not from this land…we were used for it”

I always wanted to know what that felt like…to belong to a land …to be indigenous to Australia…indigenous to anywhere really…to an 8 year old me that seemed much easier. I wanted to be real…I craved to know our culture… our island customs, I was ashamed, to not fit into an essentialist ideal of what an islander is. Our language, our art forms, our culture - stolen from us. Over the years I riffled through the pages of this book…images foreign to me, this is not what our lives look like. No pictures of plantations, no images that resinate with me and what I know to be south sea. Over the years I have learnt to embrace our fractured culture and express it through my practice. In an effort to re-claim or restore what was taken, my family often go back to Vanuatu and sit in the villages where they will learn how to make the sand drawings, weavings and learn the native language Bislama.

But our culture was created in in the holds of slave ships…that’s where it all started, down there...that’s our first place of transformation, many nations coming together in the belly of the ship, the initial space of rupture away from everything we had ever known. We were born out of the ocean… and not in the poetic sense, not in the way that separates and connects in the way that the ocean was our prison, it held us there in those ships, there was no escape, the ocean was our graveyard.

The plantations are the reason for our existence, the homes of the wealthy, to serve them, to clear and toil the lands for this sweet substance that they desire so much. This is where we were born…this is where we died. Today mass unmarked graves remain scattered across plantations throughout Queensland and northern New South Wales. Often dug up by accident, each discovery reopens wounds from a past that most Australians would rather forget. Upon arrival in Australia SSI’s faced poor living conditions. Lack of immunity to Western illnesses and harsh corporeal punishments dealt out by plantation owners lead to high mortality rates. With strong racial segregation heavily enforced in Australia during that time, respectful burial within city cemeteries was out of the question so plantation owners opted to dig large burial pits on the outskirts of their sugarcane.

I remember reading an interview a few years ago which still haunts me today, and often keeps me up at night. An interview conducted in 1978, The son of a QLD sailor in was retelling his mother’s accounts of plantation life for South Sea Islanders…He said “The whites treated them something shocking – they died of dysentery, poor food and all sorts of things. They died of a broken heart a lot of them did. Truly they did. And when they died, they just buried them in the cane field – they were just fertiliser. That’s what they were- that’s how it was

”WE were just fertiliser to them”

My community back home work incredibly hard searching council documents for names and making headstone for unmarked graves, this is imperative to us, to resect and honour our ancestors in the smallest possible way we can, to salvage, to reconcile the past and to help our community heal.

Our old people would never use the word sugar…because the substance was way more than just that, they wouldn’t say ‘pass the sugar’ – they would say - Passem hart work – ‘pass the hard work’…as though to use the word sugar would be to dishonour our people.

A year ago I was invited to contribute to an episode of the television program ‘Heritage Rescue’, this particular episode was based on an old ship wreckage at Port Chalmers near Dunedin, the ‘Don Juan’ which was involved in the Pacific Slave Trade and described as a 'Spanish slaver and pirate’ Its voyages took it from Sweden to South America and across the Pacific, before it found its final resting place in Otago Harbour in 1900. It has been lying in a few feet of water ever since, slowly disappearing into the mud.

They tv program wanted my perspective as a descendant of the Pacific Slave Trade, as The Don Juan was the very first pacific slave trade Ship to arrive in QLD in 1863… 73 of our people were on board, one had passed away on the journey, they were shackled then forced to walk from Brisbane port to Beaudesert over 100 kilometres away, where Captain Towns plot of land awaited their arrival. Towns had planned to establish one of the first qld cotton plantations, the cotton industry failed. But the labour of our people was successful and so began the Pacific Slave Trade to QLD. The Don Juan was the beginning…never in my life did I ever think that this ship would still exist, nor that I would be able to go see it and share space with it…with the ship that started my people.

I arrived on set at the Port Chalmers Maritime museum and was introduced to some of the crew and the 3 curators of the museum. The curators were 3 older migaloo/palangi men, they were very enthusiastic about the ship and their collection of objects retrieved from it. Their energy was excited, I could see they had taken a liking to the attention they were receiving from the film crew and my arrival bought a set off fresh new ears to hear all their stories. They told me their memories of the Don Juan, as young boys they would swim in the bay, they would climb up the ribs of the ship and dive into the ocean. The wreck was a childhood playground to all in the region.

