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articleshubspot · 1 year

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Highlights on Jelly Roll and his Wife

Since 2011, the country rapper Jelly Roll has been moving up the charts. In 2023, the musician was nominated for three CMT Music Awards, and he attended the ceremony with his wife, Bunnie XO. He wed Bunnie XO in 2016, and they had two kids together already.

Because of his stunning wife Bunnie XO, Jelly Roll has been dominating the country rap music scene. On April 2, the country singer went to the CMT Music Awards, and naturally, he spent the evening on the red carpet with Bunnie XO. When they posed for pictures on the red carpet prior to Jelly Roll’s performance at the show, the Jelly Roll wife appeared to be blissfully content together. Even while he was on the red carpet, the musician learned that he had won the evening’s opening prize!

Exactly who is Jelly Roll wife Bunnie XO?

Bunnie is an entrepreneur who deviated from the norm in terms of her career. The entrepreneur worked as a high-end escort before starting her popular YouTube channel. Bunnie created Dumb Blonde Productions, a media company, and her “Dumb Blonde” podcast in December 2020. Dumb Blonde Productions saw significant success at the beginning of 2023.

Thank you for downloading the podcast 1.7 million times in January! In February 2023, she posted on Instagram, “I can’t even begin to tell you how thrilled I am to have signed with WME now and witnessing the Bunnie Xo brand grow even more. “I much love y’all. Because of each and every one of you, the little girl who is broken inside of me is healing every day. 2023 is off to a good start, says Jelly Roll wife.

When did Bunnie XO and Jelly Roll get married?

After dating for over a year, Jelly Roll (actual name Jason DeFord) and Bunnie got married on August 31, 2016.

In Las Vegas, Nevada, in 2015, Bunnie and Jelly Roll were both performing at Sin City’s Country Saloon when they first met. Bunnie was unaware that she was watching her future husband play. The “Bottle and Mary Jane” vocalist claimed that the performer and he were a match made in heaven. He also acknowledged that when they initially hugged, he “felt her spirit” and “genuineness.”

“We bonded well. In November 2022, he revealed to “Taste of Country Nights” host Evan Paul that she claimed to have fallen in love with the saddest eyes in the room, noting that she had been in an abusive relationship at the time but had since broken up with her ex. I won’t act as though I made my shot. She sort of fired hers. We shared buddies. She uttered, “Hey. Just connect me to Jelly. And I struck her with another s-t. I exclaimed, “Hey. I’ll be travelling there to do some content and video production. She responded, “Sure! C’mon!’ “Great, well, I’m living in my van, so I’ll leave immediately,” I thought.

Do Bunnie XO and Jelly Roll Have Children?

Bailee Ann, the daughter of Jelly Roll and his ex-girlfriend Felicia, was born in 2008. The native of Tennessee gave birth while being detained. Yet in 2016, he was granted custody of his daughter once more.

Jelly Roll has expressed his appreciation for his wife, who made it possible for him to rebuild his relationship with his daughter.

“To raise a child who isn’t her child and still treats the child as if she needed a unique sort of woman. He wrote in the description of a May 2020 Facebook post with a picture of Bunnie and Bailee, “Through the years watching her connection with Bailee develop into this wonderful mother-daughter friendship that it has become has been nothing short of magical. “I’ve got the best partner in the world, and I’m incredibly blessed. Because you didn’t have to step up to the plate in the manner you did, you are the model of a good mother and deserve more praise than anyone. You made the decision to take the initiative, and man, you totally nailed it. We appreciate you, Mother Bear; we love you.

Blog Link: https://articleshubspot.com/jelly-roll-wife/

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anon-e-miss · 3 years

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What if Polyhexians had a culture/tradition of taking high-ranking enemies as spoils of war after winning a war. Not to treat them badly, but as a sort of ‘proof of victory’. Praxus and Polyhex go to war. Polyhex wins and Prowl finds himself being taken as a spoil of war.

Prowl wore chains to his bonding ceremony. When he had contemplated such an event, chains had not been the uniform he had imagined he might wear. He was a prize, one of twelve and the highest ranking of the captives Polihex had claimed as their due.

Though they call it a bonding, Prowl was aware that no sparks would be involved. It was more the matter if his specific ownership being given to one mech who had earned a great reward for their part in the miserable wore. The Rites of Repayment would begin any moment. Prowl was bare save for the gold chains that began at the welded loop around his neck, fell between his wells to hook to bangles in his wrist and then down to his ankles.

Standing behind him, the other Praxian prizes were similarly garbed, amongst them was his half brother. Though he was also the creation of the Duke, Barricade had emerged illegitimate and thus held no rank but what he had earned. As a but a Major, his was the lowest rank and by rote he would be rewarded to the Polihexian least deserving of a prize. Whether that was a benefit or a no, Prowl could not say.

Music trumpeted Prowl in a large tent. Sitting in a high backed chair was the young Warlord if Polihex, little more than a mechling, Jazz had taken the helm of his uncle, the puppet prince Windbreaker had originally installed over his vassal state. Polihex was no longer a vassal of the empire, they had crippled Praxus, made allies of old enemies. There was no question who ruled the resource rich desert or the lush coast. In a moment there would be no question who owned him.

With a single digit the Warlord beckoned and Prowl obeyed. He saw other prizes, ones from passed battles. Some wore armour as they sat to the left of their masters. Some were bare with clamps and chains on their nozzles. Some had forges round with righteous restitution. The Praxian prizes had been warned that they would have to earn the right to wear armour. Prowl hoped he would and quickly.

"Sit," the Warlord ordered, gesturing to his lap. He was not hard yet but Prowl knew he would be soon. Before the end of the dark-cycle he would have this mech's sentio-metallico within his frame for the first time. Prowl did not ask how he was to sit and made the choice to turn his back to the Warlord before he sat. The mech's servo came around to Prowl’s smooth belly and he pushed him back is that his doorwings were flush with the barbarian's chassis.

It was a mistake to sit like this. Prowl watched as each prize was awarded and he waited with growing dread for the moment Barricade entered. The Warlord cupped Prowl's array and softly ground the heel if his palm against Prowl’s array. Despite his embarrassment at the situation, Prowl's nozzles stiffened with arousal as his valve became wet. A husky moan broke from his vocalizer as the Warlord slowly slid one and then two digits between Prowl’s slick valve lips, before crooking them inside of Prowl. They stroked against Prowl's gamma cluster, they seemed to vibrate and Prowl arched his back as his legs fell open. He panted and then rasped a whine as a torrent of lubricants surged out around the Warlord's digits.

