#ET Radio Art

[etradio]

#miraculous ladybug #mlb #mlb fanart #miraculous fanart #marinette dupain cheng #adrien agreste #artwork #digital illustration #drawing #my art #ET Radio Art #tikki #miraculous tikki #plagg #miraculous plagg #fashion #outfit redesign

[badgaymovies]

From The East (1993)

From The East by #ChantalAkerman, "clearly means more to her than just the curiosity of visiting foreign lands",

CHANTAL AKERMAN Bil’s rating (out of 5): BBBB Original Title: D’Est Belgium/France/Portugal, 1993. Lieurac Productions, Paradise Films, Radiotelevisão Portuguesa, La Sept-Arte, Centre de l’Audiovisuel à Bruxelles, Radio Television Belge Francophone, Centre du Cinéma et de l’Audiovisuel de la Fédération Wallonie-Bruxelles, Loterie Nationale de Belgique, Fonds Eurimages du Conseil de l’Europe.…

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#Agnès Bruckert #Belgium #Bernard Delville #Centre de l&039;Audiovisuel à Bruxelles #Centre du Cinéma et de l&039;Audiovisuel de la Fédération Wallonie-Bruxelles #Chantal Akerman #Claire Atherton #Fonds Eurimages du Conseil de l&039;Europe #François Le Bayon #France #La Sept-Arte #Lieurac Productions #Loterie Nationale de Belgique #Natalia Chakhovskaia #Paradise Films #Portugal #Radio Television Belge Francophone #Radiotelevisão Portuguesa #Rémon Fromont #TIFF 1993

[57sfinest]

theoretical entroponetics: the post

okay. LONG post incoming. i have summarized all available information on the pale, separated into confirmed objective truth & in-canon speculation that may or may not be true, and then appended my own very detailed theory on the pale! this post is meant as a resource; please feel free to add things of your own in replies/reblogs (please tag me if you do!) or point out any errors i may have made. you’re welcome to use any of my personal theory in your own work but please credit me if you do!! (and tag me in that/send it to me, i really want to see what you do with it!)

Here’s what we *know* about the pale, according to in-game and concept art: 

It erases data, at least the kind stored on radiocomputer filament and magnetic tapes.

It has no dimensions of its own- pale latitude compressors serve to force dimensions on raw pale and allow navigation. 

The pale is referred to in the context of entropy

It arrived with mankind, but not immediately- there are 8000 years of written history, but the pale was first recorded 6000 years ago, implying that pale either didn’t start forming immediately or that it was so insignificant/distant that it went unnoticed for 2000 years. 

There exists a group of people who are actively trying to expedite entroponetic collapse; the ideology is called entropolism

To this point, pale isn’t immediately visible. Pale has molecular structure, but manifests as a waveform, and only becomes visible at a certain distance from the origin, once wave frequency is sufficiently high. 

During pale exposure, people experience “sense objects”: visual or auditory hallucinations and/or vivid physical recollections of memories. These hallucinations may originate from their own consciousness or someone else’s. c

People require physical and mental examinations before interisolary travel and are allotted a certain number of days per year as their pale exposure threshold. 

Overexposure results in a pale “addiction”- these individuals crave pale exposure, and it’s unclear if this addiction can ever be broken. It’s also unclear whether there is a point at which pale exposure becomes lethal, but given that it dissolves matter, we can be fairly certain that a given length of continuous exposure will kill. 

Radio signals, cold plasma torches and anodic sound are all used to manage the pale to permit travel through it. Plasma torches destabilize the molecular structure of the pale to create gaps, anodic sound widens and maintains these gaps, and radio signals rationalize the pale into recognizable dimensions.

Radio signals are, in return, susceptible to corruption by the pale, resulting in entroponetic crosstalk, where signals from the past or the future are transmitted to the present. CCP is one such phenomenon and is directly related to the formation of new pale through magpie interpretation.

There is a dedicated Union for people who work in and with the pale (the Pale Workers Union). They have two slogans; “The light purifies; The sound absolves; The pale no more” and “Son et Fureur” (sound and fury)

Here’s what we may choose to believe about the pale, based on the thoughts and beliefs of in-game characters:

In conversation with Soona, the pale is described as a “curdling milk” phenomenon: “repulsive, but natural”

In this same conversation you can theorize that the churches were meant to contain the pale origins; out of the seven churches, six were destroyed during the suzerain or the revolution

The phasmid and whatever other lifeforms it’s communicated with believe that entroponetic collapse is comparable to an oxygen holocaust (i.e. the great oxygenation event), implying mass extinction due to a toxic overabundance of sapient thought

Harry refers to it once by saying “The wolf is at the door. It’s going to eat the sun.” so take that as you will

It’s likely that Tiago’s “Mother” is some manifestation from the pale, if you choose to believe that the 2mm hole is in fact a pale origin point (the concept art does confirm it’s a pale origin, but the game offers other explanations, so I won’t say it’s the only answer)

Inframaterialists believe that revolutionary action (NOT thought) may create a counter-force that will prevent the spread of pale; it’s unclear if any reversal is possible.

The world will be fully consumed by the pale in 27 years (I put it here because you may or may not believe that shivers and harry are reliably sourcing this information)

And now my personal speculation about the pale:

A quick and easy point: it’s confirmed that the pale has a measurable EMF “exhalation” frequency that varies with proximity. Strong enough EMF pulses can actually tamper with magnetic storage- radiocomputer filaments! Electronics! Fortress Accident data loss! This gives us a tangible explanation for why pale can delete data :)

This may also explain its ability to cause radio interference- radio frequencies are just a subset of EMF frequencies, so it’s possible that pale exhalation on *just the right frequency* is what’s responsible for the entroponetic crosstalk we get on radios sometimes

The pale canonically has an atomic structure, but it also has wave properties, so it’s possible that the pale has wave-particle duality on its subatomic level, like photons do

Based on this, entroponetics is likely a very similar field to quantum mechanics, which might be an interesting source of ideas for anyone (like me) who wants to explore pale-related possibilities

The pale could be a manifestation of raw patterns. That’s why math “forces dimensions” on it- it rationalizes or “tames” the patterns, which allows it to be manipulated to a certain degree.

There are several references to the pale that refer to mathematical concepts and patterns, saying that the world dissolves into “a tangle of azimuths and cosines” as it blends into the interisolary pale- more on this later

Steban comments that the pale is commonly theorized to be nostalgia or “historical inertia”, but it’s largely agreed that it’s “the past” in a broad sense. Thinking about the idiom that history repeats itself, it could be that history/the past is part of the pattern that comprises the pale, and that it’s also the type of pattern most readily perceived by people (people don’t viscerally *perceive* math, for example, but we experience memories)

To first define entropy: Chemically speaking, “the measure of a system’s thermal energy per unit temperature that is unavailable for doing useful work. (per encyclopedia britannica).” Physically speaking, it’s a measure of randomness or disorder in a system. Less work/less order = more entropy; it’s a physicochemical “winding down” of a given system

It’s commonly thought that pale is the entropic force, but what if it’s the opposite? (Keep in mind the chemical definition: less ability to do work = more entropy) Consider: the pale as less entropic, a cleanup force, recycling the potential lost by death and destruction in the universe. This in part explains why a dead person’s memory is present in the pale- their potential has been recycled into the pale in the form of their memories (their life’s *pattern*)

Enthalpy is a related concept to entropy and is defined as the total energy contained within a system. Holding the system enthalpy constant- saying the universe will always have the same amount of total energy, no matter what, according to thermodynamics- results in an entropic tug-of-war between the pale and the world. The pale wins through sheer inertia (again, inertia is mentioned specifically in game)

Overall: think of the world as “cooling”, losing heat and energy through war and death and complacency. Think of the pale as steam and heat, melting down old materials to start it all over again. (Kim says, *through entroponetic interference*: “it’s been a long, cold winter.”)