They told me about how there used to be hundreds of sets of shackles salvaged off the ship but keen collectors throughout the region had snapped them up as soon as they were discovered. They had a wealth of knowledge on the ship, and its captains the pirates, whom they seemed to admire and almost romanticise their lives, they didn’t really ask me who I was and that was ok with me. Eventually I was ushered into the next room by the producer for my interview… curators and crew looking on…

“So Jasmine you identify as a 4th generation ASSI can you tell us what that means what is a south sea islander?”

I give her the spiel… Between 1847 and 1904 more than 62,000 documented and many more undocumented predominantly Melanesian peoples were abducted and/or coerced from their homes locked in ships and sent to Australia and enslaved on sugarcane plantations and in wealthy aristocratic homes. We are the Australian born descendants of the pacific slave trade, on the 25 August 1994, the Commonwealth Government officially recognised Australian South Sea Islanders as a unique cultural group with its own history and culture. The government acknowledged the injustices of the indentured labour system and the discrimination suffered by South Sea Islanders and their descendants.

The interviewer blinks…

Sometimes in an effort to help try and explain our complex identity– I’ve resorted to comparing Australian South Sea Islander culture to that of African Americans due to their vast visibility and understanding of their position as a slave Diasporas.… So you know how African Americans have their own unique culture & identity? Built from the foundation of slavery, segregation, displacement, oppression etc.…well Australian South Sea Islanders are similar, except the start of our slave trade was at the end of their slave trade... See worldwide supplies of sugar and cotton were impacted dramatically as the U.S civil war dragged on. New areas of production entered these lucrative markets, particularly in the pacific and plantation agriculture grew substantially in areas such as Australia, Fiji and Hawaii. The trade was hidden under the guise of policy’s and terms like blackbirding and indenture labour. Also Australia had learnt a thing or 2 off the Americans, they didn’t want to be stuck with all these brown bodies in their new country, there was a lot of fear and outrage of the ‘darkening of the colony’.

So by 1901 the sugar industry was thriving, for more than 50 years the pacific was a highway to slave traders and it had served them well. The new Commonwealth Government implemented the controversial ‘White Australia policy’ and established the Pacific Islander Labourers Act 1901 ordering the repatriation of South Sea Islanders to their home islands, but they didn’t always make it to their home land, and some not even to land, some met there fate by the way of mass executions out at sea. This was the largest legislated mass deportation in Australian history, and also the most scandalous. So basically what I’m saying is that racism that ended slavery in Australia.

The interviewer proceeded to ask questions, piercing in and out of my family history, questions about the family who owned my family, things I was not prepared to talk about, and certainly not on film, our stories are personal and painful, they are our inheritance, you can’t just take that from us.

The interview eventually concluded and we walked back out into the museum, they wanted some footage of me standing looking at the shackles…the shackles which held our people…They called them manacles - every time I called them shackles someone tried to correct me and called them manacles…I guess it’s a bit more palatable than slave shackles.

I’d been consciously dodging the vitrine holding the shackles all morning, I wasn’t ready…I don’t think I would ever be ready. I looked down into the glass cabinet, I just stared in…I had no idea what I was feeling…I kept reading the museum label. “Shackles recovered from the hulk of Don Juan when she was broken up in 1902. She was built in gavle, Sweden, in 1857, as the DANIEL EELFSTRAND PEHRSSON” I read this label over and over again, I don’t know why, I think I was trying to make sense of it, I think I was looking for us, some acknowledgement of why these shackles were on that ship in the first place. But we weren’t there… I thought of the arms which had been held by them, how many lives had been restrained by this rusty chain…what happened to them? Did they make it home? I needed to get out of the museum!

The crew finally called it a wrap and they invited me go to lunch with them, as I was accepting their offer, one of the curators of the museum yelled out from across the room…across the shackles vitrine….“DON’T FEED THE SLAVE! Ha! With a smug, proud look on his face, the room went quiet, people put their heads down…no one said anything.

In my mind I could hear my big sister “DO NOT CRY!! DON’T EVER LET THEM SEE YOU CRY!!! Yet my stomach had a familiar calm feeling…I had felt this before, but not in this way, this was my granny…she only appears when she really needs to, and today she stepped in so I wouldn’t have to face them on my own. She travelled from my stomach up oesophagus and from my mouth she spoke her words... “I forgive you! ….I realise your behaviour is generational and all that I can hope is that this shit dies out with you all!!” I gathered my things and I walked out.