"Lovely," Jazz praised him, cupping his well with his free servo and ratcheting his nozzle between two digits. Prowl's helm fell back against the Warlord's shoulder as the mech brought him to ruin with only his digits. "I knew from yer optics ya'd burn hot."

"Stop!" Barricade screamed and Prowl lifted his helm in time to see him struck down. The guardb wrenched up his helm by its chevron and held a vicious blade to his throat. .

"Please!" Prowl cried. "My brother."

"Yer brother is he?" Jazz asked. Leaning his helm so he spoke directly against Prowl’s audio. His digits were still as the stayed buried within Prowl's heat. Fear for Barricade had Prowl's charge plummet. "Are ya sure he ain't lover?"

"My brother," Prowl insisted and he gasped as Jazz pinched his nozzle. His valve rippled over the stilled digits inside him. "Sired on the Duke by one who was not bonded to him. My brother..."

"Ricochet," Jazz called and a gold-faced Polihexian rose from the next chair.

"Yeah?"

"Take yer prize," he ordered. "A brother for my brother. It's only proper."

"Ya claim to love me 'n ya gift me a frothin' cyber-dog," Ricochet said.

"Stroke 'm right 'n he'll show ya his belly," Jazz replied.

Ricochet walked across the tent to where Barricade was pinned. He threw Barricade over his shoulder and then tossed him, perhaps playfully on one of the banquet tables, then he stood between Barrcade’s legs.

"I do not want see," Prowl moaned as the vibrations returned and he stained the Warlord's lap with more of his slick.

"'N if I want ya to?"

"Please!"

"Since ya asked nicely," Jazz chuckled.

He made Prowl stand and turn to face him. If Prowl held his doorwings high enough he could not see Ricochet with his mouth against Barrcade’s neck and his legs between his thighs. Jazz was leering up at him, appreciating the view. As Prowl watched he slid his panel aside and stroked his spike as it pressurized. It was large, curved and ridged. Prowl held his legs together as still more slick leaked from his channel.

"Prepare my spike for your sweet valve," Jazz ordered and Prowl knelt at his peds, he wet his lipplates and his mouth watered. Before he could close his lipplates around Jazz's spike the Warlord caught his chin. "I don't think I trust your mouth yet."

"I will not bite," Prowl promised. "I would be foolish to in a room of your subjects."

"'N y're not a fool?" Jazz asked.

"Never."

"Ya wanna suck my spike bad, Sweetspark?" Jazz asked.

"You would not be disappointed," Prowl replied. "I am very good sucking spike."

"Since y're eager for it," Jazz said, and he released Prowl's chin.

Before Prowl sucked the Warlord's spike, Prowl took his time licking it, tracing the ridges with his glossa. Jazz stroked his helm and murmured his approval. He flicked his glossa over the Warlord's transfluid duct and tasted the faintly bitter mechfluid. Prowl did not mind the taste over much, he had tasted worse transfluid. As Jazz continued to stroke his helm, Prowl took his tip into his mouth.

The crown of the spike was highly sensitive, Prowl sucked it as his glossa swirled under it. He was rewarded with a groan. Prowl took pride in what he did, and he did believe he sucked spike well. Certainly Crosscut and Chromedome had not complained. The Warlord did not let Prowl swallow him to the root and Prowl contented himself bobbing his helm up and down as he hollowed his cheekplates and flicked and twirled his glossa. Before he could make the mech come, Jazz pulled Prowl off his spike.

"Tryin' hard to get me to come down your throat," Jazz hummed as he stroked Prowl's neck. "There's somewhere else I'd rather overload."

Prowl squeaked with surprise when the Warlord kissed him, he still had the mech's own transfluid on his glossa. It did not seem to perturbed the barbarian at all as he swallowed the squeak and the moan as he laid claim to Prowl’s mouth. Prowl braced his servos on Jazz’s chassis as the Warlord hauled him up by his hips and lined his spike up with Prowl's core. The spike opened Prowl, he gasped as his rim was drawn taunt as the crown of the Warlord's spike ground against him. His resistance gave way and several centimetres of Jazz's spike breached his valve. It had been some time and Jazz had a lot of spike. Prowl moaned as his lining strained and the segments of his valve were cleaved open. There was some pain, there was also a vent stealing fullness and pleasure as his nodes were abused by all those ridges. His legs were shaking when his aft struck the Warlord's thighs. Prowl was, still panting when Jazz made him look him in the optics.

"Ride me," he ordered. Prowl obeyed.

#valveplug #maccadams #power imbalance #tf prowl #tf jazz #war prize #barbarian au #cultural differences #anon fic ask #anon asks ficlet #rape #dubcon

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greywritesfics · 4 years

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Chapter Twenty-Two: Not So Indisputable

Trying to catch a glimpse of the fighting duo, Minori rushed toward the railings that separated the audience from the match and leaned over.

The scene of the arena was much to be expected from the top students. A large pillar of ice encased almost half the stage, while smoke and dirt whirled around the air from Bakugo's explosions. Bakugo was steaming from the frost of the ice coupling with his own body heat as he propelled himself toward Todoroki, yelling out 'die!' in classic Bakugo fashion. Grabbing Todoroki's collar, Bakugo flung him toward the out-of-bounds line. Minori sensed the tension in the air, even from where she stood. She felt her heart race when Todoroki managed to barely evade the blue line with a pathway of ice as he slid back into the heat of the battle. But Bakugo was relentless, giving him no time to recuperate. He showered the heterochromatic male with another of his well-known nitroglycerin explosions.

Everyone, including Minori, watched the match in awe at the duo's abilities to match each other in power and agility. The boundless talent that both of them possessed was eye-opening. The fight paused as Bakugo reached a point of frustration, lashing out at the half-hot half-cold male.