Consider: the pale as a sinusoidal function, eternally repeating. The pale recycling the universe to start a new cycle, “spending” itself, resulting in pale not being present in the beginning. Then, as the new things begin to settle- with the advent of the human mind, specifically- the pale reforming, slowly reclaiming potential, eventually ending the cycle to start again.

In comes CCP and magpies. Consider: CCP as a backwards transmission from the next “cycle” (after all, pale has no sense of time). Magpies as *pattern-sensitive* people who are able to decode CCP into something useful called novelty. They reach into the potential of the next cycle to build the potential in their current one- this paradox could be what creates more pale, because (and this is where it gets weird, I apologize) doing this retroactively increases the total amount of energy/work/potential in the current cycle to have been reclaimed by the pale for the next one.

Think of the pale as the compost bin for every single thought in the universe. The pale is the exact right size to compost every little atom and thought in the universe, and can hold nothing extra. But magpies reach into the future, the next cycle, and bring in extra. This paradox forces the pale to grow to accommodate the additional material, which also increases the starting potential of the next cycle. This process allows each cycle to accumulate minor changes from the previous one, which can snowball over many cycles.

Furthermore, to the inframaterialists’ point: revolutionary action would be such a radical shift in inertia that it would increase the potential in the world, forcing the pale to pause/shrink to “balance the equation” in terms of pale-vs-world thermodynamics. So maybe they’re right after all :)

And some diagramming, to explain the utter bullshit I’ve just dropped:

#disco elysium #entroponetics #the pale #disco elysium pale #the pale disco elysium #sorry idk the tags for this #theoretical entroponetics #this is all based on legitimate quantum physics and stuff so you could definitely go crazy with these concepts #if anything doesn't make sense please tell me!! i don't know how well i explained it #i'll be happy to rework things if i need to #anyway yeah so im deeply in love with the pale. im basically a real life entroponeticist now #also i didnt include in-game screenshot proof for brevitys sake #but feel free to add them or ask me for some and i can put it up! here or in asks #kiwipost #gen meta

[dogtoling]

180 Splatoon OC Questions!

hi. So i made a bunch of questions to help develop mine and other people’s OCs i guess. these come in several tiers based (roughly) on how much you’ve already developed an OC, but in reality it’s a pick-and-choose thing,

NOTE: these are mostly applicable to cephalopod OCs. But if you pick and choose they’re fine for literally any OC, I guess. Most of them are gonna be under the cut!

Surface (Basics, Tier 0)

1. What is their full name? Do they like it?

2. Do they have any nicknames, and where do they come from?

3. OC species and special notes

4. What time of day is your OC usually active? Are they diurnal or nocturnal or maybe in-between?

5. Any particular reason for their schedule? Biological clock? Work?

6. Living situation; where do they live? How did they end up there?

7. Do they take part in ink battles? What kind and how often?

8. Favorite weapon class and why? 

9. Main tentacle color? How did they pick it?

10. Any hobbies? Where did they begin?

11. What do their hobbies mean to them?

12. Favorite type of music? 

13. Any favorite bands or idols they look up to?

14. Are they acrobatic? In-game turf war movement qualifies. 

15. What is their main weapon? How did they pick it, and is it customized?

16. Languages they speak? Any that they’ve learned or want to learn?

17. What is THE THING that they’re recognized as being good at by others?

18. Are they more positive or negative? How does it show?

19. Their BEST FRIEND, if they ABSOLUTELY had to choose one? 

20. What size are they? Are they average size for their species or not?

21. What is their relationship to ink battling? Is it a hobby, profession or just a sport?

22. Do they have an ego? Or perhaps a lack of?

23. Do they have a daily routine? Do they enjoy it?

24. What would their Splashtag title be?

25. What is something they REALLY invest in?

26. Are they temperamental? 

27. How are/were their teen years?

28. How did they do in school? Did they like it or were they a professional class skipper?

29. What’s a situation that would make them cry? Do they cry easily?

30. Are they easily amused?

Sunlight Zone (Tier 1)

1. Any pets? Do they want any?

2. How social are they?

3. What is the inside of their house like?

4. Any peculiar decoration preferences?

5. Main source of income? How is their money situation?

6. Any job? Do they want one? If they have one, what do they think of it? 

7. Everyday skill they’re unexpectedly good at

8. Everyday skill they DO NOT have

9. Any weapons they struggle to use and why?

10. How much does it take to trigger their Special Rush state? Do they get pumped fast?

11. Are they a good Super Jumper? Do they land their jumps?

12. Weapons they wish they could use but can’t? Why? 

13. Favorite clothing style? Do they care about comfort or looks?

14. Do they have a favorite clothing brand?

15. Their favorite way to listen to music? Headphones, radio, et cetera

16. Favorite kind of food? Do they like fresh foods or prefer fried?

17. Can they cook, and how do they prefer to?

18. Do they care for fruit or vegetables?

19. Any food they REALLY don’t care for?

20. How many friends do they have? Do they make surface-level friends or deeper bonds?

21. Do they ever make art? What kind and why?

22. Are they expressive? How?

23. Can they drive? When did they learn or are they going to?

24. What’s their usual role in conversations? Are they a listener or a talker?

25. How do they handle crowds or groups of people?

26. Are they good at reading between the lines? Or totally clueless?

27. Do they drink coffee? Or alcohol?

28. Anything they have too much of?

29. What are their priorities?

30. What kind of body type do they have? Are they strong, or are they frail?

Twilight Zone (Tier 2)

1. Dream house? Is it likely to happen?

2. Dream job? Are they working towards it? Do they even know?

3. Favorite subject at school? Any effect on modern day?

4. Are they prone to holding grudges? Any petty opinions that they still stick to?

5. Any phobias? 

6. How are their tentacles styled? Why?

7. Preferred way of transportation; train, car, bike etc.

8. Any details about their appearance that they’ve put a lot of thought into?

9. Do they Super Jump outside of Turf Wars?

10. How often are they in swim form? How does it feel to them?

11. Have they heard of Grizzco? Have they worked there and how much? 

12. How do they sleep? How much do they usually need to sleep?

13. What weapon did they start with? Have they changed their main over time?

14. Any particular Turf War skill they are good or bad at? Do they have good aim, for example, or are they really fast at swinging a brush?

15. Favorite time of year? Why?

16. What is their sexual/romantic orientation? How did they come to a conclusion?

17. Are they in a relationship? Do they want to be?

18. Any past relationships? Why did they end?

19. What do they order at a café if they go?

20. Are they prone to arguing? Or do they settle?

21. Do they travel? Do they want to, and where?

22. Have they had injuries in the past? What happened?

23. Are they open about their thoughts or do they keep to themself? 

24. Do they keep up with news or the media? 

25. Do they play any games? What kind and when?

26. Do they care about “being fresh”? Have they ever cared and how did it show?

27. Any body modifications they have or want to get? What’s the story behind them?

28. Can they play any instruments? How did they get started?

29. Any iconic ways of speech that they have? 

30. Do they swear?

Midnight Zone (Tier 3)

1. Opinion on Splatfests; any that they’ve been part of or remember fondly? Or bad memories, even?

2. How and where did they grow up? What was their family like?

3. Any siblings? How is their relationship?

4. Childhood habits or hobbies that stuck?

5. Do they have good ties to their family? 

6. Any found family or “school”?

7. Have they ever Krakened before? 

8. How do they feel about being splatted? Are they used to it or is it agonizing?

9. Are they sensitive to violence? Or totally desensitized? Does it depend on the context?

10. Something they feel is extraordinary about themself?

11. Something other people see in them that they don’t really see?

12. What kind of neighbors do they have? Do they get along?

13. Fight-or-flight response? Which one do they usually default to?

14. Any specific goals they have in life?

15. Any prominent interests? How do they show?

16. How do they celebrate Squidmas? Or do they celebrate Octivus?

17. Where do they shop? How often do they go to the store and what do they usually buy?

18. If they could be any other species, would they? And what would they be?

19. How is their vision? 

20. How do they handle stressful situations? Are they prone to worrying?

21. How do they relax?

22. Do they use social media actively? What do they do there? 

23. Favorite snack or candy? Do they do snacks or candy?

24. Do they enjoy “alone time”?

25. Any habits they want to kick but can’t seem to?

26. What do they have for breakfast? Do they have breakfast?

27. How do they deal with fights or arguments? Do they lose their cool or handle it by talking?

28. Are they a leader type? Or do they see themself as one?

29. Which Splatoon 3 victory pose is in-character for them?

30. Based only on their personality and skills, what in-game abilities would that give them?

Abyss (Tier 4)