That afternoon I went to the ocean in search of the Don Juan...well what was left of it. I stared at it’s lifeless remnants lying in the mud. It kind of felt like the way you might feel if you had been holding a grudge on someone your whole life and now they are on their deathbed, powerless and you have the revelation that your resentment to that person was to to your own detriment….at least I think that’s how I felt. I dunno. A year later and I’m still trying to process this, ALL of this…

Next month I will start my 3 month residency in Dunedin, I’ll be able to spend time and space with both the museums collection and the ship and hopefully come to terms with it. In the lead up to the media release of the residency I have been asked what my intentions are, I catch myself saying that “I’ll be researching the Don Juan, retracing its steps, responding to the site etc” Which is so detached, so far removed from what it is that I’ll actually be doing. I’m NOT going to Dunedin to research and respond! I’m going down there to scream!…and to cry, to mourn for our people, to search for any trace of our existence, to use my voice for those who couldn’t use theirs…and then I will make something, I will create from our loss, something that they can’t take away or deny…to give us a place to exist in, if even just for this moment.

This year will mark 25years of assi recognition from the commonwealth government, on the 25th August every year we celebrate our resilience, we honour and commemorate our ancestors. I’d like to ask you all to note the 25th of August in your calendars, and include Australian South Sea Islanders within the broader Pasifika dialogue.

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zarinakopyrina · 5 years

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NEOSHAMANISM: Transformational JOURNEY THROUGH ARCTIC SOUND. Location: Wisdome Immersive Art Park, 1147 Palmetto St. Los Angeles, CA 90013 ABOUT THIS EVENT Immerse yourself into NEOshamanic practices that have been used by first peoples to attain altered states and communicate with the spirit world. Drawing from deep wisdom of the Sakha shamans, the Olox ceremonial journey and live performance will move through the three worlds: The Lower, the Middle and the Higher. • FIRST REALM – THE LOWER WORLD Forces from the Lower World are pervasive in our planet and threaten to destroy us from within and without. Sounds of the Lower World are used to release people from fear, grief, illnesses, hatred and cruelty. Forces from the Middle and Higher Worlds are called upon through ritual and ceremony to aid in this powerful release. • SECOND REALM – THE MIDDLE WORLD The Middle World is the seen world and is intended for people and spirits. The sounds of the Middle World call upon the healing forces of virtue and love. Universal forces are called into the Middle World through ritual and ceremony to aid in powerful rejuvenation and restoration. Through shamanic ceremony we are brought back into balance and harmony within ourselves, with each other and with nature. • THIRD REALM – THE HIGHER WORLD The sounds of the Higher world evoke the energies of art, wisdom, enlightened awareness and universal connection. In Sakha culture there is a complex cosmology of deities that oversee and give benefit to many different experiences in the human realm. These energies support human liberation from the struggles of the Lower and Middle Worlds. • @tedsentertainment #oloxbooking #androidjones #eventbrite #eventbritela #wisdomela #march2 #event #privateparty #perfomance #yougamusic #projectionmapping #mindtravel #spirituallife #ancientmusic #agt2018 #agt2019 #talantedpeoplehere #wisdomela #healing #healingceremony #yogalifestyles #drumandbassmusic #psychedelicart #instaartist #3dprojection #BurningMan (at Los Angeles, California) https://www.instagram.com/p/BuJngElhDbl/?utm_source=ig_tumblr_share&igshid=ze2q53jgylqv