"Bastard!" Bakugo growled, his voice capturing the entire stadium. "I'll show you what happens when you make a fool of me! I'll kill you! I want an indisputable first place! I can't get that even if I beat scum that underestimate me! There's no point if I can't get higher up than Deku!" The malice in his tone increased when the words Deku left his lips as if the name was venom. "If you have no intention of winning, then don't stand in front of me!" He activated his Quirk, using the force of each explosion to propel himself into the air as he readied himself to finish Todoroki.

While the crowd focused on the impressive display that Bakugo put on, Minori saw the hesitant movement from Todoroki as he stared at his left hand. A fierce battle in his eyes was evident from where she stood. For a moment, Minori felt like yelling at him. She wanted him to realize that he was strong, strong enough to wield the power that was gifted to him and him only. And so she did.

"Todoroki-Kun!" Minori jumped in her spot, leaning further onto the rail as she yelled at the bi-colored male. "Your power is yours only! Don't lose!"

For a moment, it seemed her cheering had worked as Todoroki's demeanor was lit ablaze with passion, and his eyes uncovered the bright flames. His left shoulder sparked with hints of fire going all the way down his arm, and Minori could see the satisfactory smirk that formed on Bakugo's face, but as soon as the flames appeared, they disappeared. Before Bakugo had hit him with everything he had, Minori saw the spark dim in Todoroki's eyes, and the flare vanished into nothingness. By the time Bakugo had landed on him, Todoroki had all but given up.

Disappointed, she closed her eyes and turned away from the match and walked off.

***

Post festival, the class was placed in their designated busses to regroup back onto U.A. grounds where Aizawa grants the class the next two days off. After about twenty minutes of reassuring Mina that they'd see each other again in class, Minori made her way to her locker to quickly grab her bag.

"Ki-san."

Turning on her feet, she faced the male that placed second in the festival. "Todoroki-san?" Minori questioned, her eyebrows raising at the figure before her.

Shuffling his feet, the male glanced everywhere but Minori. "Thank you for-- you know--" he motioned towards his left side before dropping his head forward as he stared down at his feet. "Also, sorry about not using it in the end," he mumbled, the sorrow evident in his voice.

Minori could only let out a sigh as she glanced at the boy peeking up at her through his bangs. She definitely felt frustrated that the last match had ended with him giving up in the very end, but she couldn't blame the boy. For fifteen years of her life, she struggled with claiming her Quirk as her own; even as she stood in front of the boy, slightly disappointed, she couldn't help but think back at her last match with Tokoyami. Her inexperience with her Quirk had definitely restricted her ability to use offensive moves, but her fear primarily hindered her from succeeding. She realized that for her to break the chains that latched her to her mother, she needed to come to terms with all of her abilities; offensive and defensive.

"Todoroki-Kun," Minori sighed, "I'm definitely disappointed. Having to see you cancel your flames at the very last moment sucked. No wonder Bakugo was so upset during your match." Speaking of said boy reminded Minori of the award ceremony. The moment the male realized that Todoroki hadn't given his all and gave up infuriated the ash-blonde. When the top three students were awarded their medals, Bakugo had been chained to his pedestal as he threw a fit. Screaming and lashing out against the metal that encased his body like a feral beast, ready to bite anyone's head off, as he vehemently rejected the prize until the number one hero had forcibly cramped it in between his teeth. He probably needs some water after all that screaming.

"It was unfortunate, and if I were in Bakugo's shoes, I would have been just as angry, maybe even more, because it didn't feel like a deserved win." Todoroki frowned at her words, scratching at the back of his head as he grew uncomfortable, but her lips soon tugged upwards into a slight smile. "But," she drawled in a sing-song voice, "that just means you and I have a lot more training to do," she said, shrugging. "Someone dear to me once told me that skills proves everything. Forget about class, ranks, and everything in between. When you and I have a handle on what's ours-- then there's no holding back ever again."

Her usual steeled eyes eased into lighter ones as she stared into Todoroki's. The hardened stare that belonged to him had softened, allowing Minori to see really see him. His usual ice-cold eyes were filled with nothing but contempt now embraced the wind—a brief gust before returning to a calm sea. Even the singular grey orb mimicked the color of the last ashes of a fire, tossed up in the breeze; they had that look of birds flying on sunny days, the shine and quick movement, yet relaxed, purposeful, and at ease. When she spotted the crinkle of his eyes, she realized he had been smiling.

The two parted, and Minori watched as the male made his way down the hall and out of sight. His steps looked seemingly weightless, free.

The post-festival had been one of a kind this year, resulting in various injuries and overall a spectacular display of events from the first years. Pro Heroes and just mere civilians alike had a sort of awakening from the moving demonstrations shown by what they had initially thought was a villain. But behind the scenes, the students rediscovered old wounds, made new connections, and recovering from them, and two specific individuals found their purpose.

As she turned the corner, she stopped in her tracks only to be faced with another classmate of hers. Usually, she would have just ignored him and went on her way. Normally.

Bakugo was currently gritting his teeth and mumbling curses under his breath; the medal stuffed into his pocket, but Minori was sure he would have thrown it away had it not been All Might who insisted he keep it.

"How much did you hear?" she asked, crossing her arms over her chest.

"The fuck does it matter," he grumbles, mumbling 'half-n-half bastard' under his breath, not even hiding the fact that he had been eavesdropping. Pushing himself off the wall, he stuffed his hands in his pockets and made their way outside.

"You good?" she muttered after an excruciating minute of silence.

"Shut the fuck up," he snapped, glaring daggers at her.

Raising her arms in surrender, Minori begins to walk away before turning back on her heel and stepping in front of Bakugo. He growls, palms curving into themselves like he's trying to reign in his Quirk from exploding. Not saying a word, Minori grabs a water bottle from her bag and shoves it at Bakugo, looking everywhere but him. "Take it," she grits.

Minori didn't have the words to help him relax, and she clearly saw that he was obviously still fuming over his last battle, so as stupid as it sounds, she thought of giving him some water, especially after the strenuous day. A bit forcefully, might she add, but it was at least something. A symbol of... friendship? She didn't really know what to call it in all honesty. She cared for all of her classmates, but this particular seething male struck a chord within her.

The moment he grasped onto the bottle, Minori twisted on her feet and speed-walked off, not daring to look back. Even as a blaring horn resounded the street outside of U.A.

"HURRY THE FUCK UP KATSUKI! AND WHY THE FUCK DO YOU HAVE A WATER BOTTLE? WHAT, YOU THIRSTY?!"