1. Have they done anything criminal? Why?

2. Have they ever intentionally hurt anyone? How?

3. Any scars? How did they get them?

4. Pain tolerance? Is it good or do they cry on the floor over paper cuts?

5. How is their overall health? Are they prone to any issues? 

6. Who do they live for?

7. Do they have conversations in their head? What is their relationship with themself?

8. How confident are they in combat? Are they strong at all?

9. Any short-term color change? What emotions trigger what colors in them?

10. What would they change about themself if they instantly could? Anything?

11. Would they survive out in the wilderness? For how long?

12. Are they selfish at all? Would they put others in harm’s way for their own benefit? 

13. What kind of morals do they follow and where did they learn them?

14. Is there anyone they would risk their well-being for? Why?

15. How was school for them? Do they miss it or are they glad it’s over, if it is?

16. How do they type? Are they an active chatter?

17. Do they want kids? Do they have any now, and do they have any plans?

18. What are their earliest memories? Do they have any memories from the egg?

19. Do they make decisions based on heart or logic?

20. Any regrets? What would they do differently if they could? 

21. What do they find attractive in somebody? 

22. Are they easy to understand? Are they good at expressing themself?

23. How do they deal with bad emotions? Do they have any tried-and-true coping mechanisms?

24. Are they sick often? How do they handle it?

25. Are they more or less empathetic than average?

26. Are they one to ask for or accept help? Or do they deny it altogether?

27. Do they believe in supernatural or spiritual things? 

28. Are they a person that gives or takes more? Is it intentional?

29. Are they judgmental when it comes to other people? Or do they not really care?

30. Who do they text or call most often?

Trench (Tier 5)

1. Any specific events from their life that changed them as a person?

2. Anything they are dreading or horribly afraid of in their current life?

3. Have they had any traumatic experiences? How are they affecting them in the current day?

4. Do they have recurring dreams?

5. Anything from their childhood that they still have?

6. Have they cut ties with people before? Why?

7. Any common thing they really struggle with?

8. Are they a good liar? Do they lie often or are they strictly against it?

9. What determines how they feel about somebody? 

10. Do they respect other people as a given? Does their respect have to be earned?

11. Any medications? How long have they had them?

12. Do they adjust their personality based on the people they’re around? How does it show?

13. How hard is it to get to KNOW them? Are they an open book or does NOBODY really know them?

14. Does true love exist to them? Or is it just a stupid myth people are obsessed with?

15. Do they have a “signature” article of clothing or item that they treasure? How did they get it and why is it so important to them?

16. How would they describe themself?

17. How is their comfort zone? Do they like trying new things or are they strictly a homebody?

18. One thing that will always make them happy without fail?

19. What do they usually spend spare cash on?

20. What’s their favorite place they’ve been to? What makes it special?

21. Is their life generally going how they’d expect it to be going?

22. Who were their role models growing up? Are they still their role models or have their views changed?

23. Are there any people in their life who they have complicated feelings toward? Are they still part of their life?

24. Have they ever killed? Would they?

25. How much are they willing to give up to help another?

26. Is their trust easy to gain? Is it easy to lose?

27. Are there any sounds that they particularly like or hate? 

28. Has their appearance or character changed over the years? How and why?

29. How do they feel about life as a whole? Has their perspective changed over time?

30. Free space for a random fact about the character!

#its almost 4am and i just had to retype all of the numbers bc they didnt copy over haha if theres a mistake i do not see it. #might do these for my ocs at some point if you guys want to see them feel free to recommend #i dont even know if the math is rigth. this might be 180

[slavghoul]

Phantomime is the band's third album of covers, after If You Have Ghosts and Popestar. Cover songs are usually the preserve of young, inexperienced bands. Is doing covers a way to maintain a link with your formative years and not forget where you come from?

Tobias Forge: Absolutely. I think it does that. It serves as a return to the roots, in the same way as for... I don't know, let's say someone who practices martial arts, who starts in a certain dojo and ends up changing it. If you want to become a good fighter, you have to move and train with different people. It's the same for a footballer: if you play with the same team all the time, your team might be very good, but you always have to play against others. I think the same logic applies with covers: it can help to go back. You don't necessarily have to release them. We chose to do a real album, but in parallel I worked on other songs - not only Impera music, but other covers. We selected the best ones, and said, "Let's put these out; this looks coherent and presentable".

How much did learning to play other artists' songs contribute to your formation as a musician? What were the most formative songs in your youth?

The answer to the first question is yes. Listening and playing at the same time is very formative. I've never really been... A lot of guitarists, especially, take the time to read tablature and learn how to play something very precisely, and in my opinion, theorise the music too much. I can't say that I'm not theoretical; I just don't follow the rules or the classic terminology. I try to categorise and understand the logic, but I do it in my own way, based on what I have learned over time. I never spent much time with tablature; I just played to the music. I would put the music on and play. I wasn't trying to learn how to play the song in the same way as the band. I would play as if I were invited to play with them. So my style is very free, because I played The Doors as well as Kiss, Slayer and DJ Bobo! It could be anything. Whatever I heard, whatever I listened to, whatever song I could get my hands on, I would play it. I think the chaos of it all made it... When you understand that, you understand the way I write, the way I do things, and why I sometimes seem to be a bit scattered.

That's what may surprise you when you listen to the EP: you can find Iron Maiden as well as Tina Turner...

Yes, I grew up with both, so it's not strange to me. But of course, in order to go from just wanting to do something to a homogeneous work that is supposed to have some commercial appeal, you have to make decisions. One of those decisions was, "If we're going to do this Tina Turner song, it really needs to be punchy." It's supposed to be a rock EP, it's got to be set to 10. I think that's what sets this cover apart from the moose. By the way, thematically, I didn't think of it as 'a Tina Turner cover', but as 'the Mad Max song'. It fits with the times we're living in.

Phantomime features a cover of Iron Maiden's "Phantom Of The Opera". Two years ago, you also recorded a version of Metallica's "Enter Sandman" for the Blacklist compilation. In rock, people like to pit the Rolling Stones against the Beatles, and I think the metal world tends to do the same thing with Metallica and Iron Maiden. Do you feel more affinity with Metallica or with Maiden?

[He thinks] Good question. I'm trying to formulate a coherent answer. I think... It's so fifty-fifty. Both. Not just in terms of inspiration, but in terms of their whole careers, especially when I was a kid. In many ways, like many fans of both bands, there's a cut-off date where my interest in new music started to wane. But I have such a love for everything they did before that it doesn't really matter. The limit is basically the Black Album and Fear Of The Dark. I mean, I like The X Factor, and Brave New World was an absolutely great comeback album. But as a kid and a teenager, settling down with Live After Death was such an inspiration - not just for what I was hearing, but for the tour dates and everything to do with that. Same with Metallica and the Black Album. That was the first time I saw them, and it was the first time I was confronted with commercial greatness in metal, when a band is on top. It's happening now, they're the biggest band of all time. They're playing in such and such an arena, but when they come back next year, they'll be doing such and such a stadium. Even back then, I had a hunch that not only were they great, but they were doing well in life. These guys are getting richer by the hour [laughs]. That's the kind of thing that matters when you're twelve. "And imagine all the girls they get!" That kind of nonsense.