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talaxyan · 6 years

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a post on my anonymous fb account at 2.27am

biasa kan, tahun terakhir highschool pasti sering ditanyain mau kuliah apa? dimana? blablablabalba.. dan aku pasti selalu ngejawab 'chemistry' . yeah. that's it, i end the conversation--

but looking back at my perfomances in chemistry class, aku semakin lama makin ga terlalu yakin apa jurusan kimia nantinya bakalan beneran cocok sama minat dan kemampuan diriku dimasa depan. CUZ DUDEzzz LOOK AT ALL MY CLASSMATES, THEY ARE ALL GENIUSSSSS and there i am, the only potato in class. bukan maksud buat ngebandingin diri sendiri dan orang lain. TAPI, aku beneran sadar apa yang kemungkinan besar akan terjadi di dunia perkuliahan. akan semakin banyak dikelilingin orang yang levelnya saaaaangaaaatttt jauh sama diriku and that's bad. i had experienced it, still until now. being the only one who's struggling among those genius is not a good thing for me. it discourages myself to even try and drops my self-esteem to 0%. i fighted with it and just unfortunately yet expectedly didnt win. Although there's a lot things involve to this, it's not only bcs im not 'good enough' in chemistry, but also bcs im lacking at a 'crucial' human-thing. communication. yep, there's really nothing to say about this. i tried, and i think im improved a bit so it's not yet enough.

HOWEVER, despite all these things, im doing my extended essay in chemistry right--- jadi hampir setiap hari habis pulang sekolah selalu di lab, ngumpulin data buat essay nya dan aku suka ngelakuin itu : doing my own lab experimentation, designing all the methods by myself and most importantly these all are based on my interest, the idea that i myself came up with and no one literally put me in a pressure of doing it.

well------ it's not really because i'm afraid of the failure i might get if i really decide to study&pursue chemistry, but it's more likely, i believe there's other thing that I CAN BE BEST AT IT and it'll waste my times doing chemistry that perhaps will end up the same, im confused with my own ability. it's not like i'm giving up on trying chem, it's just better (for me) to consider something else that i dont really need to compare myself with anyone and be stressed out with it.

i think about it a lot that i wanna do visual art as well. I KNOW. i'm even worse at art than at chem. but the things that i NEVER do in art class are..... comparing myself to other people and being stressed out because i'm not good enough.there are MANY THINGS that i need to learn and improve in art. BUT I consider art to be another option because i think i can be the best at it.

for me, my definition of 'being the best' is when i dont compare my ability to anyone else even without i realize i just do my artpieces not even think if anyone in class could do better than me. dont misunderstand, my art classmates are amazing ARTISTS, each individual of them have their own art styles and that impresses me a lot. BUT that fact never makes me think that i dont deserve to do art in college.

as usual, there's always the dark side yet that doesnt really discourage me to keep trying. i still feel stressed tho, but it's because im procrastinating and not finishing my art written assignment on time.

ok, this is weird, but as im typing this post, my minds is confusing itself.

I dont wanna delete chemistry from my choice option yet. im just confused with my own thoughts. but i still wanna consider to do art.

dan 2 minggu terakhir ini aku ngelakuin beberapa interviews sama beberapa colleges and that kinda opens my eyes.

aku selalu berpikir akan lanjut ke university dan liberal art college hanyalah jadi cadangan doang. pokoknya aku selalu ngeprioritaskan masuk university daripada college.

karena aku bingung akan 2 pilihan, sekarang aku malah lebih sangat berpikir klo college bakalan lebih cocok sama diriku saat ini, dimana kebingungan masih terus ada dipikiranku.

aku nanya banyak hal di sesi interview sama beberapa colleges, salah satunya tentang masalah major ini dan emang sistemnya mereka itu lebih general dan bahkan aku punya waktu 1.5-2 tahun buat nentuin major aku. jadi tahun pertama itu bisa ngambil beberapa subjects yang nantinya kemungkinan besar akan buat aku yakin tentang apa yg aku pingin lakuin for the rest of my job-lyfe.

im sure about this and there's no really hesitation, i wanna go to liberal art college and i have list of them on my common app and navience already huehehehehe-

yeah. that's it. im wishing myself luck.

(anyway, i have SAT in less than a month and my early decision application is on november 1st. OMG time flies so fast)

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rhonamay13-blog · 5 years

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History about music vedeos

Early era

Sorting out what is what

Video killed the radio star

The rise of the directors

The Youtube Era

With that out of the way, turn up the volume, close all tabs, and let’s board on the history of music video!

The early era (? – 1965)

1927 – The Jazz Singer

1930 – Crying for Caroline (Spooney Melody)

1958 – Le poinçonneur des Lilas (Scopitone)

The iPhone of 1958. If you dreamt of watching music videos outside a movie theater the inventor _Serge Gainsbourg _had the newest gadget for you – the Scopitone! During the 60s these jukeboxes started popping-up all over bars and nightclubs around Europe and in the US.