"SHUT UP, YOU SHITTY OLD HAG!"

A/N: Shit, now I need some water

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nyullm2020 · 3 years

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How to Crush Law School Exams as an LL.M.

Hello again!

It’s been a minute. I’ve just had a well-deserved break after finishing my finals, where I managed to get a bit of sun in Florida and Puerto Rico.

It’s been a running start into my final semester of the LL.M. - and I can’t quite believe how fast this has all gone. I have a lot of content ideas coming up about everything I will be doing this semester, including juggling my internship at the Brooklyn District Attorney’s office, a Research Assistantship with an NYU Law Professor, the March Multistate Professional Responsibility Exam (MPRE) for the Bar, a full load of classes, and job hunting/networking - but first things first. I wanted to reflect on last semester’s exams, final papers and overall grades, and think about what I did well, and what I would change!

What are American law school exams like?

I’ll start by giving you an idea of the format of exams to give you an idea of the general approach, and hopefully take away some of the anxieties you as a future LL.M. might have.

There is no uniform exam or grading type for each and every course. American law school professors have a lot of discretion about how they will structure and assess their courses - including what mode of exam you will take (multiple choice, short answers, long problem question responses, policy-based essays, etc), or a final paper, and whether and to what extent class participation counts toward the grade. My assessments ran the gamut. In one class, I had a group assignment worth 30%, a 5,000 word final paper worth 60%, and 10% class participation, and in two others my final exam was worth 100%, with the professor’s discretion to slightly boost your grade based on your overall participation and contribution to the class. My Constitutional Interpretation seminar was 50% class participation, and 50% based on regular pieces of written work we handed in, including a final paper of 2,000 words.

Exams typically last between 2-4 hours, while take-homes take 3-8 hours (I haven’t had a take-home yet, but I will have a 12 hour take-home this semester). We all took our exams from home with a special software (Exam4 or the law school’s own exam software, THESS). Both my exams this semester allowed students to use any notes they wanted, and you could access the internet as well. The main problem with doing that is running out of time! So creating an organized outline of your notes and brainstorming essay ideas ahead of time is pretty crucial.

How do Professors grade? And what is a good grade?

Professors seem to have pretty broad discretion when it comes to grading - and definitely so when I think about Australian law school professors, who grade ‘blindly’ and never know who is behind the student number unless they look it up later, or are awarding prizes for the top students. The possible grades at NYU range from an F to an A+, as follows:

A+, 4.333; A, 4.000; A-, 3.667; B+, 3.333; B, 3.000; B-, 2.667; C, 2.000; D, 1.000 and F, 0.000.

No more than 2% of students can get an A+ in a given class, with a target of 1%. I am proud to say I was the only A+ student in one of my classes - yay! A huge personal achievement for me, and so I will brag a little here because I don’t want to be lame and brag in real life!

About 10% of people get As, and another 20% get A-s, and about 26% of people get B grades (B+, B, or B-). B- and C grades are actually pretty rare, so in all likelihood you will likely end up with an A or B grade of some sort!

It’s kind of hard to work out what ‘good’ grades/a strong GPA are for job applications, but from what I’ve gleaned, in an ideal world you would have all A level grades, or maybe one B+. Personally, my grades were an A+, 2 A- grades and a B+. This gave me a GPA of around 3.8, which is definitely decent for job applications.

Your chances to get the high grades will depend a big deal on your competition - in the core doctrinal courses (like Constitutional Law, Free Speech, Evidence, Corporations Law, and so on) and in classes of the really famous professors, JD competition is intense. I definitely didn’t make it easy for myself with my classes, and I was usually the only, or one of two, LLMs, along with pretty ambitious JDs (often from elite undergrad schools) aiming for judicial clerkships or other prestigious jobs. Many LLMs have usually been working hard enough back home, and work hard enough to get decent grades, but leave enough time to relax and enjoy themselves. I would say my approach was mixed - I knew I needed to work hard enough to get good grades to make me a strong candidate for job applications in the US, but I also had plenty of fun. 😄 Just less fun around exam time!

On reflection, my top tips for doing well in your classes and exams would be:

1) Play to your strengths

At the time you select your classes, you’ll be able to see what the format of the assessment is - long paper, exam, practical assessments (like in a clinic or simulation course), etc. My top advice would be to think about your strengths when picking classes.

I have always been much better at hand-in assignments, and my one A+ grade was from handing in a long paper. My lowest grade (a B+) was from a very time-pressured exam that I wasn’t happy with how I handled the timing. So - if you know you are much better at one type of assessment, make sure you are considering this when picking classes to pave the way for great grades, especially if you are relying on your grades for finding a new job or for a JSD application.

2) Understand your professor’s idiosyncratic preferences

When it comes to law school exams, the key to succeeding is really knowing who’s grading them. Some professors prefer you to be ‘quick and dirty’ and to really jump into the key issues and answers, while others prefer a more formalistic recitation of the rules and then a close application of the rules to the facts. Pay attention to how they explain what they want, pore over any model answers and exam keys they give you, be familiar with the way they write problems, and ideally hunt down past students’ papers with comments or overall feedback from the professor (if you know anyone that took the class before).

3) Make study enjoyable and social

Even in these COVID times, I really benefited from spending time at the library studying with LL.M. friends, and broke up study sessions with coffee hangs, lunches, and going to see the Christmas lights. Your friends will keep you sane and motivated, so don’t hide yourself away for the whole month or more!

Friends! A well-deserved dinner break in December a week or two before finals.

4) Argue both sides of legal issues you spot

This is something that is really emphasized by NYU professors. A good lawyer can, when identifying a legal issue, show how it is a weak point in a plaintiff’s claim or in a defendant’s defense, and then demonstrate how both sides could argue their case. The best answers don’t ‘fence sit’, but come to a reasoned judgment/prediction about which side of the argument is stronger.

5) Be precise and concise

You should try not to include unrelated material in your answer as this could backfire if your professor believes you struggle to separate relevant material from irrelevant material. One of my professors was clear ahead of time and said he did not appreciate an ‘info dump’ and graded accordingly, but I think this is true of all professors.