And of course, these bands inspired me musically and professionally and brought me a lot of joy, but they also became mentors in my professional life. I have so much gratitude and respect for those two bands. If I were to be super picky and specific, I would say that since we are a more melodic band, we are probably closer to Maiden. Metallica is more of a "speed" band, I think. To be honest, what I've always liked most about Metallica, and especially on my favourite albums, which are a lot of people's favourites, is not the speed. The speed and the violence on those albums are just added value. The reason their music was so great in the 80s was because it was so melodic. It's the melodies. What changed in the 90s was that they stopped the melodies. They became a blues band, and all of a sudden all the movements were different. It wasn't neoclassical like in the 80s or on the Black Album. I'm very neoclassical myself, that's why I feel so close to the melodic side of Metallica. On the other hand, I spent my teenage years listening to death and black metal, so I love big riffs and speed and stuff like that, but that's not what we do with Ghost.

For a long time, fans have been asking who could be the Maiden or Metallica of tomorrow. Considering the impressive success of Ghost, do you think you have an answer to that question?

Obviously, I know that George Lucas and Steven Spielberg will die one day, but I don't think Wes Anderson or Quentin Tarantino can be considered as a replacement. These directors don't have that much in common, but you know what I mean, I hope. I don't see us as taking their place. You know, I try to be as transparent as possible. What I do is very much inspired by those two bands. I try to do it in a different way, and with respect. But of course, from a practical point of view, when the day comes when there's no more Iron Maiden and you want to see a rock concert with staging and solos, you can come and see us. It's a very curious concept, but it's obviously relevant, because we live in a time when the previous generation is disappearing one after the other. I think Lars [Ulrich] and James [Hetfield] have spoken about how the physicality of their music is not the same as the Rolling Stones. Charlie [Watts] playing the way he played when he was seventy-nine or eighty, it's nothing like what's expected of Lars. And what is expected of James is also very different from what is expected of Keith Richards, with his very open chord style. The meticulousness of James' riffs and Kirk's solos can be difficult to achieve at eighty - and they're approaching sixty. Kirk already has them, by the way. So, as much as I don't want to think about it or remind people, nothing lasts forever. Sooner or later, fans are going to have to decide which bands they want to go see, because a lot of the people they grew up with won't be around anymore.

Your cover of "Enter Sandman" was very "ghostified", while "Phantom Of The Opera" is more faithful to the original in comparison. How do you decide how to approach a cover? Are there songs that offer more latitude in terms of arrangement and appropriation, and others less?

There are several factors, which differ from song to song, and the result can therefore be different. If you go back in time and take "Waiting For The Night", for example, I always thought that song in its original form... Obviously it's cool, but I thought there was a bigger song underneath. In the original, it's diffuse, vague, underlying. The chords are just hinted at, and the vocals suggest that you can build something bigger around it. When I did the cover with Dave Grohl, he asked me, "Can we do a really slow version of it like Trouble?" I said, "Yeah, that sounds cool." And of course, working with Dave Grohl, it seemed like a good idea at the time. In the end, we thought it was too slow, too heavy and too long. It was a good idea, but the result was not very convincing.

Enter Sandman' and 'Phantom Of The Opera' were conceived in two different ways. If someone had asked me to do a Metallica tribute, I would have accepted, but I would never have chosen 'Enter Sandman', in the same way that few people would choose 'Paranoid' or 'Smoke On The Water'. You automatically try not to pick the biggest hit. But in this case, it was Swedish television that asked me to play. It was for a music award, and they said: "Since Ghost and Metallica are close, you are seen as friends, so you should open the show. And we want you to play their biggest song, 'Enter Sandman'." I asked, "Do I have a choice?" And they said, "Not really! We want you to do it, otherwise we have to rethink the whole show. Could you think about it?" OK, I'll think about it and see what I can do. So I started to play the song and see what I could get out of it. The original structure of the song is very simple, and the melody, like "Waiting For The Night", suggests chords that they don't play. All I had to do was see which chord suggested the melody and fill in the gaps. I ended up with a five-minute arrangement. If I sing the melody with a guitar, this is what chords it suggests. That's the somewhat academic version of the song. I was at the stage where I had a completely different version of the song, and I recorded it and thought, "Fuck, I hope James doesn't hate it..." Because I don't want to disappoint anyone. It's supposed to be a tribute. My version was like, "You guys have all my love, but I was forced to do this! And in the end, the result was great.

"Phantom Of The Opera' was a bit different. I knew I wanted to cover a Maiden song, but not just anything, of course. I wasn't going to do 'The Number Of The Beast'. I've had fun with 'Phantom' in the past, because it's a long song and quite complicated. As a musician, it's quite common to sit on the couch and try to figure out a riff. What are they doing there? [What's the rhythm? How are they counting? Because I couldn't hear the beat. And suddenly, once I understood how the beat works in this song [he sings the riff while snapping his fingers], I thought: "Wow, you can't hear that at all on the record. You can't hear anything, it's just a controlled mess." I managed to figure out how to play other elements of the song, and I was like, "Now I have a reason to record it. Not because I want to improve it, but to come up with a different version where you can clearly hear the different parts." First of all, it was a personal experiment in the studio. I wanted to record it to see what it sounded like, and suddenly, after working on it for a few hours, doubling the guitars, adding the drums and playing everything perfectly with metronomic precision, the track was different and a bit updated, so to speak. So I said to myself, "I'm going to take the gamble of covering this song, and see what happens. It seemed like a good reason. I'm not saying my version is better, I'm just saying it's different. There's a bit more contrast and fluidity, you can hear the different elements better. It underlines how good the song is.

Phantomime's covers also include Genesis' 'Jesus He Knows Me'. Genesis is a rather peculiar band, which started out in progressive rock and ended up with huge radio hits. Do you find yourself in this ambiguity, in this duality?

Yes, I do. The other band on that level that did something similar is Pink Floyd. In the beginning, their music was really strange, really eccentric, and then they became more and more pop as the albums went on. People still mistakenly think they're a prog band, whereas 'Wish You Were Here' is really just a series of four pop songs stretched to the max. Not only am I very inspired by that, but I also feel an affinity with that kind of thing. You try to come up with variations of the traditional, if you like. You try to change the form, to present elements that people know in a different way. It's a bit like running a fusion restaurant and offering an Asian-inspired onion soup and adding coriander to the dish. It's still recognisable, but you try to make the recipe different. Another analogy is Stanley Kubrick, who told stories that weren't very complicated, but presented them in an epic way because of their façade - literally. It was the choice of set and costume and the attention to detail that made the difference. That's why, as a composer, I always try to go back to the simplicity of the writing; the simplicity of 'Another Brick In The Wall'; the simplicity of 'Comfortably Numb'. It sounds like a huge, epic song, but it's not complicated at all. They have a lot of songs like that. For a lot of songs in the Genesis catalogue, especially in the later part of their career, the only thing that makes it a bit weird is the middle part. In "Jesus He Knows Me", that's one of the things that made me want to... Not only have I always loved that song, but there are three factors that made me want to do my own thing with it. One: it's a very upbeat rhythm. The way they play it is so quiet that it literally sounds like they're playing on the table [he beats the rhythm on the table] with an acoustic guitar. There's a real metal track in there.

Do something with those guitars! [Laughs]

Yeah, but I'm glad they didn't, because that means we can! I'm really surprised that a band like Metallica never covered this song, because it sounds like a song from Garage Days. It has the same atmosphere. So I thought, "I'm gonna make it sound like a Garage Days song by Metallica. And I fucking hate the bridge of the original, when they go into white boy raggae. I like reggae, but this is the whitest reggae in the world! And it totally destroys the song. As much as I've always loved the song as a whole, I've always hated that part. So getting rid of that section and making it very heavy was also on the to-do list. I had to go into Trouble mode on this. And of course, that goes without saying, but the lyrics were also perfect. It's meant as a tribute, even though I spit on that bridge a lot. But they've done a lot of these kind of prog bridges, like "Let's do anything here", and they'll throw in a rumba or something like that. Some people might find that really interesting, but in most of their songs, I don't think it adds anything. But yes, Genesis has a lot of... I like a lot of their older prog music, with Peter Gabriel, although I think they almost became even better after they split up. Peter Gabriel did his own music, and he did it very well - very epic music. And Phil [Collins] came in on vocals and they did their own thing. To me, it was the best of both worlds, even if it sounds sacrilegious to say that. I'd love to see Peter Gabriel come back and sing with them, that would be cool, but their separation brought so much to the music, between Peter Gabriel's career, Genesis' career and Phil's career. That amount of work, man!