Sorting out what is what (1965-1974)

1965 – We Can Work it Out (The Beatles)

1966 – Paperback Writer (The Beatles)

Together with the director Michael Lindsay-Hogg_ _music video starts its baby steps to distance itself from the recording of live-perfomance and start exploring more options in the cinematic language realm.

1966 – Subterranean Homesick Blues (Bob Dylan)

The precursor to the lyric video?

1967 – Strawberry Fields & Penny Lane (The Beatles)

Long live the director Peter Goldman! Finally we start seeing some avant garde and underground techniques that were already being used for decades in cinema in a music film.

1968 – Interstellar Overdrive (Pink Floyd)

1968 to 1974 – The era of experimentation in film

Video killed the radio star (1974- 1992)

1974 – Bohemian Rhapsody (Queen)

1980 – Ashes to Ashes (David Bowie)

1981 – MTV LAUNCHES – Video Killed the Radio Star (The Buggles)

1983 – Thriller (Michael Jackson)

Premiered worldwide on MTV, Michael Jackson and John Landis bring back the idea of blending films with music video (remember the Beatles feature films from the 60s?).

The rise of the directors (1992-2004)

Spike Jonze

In his work we can see both Adam Spiegel through his references to the american imaginary and Spike Jonze, the free-spirited skateboarder kid where movement reigns.

*If you’re interested, this article is quite good on who is Spike Jonze.

1994 – Sabotage (Beastie Boys)

1994 – Buddy Holly (Weezer)

Weezer in Happy Days (a tv show from the 70s)? My favorite Spike Jonze music video. Mind bending in the 90s and still today.

1997 – ElektroBank (The Chemical Brothers)

1999 – Praise You (Fatboy Slim)

The body movement as the main vehicle of expression! Jonze literally cuts to the basic putting himself in front of the camera together with the invented Torrance Community Dance Group.

2000 – Weapon of Choice (Fatboy Slim)

The same concept as Praise You, just a little bit more elaborated.

Michel Gondry

1996 – Sugar Water (Cibo Matto)

One of the signature styles of Gondry is how he plays camera movement and mise-en-scène to create mind bending concepts.

1997 – Around the World (Daft Punk)

1999 – Let it Forever Be (The Chemical Brothers)

Now blend great mise-en-scène, analog camera movements with VFX and the choreography that and set design that made the director famous two years before and you have Michel Gondry at his best!

2001 – Star Guitar (The Chemical Brothers)

2002 – Come Into My World (Kylie Minogue)

One, two, three… Kyle Minogue simple stroll through the plaza turns into an oppressive oversaturation of everyday life.

2002 – Fell in Love With a Girl (The White Stripes)

Gondry goes back to being a kid making lego movies fun again!

Other directors

The list of brilliant directors goes on for this period. As covering everyone is just impossible I list a few examples of some that distinctively marked the era with their personal style.

Chris Cunningham – Come to Dady (Aphex Twins, 1997) & All is Full of Love (Björk, 1999)

Dark electronic distopic futures was the mark that Cunningham brought to the end of the 90s.

Floria Sigismondi – Little Wonder (David Bowie, 1996) & Beautiful People (Marilyn Manson, 1996)

Her sensibilities and jittery camera movements gave light to dark textured worlds always lurking in a deeper part of our minds.

Hype Williams – Sock It 2 Me (Missy Elliot, 1997) & Gotham City (R. Kelly, 1997)

The Youtube Era (2005-?)

Below I select only a few of the directors and music videos that best exemplify some key concepts from the times we are now living.

Ok Go – Here it goes again (Ok Go, 2006)

Ace Norton – Hustler (Simian Mobile Disco, 2007)

Romain Gavras – Born Free (MIA, 2010)

Although Gavras has now risen to international fame his directorial style is clearly visible through his new films.

DANIELS – Houdini (Foster the People, 2012)

Emily Kai Bock – Yet Again (Grizzly Bear, 2012)

Hiro Murai – Never Catch me Flying (Flying Lotus, 2014)

Nabil – Hunger of the Pines (Alt-J, 2014)

The Future

Obs.: Since it’s impossible to write about every important music video and director please leave on the comments anything that I might have missed.

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