6) Be *really* aware of your timing

I can’t stress this enough. Effective time management is imperative on law school exams. My Evidence exam was so unbelievably time-pressured (27 short-answer questions in 3 hours = less than 7 minutes per question to read a few sentences-long question and answer it), and I did not handle this as well as I could have, affecting my grade. Make sure to be really aware of this and try to be strict with yourself so you don’t leave any questions untouched.

7) Remember public policy concerns

After applying the legal rules to the issues presented in your fact pattern, if time allows, include a sentence or two about the policy implications of your conclusions, or how your chosen approach fits best with the policy rationale underpinning the legal rule. This is something that is valued more in US law schools than my law school back home. Not critical, but definitely something that could boost your grade a little!

8) Just try your best, and don’t be too hard on yourself

We have all worked hard to be here, and we put a lot of pressure on ourselves. English might not be your first language, you might struggle with exams, or it might just not be the best day you’ve ever had. If you find yourself in the unfortunate position of either not understanding the issues presented in a question, or not remembering the rules related to such issues, just do your best to write the best possible answer in the time limit.

Good luck, and let me know if you have any questions!

#nyu #law #llm #gradstudent #nyulaw #llmguide #finals #exams #tips

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gojaimas · 5 years

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More Late Comment Replies

Hey people. I just watched Endgame, and since Thanos memes always remind me of my story because they kept coming up in the comments for some reason, I’ve decided to come back and reply to some more late comments. Here goes.

HorsemanOTA: “looks like you finished this earlier this year but i wish i would have come by it sooner, spent the past almost week binge reading this story and have loved every minute of it, i cant say im not disappointed that all three of them didn't end up in a poli-relationship, i was hoping it would have ended like that. The crutch thing i can understand but i feel like they had bonded way too much for it to end way, it hurt me that that was the out for her to be like i gotta squash it and let it be a pair instead of a trio. Got so invested in your version of Lucy lol. regardless i loved just about all of this fic so thank you for the read, hope this review reaches you well. Later Daze”

Thanks! Glad you enjoyed it! I’m a little let down that I couldn’t have all three of them get together in the end, too. But I couldn’t just snap my fingers and make everything turn out alright in the end. I wanted to stay true to the story I was writing and it just didn’t fit for that to happen at that point.

J Master 87: “Holy shit. That was down right amazing. I absolutely loved this story, the interactions, the twists and turns. It was everything I could have asked for in a Ben 10 fic. Thank you for that”

You’re welcome! I only had a few real ‘twists’ I’d say, but I’m glad I managed to pull them off well enough for some people to enjoy.

Guest: “Lurking in the shadows huh? Batman, is that you? For being the world’s greatest detective you sure gave your identity away pretty easily”

CrimsonBolt1: “This is enjoyable so far. Reminds me of Little Moments in feel. Nice to see them finally starting to be open and honest with each other. I like your Lucy. Much better inclusion than a random OC.”

I didn’t want to make any OCs major characters in the story. Lucy ended up being a good fit for the role I needed. Also, for anyone who hasn’t seen, shadows59 just started a reboot of Little Moments, so go and check that out.

yuyuyre: “Why, this is my first ben10 fanfic and I'm glad. It's beautiful, truely. Thank you for writing this wonderful story.”

Thanks! There are lots more great Ben 10 fanfics out there if you’re interested, so I hope you find some others that you enjoy, too!

Hassan Elgarni1: “Nothing to do, so I re-read. Sigh. And shit, no more good fanfictions for ben10, plus the fandom seems like it's diying. What to do? We're lost without some drama in our life. No! I mean some dramatic stories to read about, and this one seems to always fit.”

Not to plug for it too much, but there’s that Little Moments reboot now...

Guest: “Can we get that Lucy ending or that afterstory as a Christmas present? We got a snow map in PubG, Fortnite season 7, MCU trailers with Avengers: Endgame, Blackout from CoD, GOTY awards, it’s such a shame RDR2 didn’t bag the prize but can’t really say God of War didn’t deserve it so an update would be the icing on the cake, unless you’re pre occupied with unwrapping presents. Also, can we have a Ben 10 battle royale mode too? Thanks”

Sorry I couldn’t get that Ben 10 battle royale out in time for Christmas. Also, I’m not working on a continuation for this story right now. I’m too busy trying to find time to work on my Legend of Zelda story.

Guest: “Me when gojaimas updates: Ayayayayayayayayayayayayayayayayayayayayayayayaya”

Guest: “According to the Bible we're all related, so we all share blood so it being forbade by Christianity makes no sense, also great story thanks for making my day less boring”

I don’t really get how I’m still getting comments about this one particular line in that chapter. I never said anything about what should or should not be forbade by Christianity. Lucy was simply trying to figure out Gwen’s reasons for being against incest, and she considered religious beliefs to be a possibility since, regardless of whether or not you think it makes sense, there are Christians out there who are against incest for religious reasons. Neither me, nor Lucy, nor Gwen said that should be the case. I hope that’s clear by now. Anyway, I’m glad I made your day less boring.

dippytrippy122: “Brilliant. Absolutely brilliant. Simply put this was the best romance-based fanfic I have ever read that wasn't just a humorous jab at the genre. You did so with a pairing I disliked due to its incestuous nature and actually made me enjoy it greatly. You also made sure that the ending wasn't perfect and I respect you immensely for that. Thank you for this wonderful story. :)”

Thanks! It’s always great to hear from people who enjoyed the story despite not liking the pairing. I think that means I did an okay job with recognizing the weirdness of it and not shying away from that.

xSean: “THATS WHERE YOU END IT?! Can't deny I'm a little annoyed with that but this fic was still great over all. The character development and interactions were absolutely superb. Wish there was more clueless, fluffy interactions but I guess they gotta grow up and realise what is happening at some point. Again great fic over all, one of the best I have read in a long time. Only the 2nd Ben 10 fic I've read too!”

Thank you! I’m sorry I couldn’t keep it going for another year or two, but I had to let it end before I ruined it, haha. The clueless, fluffy interactions were always a lot of fun, though. I loved that part of their relationship.