It's one of the few cases where the split was a real success for everyone, and the result is as good as the original band.

Absolutely, I think so. The most amazing thing they could do now, especially now that Phil is not in good shape... What I wish they had done, or could have done, or would do one day, is a triple tour. For example, Phil and [Peter] could do a solo show each to start with, maybe just five or ten songs, and then get together with Genesis. That way we could have 'Here Come The Flood', 'Another Day In Paradise' and 'In The Air Tonight', and then a bunch of Genesis. I think everyone would love to see that. It would be the perfect concert. For me, it would be one of the best experiences possible.

You see, that's the kind of idea that made Ghost into Ghost. If you can come up with a plan like that for other bands...

[Laughs] You can always call me before it's too late, guys!

Another band that has come up with sophisticated yet super catchy music is Def Leppard, especially on their multi-platinum album Hysteria. Speaking of which, this year you released a new version of "Spillways" with Joe Elliott on vocals. When you hear him on this track, the link is obvious, especially with the very elaborate backing vocals. Would you draw a parallel between your approach to songwriting and arranging and that of Def Leppard?

On this album, yes, because I tried to emulate elements of... It's something that's been done throughout their career, but especially on their two biggest albums, Pyromania and Hysteria, the length of the songs is remarkable. It's very common these days, especially in pop, to be very fussy about the three-minute limit. In the pop world, there's this need to always get to the chorus very quickly. You have to start with the chorus, go straight to the point all the time. In the 80s, there was more courage in songwriting - a more adventurous side. Songs like 'The Riddle', for example, were very strange, very proggy. There were weird chord progressions and stuff that nobody does anymore. The pop world has been so chicken for so long. Of course, I've always had an ear for pop; I'm not exactly impressed with what I hear today, but in my life I've always listened to the radio and liked a lot of what I heard, especially the 80s super hits. That's totally my thing. And I love Eurodisco from the early 90s. There are a lot of great composers in that scene. Max Martin started in Eurodisco, at least professionally, but before that he was in metal. What makes him such a great composer is his metal ear. He was writing Eurodisco songs, and then all of a sudden he started writing huge pop songs for the Backstreet Boys and Britney Spears. This whole school of Swedish songwriters is made up of former metalheads, former rockers, former guitarists.

So I wanted to challenge myself in my own songwriting, because sometimes I keep it too short. Even though "Square Hammer" is a good example of a well-written song, it was almost frustrating, because I thought, "OK, that's one more song like that. Now I have to stop doing that, because it was almost too simple." It was a very intuitive song; I literally wrote it in ten minutes. I had the melody, I played it, and the song wrote itself very quickly. There's almost no finesse in that song, and I thought I should avoid doing the same thing again, because it would be too easy. I wanted to see if I could write in a Def Leppard way. On Hysteria, there are six, seven, eight singles, a good half of which were huge hits. In 1987 or 1988, they were on a par with Coldplay at the height of their career, that's for sure. How could they write five-minute songs, with like five distinct parts? It wasn't conventional, verse-chorus-verse-chorus writing. It was verse, another verse, pre-chorus, bridge, and then finally, after two minutes, you'd get to the chorus. And it was so rewarding, because it was such a long way to get there. I thought, "This is what I have to work towards. I want to dare to add another part, dare not to follow the path. That was a mental exercise I did on Impera, and I'll try to do better in the future. It's an interesting way to challenge yourself.

When people talk about the length of songs on the radio, I always think of the story of "Bohemian Rhapsody": "This is going to be a disaster, it's never going to be played on the radio!" That's it, yes...

For a long time they called that song "Freddie's thing". It's such an anomaly in the middle of what we've just been talking about. Of course, I don't recommend... For a young band that's just got a contract, it's best to avoid the six-minute "Rhapsody". But if you can find a compromise between 'The Passenger' and 'Bohemian Rhapsody', I think you've got something.

On that subject, how did Joe Elliott end up on "Spillways"?

The story is very simple. I talked about Def Leppard a lot before Impera came out because of the mental exercise I mentioned, and both Phil and Joe had been talking about Ghost for a few years. It got to the point where our respective managements wanted us to do something together. In the modern world, that often means collaborating, as hip-hop artists do. I explained that I was willing to explore the idea, but that for me, a collaboration is a trendy but outdated concept. We do it all the time. In hip-hop, it's almost ridiculous to see... If an artist is hot this week and you go look at the American top 40, it's just "this artist feat. this other artist". I totally understand that one plus one can sometimes be three, but it gets very cynical. I don't want to do things cynically. I sing cynical things, I'm a cynical person, but I don't want to be cynical about my fans or my career. So I said yes, I would discuss it with Joe, but we'd have to see if we could agree on something, if there was romance in the air.

Joe and I sent a lot of messages to each other to try and arrange a meeting. He lives in Ireland, but also in LA. I live in Sweden, but I also spend a lot of time in LA, so we tried to find time to see each other. He was getting ready for his tour, I was getting ready for my tour, and we were just hanging out. And then out of the blue, he wanted to experiment; he went into the studio, recorded some vocal lines and sent them to me. I thought it sounded really cool and I said, "Look, I have nothing but good things to say about what you did. It sounds great. I'm not surprised by your voice, but by the fact that we sound so good together. I like that very drawling vocal, you really added something. But I have no desire to throw this on Spotify and say to people, 'Here's another thing you can buy.'" I asked him, "You know we do little skits to communicate with our fans in a funny way? Instead of posting on Instagram saying we'll be in such and such a city, we come up with little episodes." He had seen a few and said, "Yeah, that's funny. Let's do something funny with that." The gag is the important part, and the end result is a bonus.

It's like what we did with 'Kiss The Go-Goat' and 'Mary On A Cross'. The idea for the episode came first, and then we said, "OK, but we need a song. So I came up with the idea for this 60s-style sketch that was "Kiss The Go-Goat". Then, as I was writing and recording 'Kiss The Go-Goat', 'Mary On A Cross' came up in the process, and I thought, "Great, now we have a B-side! It'll be a physical single." So I put that in the script: "Let's start showing the single, now that it's official." Things work in tandem. Looking back, we now know that the end result was different. It was meant as a joke. There was 'Kiss The Go-Goat', which was the joke itself and was very successful. And then it turned out that "Mary On A Cross" was completely different. That's also what I told Joe: we do this to mess around with the band. My job is to write records and entertain people, but apparently I also have to communicate with my fans, and do all this promotion that I'm not really interested in. I have no problem doing this interview, but I don't want a fucking Instagram account where I post pictures of myself. I don't want to be that person. So, I'm doing this so that people... They're diversions, and sometimes those diversions become cool. "What do you say, Joe?" In the end, we found this way to spend time together and do something fun. Instead of turning our creativity into songs, we turned our creativity into episodes. It became something fruitful and fun, and I think it was a great success.

The title of the EP is clever, as it mixes the terms 'ghost' and 'pantomime'. The latter term is defined as "a type of musical for the entertainment of the whole family". Is this your goal with Ghost? Do you see the band as "a musical for the whole family's entertainment"?

Broadly speaking, yes. Of course, that suggests that the more adult elements and innuendos in our show are suitable for children, which I don't claim. But I would also like to stress that I have never asked people to bring children to our shows. So if the children in question are exposed to jokes involving penises, farts and copulation, that's their problem. I grew up in a very liberal family, where there were very few barriers and no censorship. I think it's possible to have a conversation, if others are open to it. I have no problem with whole families coming to us, as long as no one suffers. So, for me, it is indeed entertainment for the whole family. But I wouldn't sell it as such to most people, because there are still elements that are not suitable for all children.