Samian: “Read through it in 2 days and some how I'm sad about that, the pace of your story should have made me slow down and push the ending further away. This was exactly the kind of development in their characters that I was looking for with in the Bwen fics. Beautifully done, really good job. That being said though there were some downsides, over the course of the story you took what made ben 10 what it is out of the story, which was a bit sad in my eyes. I do have to admit that you made it work though and I wouldn't change any of it. The ending is a bit of a letdown in the sense that there is a strong sense of anticipation of where it would have gone too. But again you some how made it work. You really did an incredible job.”

Thank you. I’m sorry to everyone who read this story expecting more alien fighting action, but even from my minimalistic description, “A story about how Ben and Gwen's relationship evolves over the next four years following their summer trip,” I think I made it clear that that simply wasn’t what the story was about. I’m happy you managed to enjoy it anyway!

Slayer of The Abyss: “I really liked how you gave the characters depth and Sense of being real people, the only thing that bothers me is how the thought process of different senteint species could be almost exactly the same, which isnt really your fault. But anyway i am looking forawrd to any potential fic you may write in the future”

Yeah, not much I could’ve done about that. If Lucy was too alien, she wouldn’t really have acted the way she did in the episode she appeared in.

MosquitoesLoveMe: “This story is adorable and you're a wizard at writing to make this happen! The fluff I've read till now has been heartwarming, I demand more fluff for the fluff gods!”

I, too, worship the fluff gods.

MosquitoesLoveMe: “Oh Lucy, you're about as subtle as a brick. Which says something about Ben and Gwen I suppose...“

Ben and Gwen: *oblivious to their love* Lucy:

MosquitoesLoveMe: “I am not sure how I feel about this. The lead up, the talk, and the execution was perfect mind you, and Ben's reaction is to be expected from how he's been portrayed. Maybe it's because we've seen Gwen struggle with her feelings and come to terms with them but we haven't had quite as many chapters from Ben's perspective. But because of that it kind of felt off. I didn't expect both of them to have sorted this out at the same time, but it doesn't even seem like Ben entertained that thought, leading to a blank face when confronted. Somehow I didn't expect that, or rather I expected more than that. Either way considering I'm reading this months after it's been completed, I shall have faith that you'll tie it up well, after all I haven't been disappointed thus far!”

It’s been a while, but I think around this point in the story, I was doing a lot less from Ben’s POV because I wanted the reader to be unsure about how Ben would react as much as Gwen was. As for whether or not Ben has entertained the idea, I’ve shown in the past that every time anything even close to resembling the idea pops into his head, he finds some way to dismiss it and bury it deeper because to him, his cousin was completely off-limits. It took Gwen confronting him with the idea directly to finally get him to truly consider it.

MosquitoesLoveMe: “It was a wonderful journey, thanks for writing this story! It was a pretty realistic end to the story and finished on a hopeful note, that leaves me wishing there was a sequel that goes into how Ben and Gwen handle the trials of their relationship and the adults finding out. That also made me really wish for a chapter from the perspective of Ben and Gwen's parents. Keeping with the trend of maintaining a realistic tone, it's hard to believe they did not at least suspect something was up, especially Natalie. It makes me really curious as to what went on in their heads during the last few chapters. Either way, whether or not you get back to this at a future date, I'm happy you wrote this story and glad I got to read it, cheers mate!”

Natalie was definitely getting suspicious. If I ever do continue the story, I probably will go more into what their parents are thinking. But that’ll be on the backburner for now. Thank you so much for reading my story! I’m happy you enjoyed it!

Well, that wasn’t all the comments, but that’s all I have time for right now. I’ll get to the rest eventually. Thanks again for everything! My fans are truly a joy to hear from.

#Comments

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thesweatycollectiontyrant · 5 years

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Favorite Shows

I’ve been doing a lot of thinking about why specific shows mean so much to me, and I want to profile them in sort of a “why” type of post. No sort of big thing, just have a lot on my mind and want to talk about it.

Tuck Everlasting

This show deserved such a longer life than it had on a stage in New York. If I were only allowed to choose one thing that I adore about this show, it would without a doubt be the score. Every facet of it. Orchestrations, harmonies, reprises and all of that good stuff. Luckily, I make these rules.

The meaning and heart of this show is so vast and beautiful. First and foremost, the relationship that Winnie develops with the Tucks is something a lot of people fall in love with. She finds a father she never had in Angus, a nurturing mother she’s never had from Mae, an older brother in Miles, and a best friend in Jesse.

Something my friends and I discuss often is how natural of an actress Carolee Carmello is. She is nothing but honesty, truth, and transparency onstage. In this day and age, that’s something everyone should strive for. It’s truly a shame that she doesn’t have a Tony award yet (something I believe she earned in 1999). A little more about her character, Mae. Mae loves people, not things. Mae wears the same old clothes and is content with them. She rarely looks at herself in the mirror anymore by the time Winnie comes along, and her only prized possession is the music box that she has. She cares most about her family.

In terms of the immortality that the Tucks have, Jesse is often representative of the positives of being immortal. He’s young, spry, good-looking, and loves life and nature. Miles tends to be the figure for the negatives when it comes to living forever. He tends to skew Winnie away from the possibility of her also drinking from the spring and living forever. In “Time”, he explains to her that his immortality has done nothing but forced him to lose everything important to him., while Jesse tells Winnie in “Seventeen” that if she drinks from the spring that they can live together forever and live lives of happiness and possibly (probably) romance.

With Angus, Winnie has just lost her father, and Angus has never had a daughter. He tends to be gruff, but has a big soft spot for Winnie.

Of course, there’s The Man in the Yellow Suit, Hugo, Constable Joe, Mrs. Foster, and Nana, but whenever I get around to doing a full post dedicated to this show, I’ll talk about them too.

The themes in this show are something to love as well. It covers growing up, time and death, and loyalty to family. The Tucks, being in their predicament have seen and been forced to let go of many important people and memories in their lives. When Miles talks about his relationship with his son and former wife in “Time” or when Mae describes her favorite memory of when Angus asked her to marry him in “My Most Beautiful Day”.

The last thing I want to profile about this show is some of the lyrics in this show.

“Looking back is something to look forward to.” - Mae Tuck in “My Most Beautiful Day”

There is so much to unpack there. Come on.

“Time truly divides.” - Miles Tuck in “Time”

“Watching life pass it by just floating on top.” Angus Tuck in “The Wheel”

Every time I listen to this show, I am undone. It is such a beautiful and intimate story, and I wish it could’ve had a longer life. I am dying to work on this show in any capacity. Someday, I want to conduct it, but until then, I’ll keep rocking out to “Live Like This” on long drives. Or short drives to the grocery store three minutes from my house to get my mom mint chocolate chip ice cream.

Big Fish

I got the opportunity to be in this show almost a year ago and it was so fulfilling. The script, at times, is bunk, and the story can move a little faster than some can process, but what this show needs to succeed is a strong cast that is dedicated to telling the story.

There’s so much in this musical that I adore and if I were to talk about it in depth this would be a very very long post, so I’ll just cap it with saying that I love the score and the relationship between Edward and Sandra. I also love the relationship between Edward and Will.

I love the revisions made to the show for the small cast version with Sandra singing “Magic in the Man” (though I do love “Two Men in My Life” with all my heart) and Will and Edward singing “This River Between Us” rather than “Showdown. In the version we did, we actually assigned “Magic in the Man” to Jenny Hill to give her some more of a backstory on her relationship with Edward and left “Two Men in My Life” in the show for Sandra.

The show is really special because I lost my grandfather two months before we did this show. It was a real restoration to my soul to be completely honest. He was a lively man with lots of stories that he always told and a character like Edward Bloom is a pretty good counterpart.

The score is so lush and beautiful. I could listen to it all day.

Fiddler on the Roof

This show kinda ended the Golden Age. I really love the Golden Age and I think that’s where my heart lies when it comes to my love of musical theatre as a whole. It was very influential to many shows in the future and I’ll always love it.

I’m not Jewish, but what’s special about this show is that it was remarkable to many that it resounded beyond the Jewish faith. The center of this show is truly about tradition, togetherness, family, and true love.

Tevye and Golde is one of the most unique and real relationships on the stage, especially for that time period. They didn’t marry for love; they married so that they could have children and a successful life. Each one of their children progressively wishes to marry outside of that ideal, Tzeitel marrying her childhood sweetheart without a matchmaker, Hodel being engaged to Perchik without a matchmaker or permission from parents, and Chava marrying outside of the faith, directly disobeying orders from the family and with no permission from parents or a matchmaker.

Tevye has to make many hard decisions throughout the show, allowing his daughters to marry men for love. The turmoil that he experiences when disowning Chava has always been hard to watch.

There are so many lovely and beautiful and amazing moments in this show, including “The Dream”, “Tradition”, “Matchmaker” (especially how they did it in the last Broadway revival), “Sabbath Prayer”, and “Chavaleh”. Danny Burstein refers to the score as “musical theatre mother’s milk”. It is nourishing like no other. I will always love this show.

The King and I

This was a show I truly learned to love my freshman year of college. Like many, I’ve known “I Whistle a Happy Tune” and “Getting to Know You” for a very long time. I got to see it with friends from college when it went to movie theaters and I was amazed by Kelli O’Hara, Ken Watanabe, and Ruthie Ann Miles. Each of them gave such incredible performances.

I wish this show could be done more often, but it requires a mostly Asian cast. I am so thankful that there is more representation now than there was when this show premiered, so much so that the last revival was cast completely appropriate. Kind of ridiculous that it took this long.

The women in this show are what propels it. There is a chilling scene in particular when Lady Thiang finds Tuptim and confronts her about her relationship with Lun Tha.

One thing I’ve always been fascinated by is race in the classroom. I’ve had the privilege of having teachers of all different ethnic backgrounds, including my preschool teacher. I’ve always been grateful for the opportunity to learn through all different lenses. I was moved to tears almost immediately when I saw the classroom scene when Anna is teaching all the children during “Getting to Know You” and then there’s the dance break where one of the wives performs a dance for Anna, and then Anna and Louis perform a dance for the children and wives, and then they morph them together! It’s just beautiful because that’s a symbol of people of different ethnic backgrounds coming together and teaching each other something so special that it’s beyond words: they dance. I adore that scene.

The relationship between Anna and Lady Thiang is also something I admire very much. The scene before “Something Wonderful” is also just gorgeous. There’s something to be said for Ruthie Ann Miles’ performance transitioning between Broadway and West End. As many know, she got into a near-fatal car accident while walking with her child and unborn child on the crosswalk, and both children were killed. In the West End, she used a cane because of the recovery from the wreck, which aged the character and made her a little less mobile, but it also made her more authoritative and made you want to listen to her and know what she was thinking. It was a brilliant decision to incorporate that into her character.

Getting to see this production, albeit in theaters, was an amazing experience.

John & Jen

I got to music direct this show my freshman year of college with two dear friends of mine as the siblings. It’s funny, it’s sad, it’s real; all of it. I love it.

This score uses motif and reprises in a way that is really touching to me. If I were to choose a song that makes me happy, I’d say “Timeline”. It’s really groovy and it’s the biggest character shifts for the both of them. If I were to choose one that always makes me sad, it’d be “Hold Down the Fort”. Kate Baldwin and Carolee Carmello both were extraordinary in the role of Jen. It became so important to me when I got to do it. I’m thankful for this show.

Ragtime

This will be the last one. This show is so incredibly special to me. Other than something like Wicked, this show was one of the first shows I really got into. The story and score are so cohesive and they work together really well. I love Ahrens and Flaherty and their style is so broad, yet so specific.

Similar to my feelings on The King and I, Ragtime incorporates the lives of Caucasians, African-Americans, and Jewish Immigrants and they all learn things about each other through various encounters during the show. Some find love, some find hate, and it’s just an incredible show. I will never get enough of this beautiful story about justice and truth according the law.

Mother and Tateh’s relationship is one of my favorites in the mega-musical canon. *do y’all consider Ragtime a mega-musical? I do? or do I?*

The show requires a very large and very diverse cast that can sing and act incredibly well. Nothing is like the full orchestration doing this show. I love it so dearly. It has so many lessons we can learn from.

I really love these shows and they’ll always mean tons to me.

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matrixaffiliate · 5 years

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Like the Storybooks

Co-written with @hufflepuffmarlenemckinnon

FFN and AO3

Chapter 26

In the nightmares that Sirius used to have about leading an army into Semprapuria, it was always his brother Regulus on the other side, looking disgusted with him. It helped him stay focused to remember that Regulus had gone down fighting for his side so he could win. The one family member who he always felt conflicted over was an ally at the eleventh hour, and he would not dishonor his brother's sacrifice by succumbing to his own cowardice.