I remember a Rammstein concert where I noticed children in the audience. I thought it wasn't really a good idea... Ghost seemed a bit more appropriate, but for young children, some things can still be a bit biased.

It's hard for me to have a clear line on this, because I'm not just speaking as a musician, but also as a parent. There's a constant debate about the right age to talk about certain things. Now, with two teenagers, things are more open. But that's one of the weird things about being a semi-public figure, talking openly and publicly about your life and what you do and sharing your opinions. My kids read that, too. They are aware of it. As soon as I say something, especially nowadays, where everything becomes a meme or a clip... People may think what I say is funny, which I don't mind, but my son and daughter, now fourteen, heard it when they were eight or ten. It's hard for me to be a parent and say, 'Go to school! Don't do that", when they know perfectly well that I didn't follow any of these precepts. I'm not trying to lie to them at all. I tell them: "I did this, I don't recommend it. I did this; I totally neglected this other thing. But I was lucky and I got there. My career isn't over, so I don't know if I've really "arrived", but for now, I'm here. It was a bit silly of me to be so confident, to think I could burn all the bridges, burn all the ships and throw the oars. I was lucky enough to make it to land, but I don't recommend this technique. Don't do the same thing! [Laughs]

#the band ghost #Tobias Forge #interview

[frenchcurious]

Intérieur du Radio City Music Hall, New York, conçu par les architectes Edward Durel Stone et Donald Deskey, 1932. - source Dwayne Douglas via Art Deco

#radio city music hall #edward durel stone #donald deskey #new york #usa

[prosedumonde]

Depuis toujours, l’anxiété a fait partie de ma vie. Mon art est une confession personnelle. Comme les messages radio d’un navire qui sombre. Mais j’ai le sentiment que cette anxiété m’est nécessaire, tout comme l’est la maladie. Sans cette peur de la vie et sans cette anxiété, j’aurais été une barque sans gouvernail.

Marc Lenot, angoisses et désir selon Munch

#Marc Lenot #angoisses et désir selon Munch #livre #livres #book #books #citation #citation française #citation en français #littérature #littérature française #literature #roman biographique #quote #quotes

[wynsvre]

Hello, great artwork.

If you don't mind, how do you draw comic art like This[https://www.tumblr.com/wynsvre/731663598459502592/hellooooooooo-heres-clerics-radio-au-part-24]. Like is it digital art or handrawn if digital could you kindly share your workflow.

Keep up the good work.

hi!! thanks so much!! i'll do my best to explain...

first off, cleric's is entirely digital! i work in procreate, which i would highly recommend. i'm being so serious when i say it's the most worthwhile $10 i've ever spent. ever. in my LIFE.

first, i draft out the overall story of cleric's in a notes app. each installment is its own little checked box. they're super vague, but i make sure each installment has a purpose to the larger story, and i fill in the dialogue and everything when i go to sketch.

second step: sketching! this is always a messy stage; i try my best to keep things loose so i can tweak/erase panels if i need without losing too much time. usually, i nail down the dialogue at this stage, but that was obvs not the case with our latest installment. i make sure to research and fact-check anything that i'm uncertain about, content-wise. i also try out a lot of different panel compositions—certain framing can help the emotion(s) of a scene come across better, and variety is always good.

next i go to line! procreate has a handy "drawing guide" feature that helps me get the lines looking neat. i keep the boxes, dialogue, and scene lining all on different layers to make things easier! i also use reference!! reference is so, so important and can be super helpful to artists at ALL stages. USE IT!!!!

last step is usually adding text and checking to see if i've missed any other details! for mike and will specifically i try to make sure i've added moles, freckles, etc. :)

et voila!

i hope this was helpful! if you want to know about my coloring process, or anything i talked about here, feel free to comment/message me/shoot me another ask!! <3

#cleric's radio au #behind the scenes #asks #comics #comic #my art

[detournementsmineurs]

"Ensemble de Micros Streamline" en acier chromé (circa 1935-45), "Tourne-Disque Portable" d'Oskar Schlemmer pour la marque Odeon (circ 1928), "Jukebox de Table" de la marque Seeburg (circa 1949) et "Tourne-Disque Portable" de John Vassos pour la marque RCA Victor Radio Company America (circa 1935) à l'exposition "Art Déco France - Amérique du Nord" de la Cité de l'Architecture et du Patrimoine, Palais de Chaillot, Paris, février 2023.

#expos #deco #Schlemmer #Odeon #Seeburg #RCA #RCAVictor #RadioCompanyAmerica #CiteArchitecturePatrimoine #Art Deco

[bunny-bluue]

Name: Céline Lavigne

Died: Year 1990

Death By: Heart attack from being overworked and stressed

Sins: Adultery and murder

Occupation: Fashion Designer (Both in living and in Hell)

Nationality: French

Type: Sinner - Doe Demon

Hobbies: Sewing, drawing designs, fencing, decorating, playing violin,

Tailor Shop: Lavigne’s

Love Interest: Alastor

Ex-Husband: Adrien Roux

So I believe when Hazbin Hotel came out with the pilot, I made an oc that I didn’t exactly touch up on. On most of my art accounts, I posted a white fox demoness named Inari! Now essentially, she was my number one HH OC back then but now that the show is finally continuing on, I came up with another OC to sort of replace my old OC! Mesdames et Messieurs, I’d like you all to meet Madam Céline Lavigne!

Céline is a French doe demon who happens to be a fashion designer (both in the living realm and in Hell) with a tailor shop located near the Hazbin Hotel! When she was alive in 1990, Céline lived in France, Paris. She was married and was becoming a rising french clothing designer with a lot of promising ideas and creativity! But while her fame grew, her personal life became dimmer and barren to the point of becoming estranged with her husband. Her busy hours kept her away from him for long periods of time, the stress of working so many hours caused them to have many fights, and then the distance between them caused her husband to seek out other women to hold. And while their marriage was crumbling, Céline tried her hardest to keep it in tact because deep down she still loved her husband. But when she learned that he was sleeping with many women, she in her own rage, decides to even the score and have a one-night stand with a stranger she met at a bar. As she was committing the sin of adultery, her husband had caught her and her lover in the act. Enraged by her actions, Céline’s husband flew into a rage and killed her lover and tried to kill her as well, resulting her into defending herself and killing him by accidentally shoving him off a balcony from her 50 story building. Céline’s reputation had plummeted once the news about her husband’s and lover’s death was revealed. She was shunned and rejected from the fashion industry and once the stress and exhaustion became too much for her to handle, she had died from a severe heart attack, thus sending her damned soul into Hell.

Once Céline had realized that she was indeed in Hell, she started from scratch and rebuilt her fashion career by setting up a tailor shop near the Hazbin Hotel! Once she heard about what Charlie was trying to accomplish at the Hazbin Hotel, Céline took the opportunity to visit and requests to be redeemed. She offers her skills into making new outfits and decor designs for them in payment for her reedeming! Once she was promised redemption, she had to meet the entire staff to familiarize herself with and that includes the Radio Demon himself. Like everyone in Hell, Céline knew how risky and dangerous it was to be around Alastor. She feared him but was also respective enough to make sure she didn’t get on his bad side. Which she didn’t! If anything, it made the overlord direct his attention to her whenever she was present in the same room! He found it fascinating that such a harmless woman was in Hell and it was entertaining for him to figure out what she did to get there! She didn’t exactly trust to be around Alastor but the more she got to know him, the more relaxed she got which eventually led her to having fond feelings for him. But because of her previous marriage, Céline isn’t too confident about getting into a relationship, especially with someone like Alastor since she is planning on being redeemed. So she doesn’t act on her feelings and keeps to herself, being fine with being good friends with him.

#hazbin original character #hazbin oc #hazbin hotel #hazbin alastor #doe demoness

[etradio]

#miraculous ladybug #mlb #mlb fanart #alya cesaire #outfit redesign #fashion #mlb redesign #artwork #digital illustration #drawing #miraculous fanart #my art #ET Radio Art

[tintinology]

Tintin adaptations throughout the years

The Adventures of Tintin have been adapted more than a dozen times into several different media, including radio, movie, television, theater, and video games. Most of these adaptations are based on the original 23 comics:

*Not included due to lack of information Radio Luxembourg radio play (1956-1961) - French Radio-Canada radio play (1962-1965?) - French

The most popular books to adapt have been The Secret of the Unicorn, Red Rackham’s Treasure, The Seven Crystal Balls, and Prisoners of the Sun (with ten adaptations each), while Tintin in the Land of the Soviets (with zero adaptations) and Tintin in Congo (with only two) have been the least popular. There have also been no adaptations of Tintin and Alph-Art. It’s interesting to note that the Swedish radio play also adapted Tintin and the Lake of Sharks, despite it not being one of the official books of the series.

The languages on the table indicate the original language the adaptation came out in; however in some were also made available in other languages as well. This is the case with the TV shows, movies (except the one from 1947), and video games.

.

There have also been other Tintin adaptations not based on original comics that were either approved or tolerated by Hergé and Moulinsart/Tintinimaginatio (links may lead to French sites when English is not available):

Movies

Tintin et le mystère de la Toison d’Or (1961) - French

Tintin et les oranges bleues (1964) - French

Tintin et le lac aux requins (1972) - French

Plays

Tintin aux Indes : Le Mystère du diamant bleu (1941) - French

Monsieur Boullock a disparu (1941) - French

Books and short stories

Dupont et Dupond, détectives (1943) - French

Tintin et Milou chez les Toreadors (1947) - French

Tintin in the New World: A Romance (1993) - English

All three movies have had books made, though only Tintin and the Lake of Sharks was adapted into an official comic. The 2011 movie was also adapted as a novel.

The plays and the short story  Tintin et Milou chez les Toreadors have seemingly been lost to time, so all that remains are summaries online and the occasional photo.

Interestingly, the first adaptations date back to 1941, but it isn’t until 1947 that the first adaptation of one of the comics is made. Since Hergé’s death, only one adaptation not based on the original comics has been published, and only because it received his approval before his death.

#yes im a big nerd that likes to look at this stuff lol #i may have missed one or two esp if they were not in english or french #but i think this paints a pretty clear picture of the tintin adaptations that exist #crying at all the lost media we'll never get to hear or read :((( #a lot of these adaptations can be found online tho so that's good! :) #tintin #the adventures of tintin #tintin adaptations

[georgefairbrother]

Remembering British film director and writer Sir Alan Parker CBE, who passed away July 31st, 2020, aged 76.

Born to a working class family in Islington, North London he made his early reputation as a pioneer of creativity in television advertising. He formed a creative partnership with David Puttnam and went on to become one of his generation’s most accomplished film directors.

He directed Jack Rosenthal’s television play, The Evacuees, for the BBC (BAFTA and International Emmy), and his first international cinema success was Bugsy Malone (1976), a musical gangster pastiche featuring a cast of children, including Jodie Foster, Scott Baio, Andrew Paul (The Bill), Bonnie Langford and an uncredited Phil Daniels. He said that he wrote Bugsy Malone out of frustration, as his work was constantly being rejected on the grounds of being 'too parochial'.

He went on to create a commercially successful, diverse and at times controversial body of work, including Midnight Express (written by Oliver Stone: they didn’t get on), Fame, Pink Floyd-The Wall, Mississippi Burning, The Commitments, Evita and Angela's Ashes. His final feature film was The Life of David Gale in 2003.

According to his official website;

"...In all, his films have won nineteen BAFTA awards, ten Golden Globes and ten Oscars...In January 1998, Parker took up his post as Chairman of the Board of Governors of the British Film Institute and in August, 1999 he was appointed first Chairman of the UK Film Council; a position he held for five years...In November, 1995, Parker was awarded with a CBE by Queen Elizabeth II for services to the British film industry and he received a knighthood in 2002. He is also an Officier des Arts et des Lettres, awarded by the French Government..."

He was also fascinating to listen to on the subject of the film industry generally, and gave a number of entertainingly grumpy interviews over the years. In the mid 1980s, his Thames TV documentary, A Turnip Head’s Guide to the British Film Industry, which according to his own website ‘lambasted the British film establishment and film critics’, seemed to upset just about everyone but won the British Press Guild award for the year’s best documentary.

He was interviewed by Warner Brothers executives as a potential director for the first Harry Potter, however during a teleconference (from his kitchen table at home) didn’t seem to express enough interest or gratitude at being asked. When a Warner exec told him that lots of directors would just love to do it, Parker said, 'Well go and ask them, then', and that was the end of that.

In conversation with David Puttnam for a BFI function, Alan Parker explained why he gave up making films, and talked a little about his art and drawing.

"…I’m out of it, I’ve had enough, I think it’s time for someone else to do it. I get more pleasure out of doing my art…I’ve been directing since I was 24, and every day was a battle, every day it was difficult, whether you’re fighting the producer who has opinions that you don’t agree with, the studios or whoever it is, because film, unlike art, pure art, film is hugely expensive, and the moment it gets expensive, you have people you have to serve…I’ve been punching out, all my life…to fight for the work…for our right to make our movie, the way we want to do it, and that’s hugely difficult, because it seems that you’re forever punching out. There comes a time, when you think, I don’t want to do that…I showed (a friend) one of my art works, and he said, who’s your audience here? Because that’s what film people think. I said the audience is me, and that’s all I care about, if someone likes my art, fine, if they don’t, fine…If they don’t like my movies, I want to kill ‘em…"

He was Michael Parkinson's first guest on Desert Island Discs in 1986, (a great interview) and featured once again 14 years later talking to Sue Lawley.

#social history #working class history #film history #british cinema #british film directors #alan parker #mississippi burning #the commitments #british film writers #british film history

[ahenvs3000w24]

07: The Most Captivating Composer

Hi all!

We have had a short break in conversation, but I am back today to discuss the role of music in nature and where we can find it. One of my favourite aspects of spending time emersed in the natural world is pausing to hear all the elements surrounding me and my senses. When you become still, the world continues to move around you, and you can appreciate the smallest details. Music serves a social, emotional, cultural, and cognitive purpose that can connect us to each other and to nature regardless of socioeconomic status or other potential barriers (Hookyaas, 2024). The period in which music is produced provides context into the state of the world at that time and provides the listener with context (Beck et al., 2018). Often music is a vessel that indirectly informs us of the world without the need for a lecture or reading (Beck et at., 2018). The compilation of sounds can connect all our senses and encourage us to feel something that has been left unsaid.

So where is music in nature?

Some of the greatest musicians and conductors rely on a diverse set of instruments to convey emotion through their sounds. The orchestra that nature has assembled relies upon various components and species to produce a symphony. The waves that crash upon the beach and exposed rock at impressive speeds are the percussion. They provide a base line for the remaining components to layer themselves upon. The wind provides a soft but noticeable melody with powerful acoustics as it whisks amongst the brush and trees that line the beach front. At dusk, you may hear the rustling of small creatures, scurrying about to return to their burrows providing depth to the ensemble. 

I am most familiar with music in nature and have always been an observant listener, however nature in music is something I am not as familiar with. In an interview that I once watched with Finneas, Billie Ellish’s brother and co-collaborator, he explained his producing technique. He discussed his efforts to be a mindful creator and explained he often sources his beats and sounds from the world around him (Youtube, 2020). An example of this is the funky beat in the song “Bad Guy” which is part of a traffic light in Australia (Youtube, 2020). Creators such as Finneas are innovative and are exceptional interpreters of the world around them. In several Jay-Z songs such as “No Church in the Wild”, animal sounds are used for stylist purposes and make for easily identifiable songs (Jay-Z, 2011). Mainstream radio stations that play these songs are providing a platform for subtle nature interpretations. I intend to delve deeper into true nature songs and listen to how creative some songwriters are.

To wrap up my thoughts today, music makes us feel. Many of us turn to music in times of sorrow or when we need a pick me up while getting ready to play a game. Music can transform any space it enters and create an ambience that cannot be ignored. It is also the purest form of nostalgia. A personal example is the song “Home,” by Edward Sharpe and the Magnetic Zeros (Sharpe & the Magnetic Zeros, 2009). It is my camping trip anthem. Within the first few seconds, I am transported back to hikes under the hot sun, diving into the cold lake, and early morning wakeups. It is a song that represents the outdoors, family, and is ever-present in some of my fondest memories. I have included it if you are unfamiliar and in my slightly biased opinion, I think it is a must add to your summertime playlists! 

References

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage: for a better world: Chapter 10 Arts in interpretation. Sagamore Venture.

Hooykaas, A. (2024). Unit 7: Nature interpretation through music. University of Guelph. https://courselink.uoguelph.ca/d2l/le/content/858004/viewContent/3640018/View

Jay-Z & West, K. (2011). No church in the wild [Song]. On Watch the throne [Album]. Def Jam Records.

Sharpe, E., & the Magnetic Zeros. (2009). Home [Song]. On Up from below [Album]. Vagrant label.

YouTube. (2020, February 4). Finneas reveals everyday sounds hidden in “Bury a friend” and “Bad guy.” YouTube. https://www.youtube.com/watch?v=I-zeJRjP6xA 

#envs3000 #university #music #Youtube

[spacetimewithstuartgary]

Polarized shockwaves shake the universe’s cosmic web The cosmic web is how the universe looks at its largest scale - an interweaving web of filaments and clusters full of gases and galaxies which wind around cosmic voids millions of lightyears across. This universe-spanning web was predicted by astrophysicists in the 1960s, with computer modelling giving us a glimpse of how this vast network truly looked in the 1980s. Over the course of the past few decades, we’ve been able to map the Cosmic Web through observation, bringing with it the possibility of answering some of astronomy’s biggest questions. An area of particular interest is how magnetic fields behave on a cosmic scale, and what role they play in both galactic and cosmic structure formation. New research published today in Science Advances and led by the International Centre for Radio Astronomy Research (ICRAR) in partnership with CSIRO, Australia’s national science agency, is helping us to further understand these cosmic magnetic fields. Dr Tessa Vernstrom from The University of Western Australia’s (UWA) node of ICRAR, is the lead author of the research and describes magnetism as a fundamental force in nature. “Magnetic fields pervade the universe – from planets and stars to the largest spaces in-between galaxies.” “However, many aspects of cosmic magnetism are not yet fully understood, especially at the scales seen in the cosmic web.” “When matter merges in the universe, it produces a shockwave which accelerates particles, amplifying these intergalactic magnetic fields,” said Dr Vernstrom. Her research has recorded radio emissions coming from the cosmic web – the first observational evidence of strong shockwaves. This phenomenon had previously only been observed in the universe’s largest galaxy clusters and was predicted to be the ‘signature’ of matter collisions throughout the cosmic web. “These shockwaves give off radio emissions which should result in the cosmic web ‘glowing’ in the radio spectrum, but it had never really been conclusively detected due to how faint the signals are.” Dr Vernstrom’s team began searching for the cosmic web’s ‘radio glow’ in 2020 and initially found signals which could be attributed to these cosmic waves. However, as these initial signals could have included emissions from galaxies and celestial objects other than the shockwaves, Vernstrom opted for a different signal type with less background ‘noise’ – polarised radio light. “As very few sources emit polarised radio light, our search was less prone to contamination and we have been able to provide much stronger evidence that we are seeing emissions from the shockwaves in the largest structures in the universe, which helps to confirm our models for the growth of this large-scale structure.” The research utilised data and all-sky radio maps from the Global Magneto-Ionic Medium Survey, the Planck Legacy Archive, the Owens Valley Long Wavelength Array, and the Murchison Widefield Array, stacking the data over the known clusters and filaments in the cosmic web. The stacking method helps to strengthen the faint signal above the image noise, which was then compared to state-of-the-art cosmological simulations generated through the Enzo Project. These simulations are the first of their kind to include predictions of the polarised radio light from the cosmic shockwaves observed as part of this research. Our understanding of these magnetic fields could be used to expand and refine our theories on how the universe grows and has the potential to help us solve the mystery of the origins of cosmic magnetism. TOP IMAGE....A composite image showing the magnetic fields of the cosmic web, featuring a pull out of how radio data was stacked. (Credit: Vernstrom et al. 2023) CENTRE IMAGE....A composite image of 3 different observations of the cosmic web (gas, radio and magnetic) accompanied by a composite image. Credit: F. Vazza, D. Wittor and J. West, Composition by K. Brown LOWER IMAGE....A single frame from the simulation during the final “time step” displaying different layers. The yellow shows the temperature and gas density of the cosmic web. The red shows the radio emission from the shocks and the blue lines show the magnetic field lines. (Credit: Vazza F; ENZO; Piz-Daint CSCS (Lugano))

#space #science #Astronomy #physics #news #cosmology

[peppertaemint]

I joined tumblr ‘cause of Shinee just recently and was a babywol (2022), really admired them, especially Key. I feel lost, and like such a fool for feeling this conflicted. As a poc, I’m so done with making excuses for people, it’s always heartbreaking to tell people how I feel, be dismissed or worse just be heard and then they do nothing about it, not even stand by you. It’s gutting when it keeps happening, just never gets easier- like I know they’re going to hurt me, but I also love them because there’s a lot of good to them? Also, how many people can I cut out from my life? I don’t want to see Taekey dragged, it’s just so much worse knowing they’re fully capable of learning and growing from this, but they most probably won’t bother, especially with a lot of the fandom trying to bury our comments. It’s just infuriating when taekey have talked about what it feels like with people commenting about their image/ weight, and they turn around and do the same thing to their own friend. I can’t believe just last week I was all happy for Key being called a ‘safe and comforting presence for fans’ in some article. Do you think they’re likely to apologize/change? I’ve heard some comments about a concert where one of the members apologized in the past. again, feel foolish for holding out hope, but I’m just so tired and feel so torn.

Hi Anon,

I am dictating this, so apologies if any of it comes off weird. I don't think you have to make excuses for people and I don't think it's a matter of them not wanting to learn. My own take is that it's a cultural difference that is difficult to bridge. That's not an excuse that's just a reason; that being said, when I watch old Korean stuff like TV et cetera versus what is out now there is a big difference. That doesn't mean it's perfect, but to me, I see it going in the direction that is what I want and expect.

Basically, I think you can respect someone's art and like their art but acknowledge that you don't like every part of them or everything that they do, the same as the way you love a family member, but you don't like everything that they do. The problem in these spaces, These online spaces, is that People associate an artist with their own identity, and then that artist's failing becomes their own, and it's not, it is theirs for them to own and keep. And it is enough for you to say I'm not cool with that and make your thoughts known.

I think that everyone is capable of making mistakes and mistakes that are hurtful, and it's up to us to decide what we have as a boundary and what we don't. And honestly, I've been a fan of shinee since late 2019, and this is the first thing like this that I've seen go on. I saw the old stuff but I wasn't surprised because I've seen that with every single group that I've looked into and I've seen it in almost every Korean show that I've watched. But they have apologised about things and they are people who self reflect.

not a lot of fans have watched it, but the interview in 2018 with radio star.... There's so much reflection in discussion of changing as people, about growing up and understanding when you've hurt someone, and changing your behaviours, so I just think out of everyone that I've seen, I see a lot more of that with this group than other groups. And it is specific. Key went on about how he used to hurt peoples' feelings. Then it's something that he has to watch out for. Obviously it is something that he probably still struggles with for whatever reason and I think we've all seen that, if you're a fan and you've watched enough stuff. I feel more comfortable with artists who are honest and make mistakes and discuss those things whether it's tomorrow or it's like six months from now. Then people who purposely ignore it or make disingenuous comments. I don't think this is a group that ever makes disingenuous comments, I don't know if that's helpful, anonymous, But that's my two cents.

#there is an above average chance it will be addressed #that's my opinion #shinee ask #shawols