James was meant to take on Riddle himself in any case. James was an exemplary warrior king, and he would be able to best the up-jumped Barron, Sirius had faith.

He had somewhat less faith in his own ability to maintain the face of a stoic soldier while he placed his own mother under arrest. He knew deep down that she was evil, but it didn't change the fact that once upon a time he'd wanted her approval more than anything else. Walburga Black was the woman who had been so disappointed by her heir… She was a traitor and even worse than that, a puppet. She was still his mother. He couldn't erase the pain she'd caused him any more than he could erase the grey of his eyes or the black of his hair. All he could hope to do was to put those feelings aside until the war was won.

Years of training had brought him to the place where cutting through an army was something of an out of body experience. He didn't really come to until he saw that James had Riddle at the end of his sword.

Tom Riddle was a lot of things. Most of those things ranged from contemptible to downright nauseating. One thing that Sirius had to give him was that he was a gifted swordsman. He didn't go down easy. But Neither did James. James benefitted from a righteous cause, and perhaps a small amount from training next to Sirius, at least he liked to think.

He'd seen James come into his own as a swordsman, and as a sovereign ruler as well. The man in front of him inspired loyalty. It was unquestionable to anyone who saw the fight between the King and the would-be Queen-maker. Power on its own was not enough to really lead. James had the genuine goodwill towards the people of Phoenixordo, and the bravery to take down her enemies himself. James was every inch the King his father had been the moment he ran his sword through the traitor's heart.

After that, the battle was over, as far as the soldiers were concerned. They fell to their knees en masse before King James.

Now it was only the dragon between himself and the Princess.

Luckily this was not really a fairytale. The Princess wasn't some unknown ideal for which he was fighting. She was a woman who was as clever as she was beautiful. Princess Marlene was the woman who had laid claim to his heart, and he would be proud to make her the Duchess of Semprapuria very shortly.

Walburga Black had not aged much in seven years. Looking at her still felt far too much like looking in a mirror. Beautiful and cold, untouchable; that was the air his mother gave off. She held her head high as she surrendered herself to the victors. She was exactly the sort of person to be able to go through the act of surrendering without ever having given up a shred of her prized dignity. It was disgusting, how much she prided herself on being right. She knew that it would be well within his rights to take her head off right then and there. He wouldn't because he was better than his enemies. He had some sense of how to best curb the danger to the Kingdom of Phoenixordo, and he knew that executing this woman would be nothing but a petty power move and at the end of the day, it would hurt no one but him.

"Walburga Black, you are hereby placed under arrest, for treason, by order of King James VII of Phoenixordo.

"Does it make you feel proud?" She glared at him. "Your people will starve, your land is decimated, and your home destroyed, all by your hand."

Sirius stepped in front of James, whose eyes flashed dangerously. This wasn't his fight.

"The destruction is by your hand, no one else's Madam. The people will not starve, because their monarch is a true King, who knows his station exists to care for his subjects." Then he stepped up closer to his mother. "Does it make you feel proud? You've destroyed your family for the greed of your heart. You killed your husband and caused the suicide of your youngest son."

Walburga held her head high, "I still have you."

Sirius smirked, "You never had me. Besides, your heir died, that's the story you've propagated for nearly eight years, isn't it? As far as you're concerned, I'm a nobleman that King James has awarded your Duchy to." He stepped back, but before he turned he looked at the woman who he'd once called his mother.

"You, Madam, have no one."

Then he spun on his heels and motioned to two of his men, "Remove the prisoner."

Sirius walked from the room, his head held high.

James finally caught up to him a few hours later. They'd both been attending to the logistics after the battle, but Sirius had finally found a moment's peace in one of the gardens. It was woefully overgrown and browned, but it was quiet. Marlene's favor was clutched in his hands.

Even though they were alone, he thought that James deserved the respect of a true King. He'd earned it. Sirius went down on one knee in front of his dearest friend and sovereign King.

"Your Majesty."

"Really? Wow. I suppose we're doing this now," James drew his sword and carefully touched each of Sirius's shoulders with its broadside. "Rise Sirius Black, Duke of Semprapuria."

That was going to take some getting used to, but nevertheless, he stood. "Thank you, Your Majesty."

"Well, Your Grace, you lived," James took on a very casual tone, and gestured for Sirius to sit down next to him, against the wall. After all was said and done they were just two young men, doing their best to live up to the responsibilities life had dealt them.

"As did you, Your Majesty," Sirius looked up from the gold fabric in his fingers.

"I was most impressed with how you handled the prisoner." James put his hand on Sirius' shoulder.

Sirius sighed, "James, was I too harsh? I publicly shamed her. I accused her of the murders of her husband and son. I left her with no one."

James shook his head, "You were kind, Sirius. The words that I wanted to speak before you stepped in front of me were much harsher."

Sirius grunted as he started running his hands over his wife's favor. He hadn't felt kind, nor impressive in that moment. He had done it though. Loving his King and Country was only strengthened by loving Marlene. He knew that he couldn't have done any of this alone. He thought back on his words to his mother. A smile crept up his face at the realization that he had made the right choices in defying her in every conceivable way. She was alone. Sirius was sure there would be more dragons to fight in his future, but he could take comfort in knowing that he would never be alone.

"Ah," Remus' voice sounded from behind them. "There you two are!"

"Are we needed?" James looked furtively around and for a moment Sirius was reminded of hiding in Lord Dumbledore's stores while they stole sweetmeats.

Remus shook his head, "Not really, I just wanted to make sure we had plans for bringing the trebuchets home." He slid down the wall to sit on James' left.

James groaned, "What are you even going to do with them, Remus?"

Remus looked perplexed, "What do you mean? These four will allow me to do experiments to determine how to make them better. I can make you the most effective besieger on the continent in five years time, and you won't have to lay siege to anyone for me to do it."

James pushed his head back into the wall. "How much power is needed to move these monsters?"

"Well, it took thirty wagons to move the lumber out here," Remus mused.

"Thirty wagons for those four giants?" James exclaimed.

"Of course not," Remus started drawing numbers in the dirt before them, "that was per trebuchet."

Sirius burst into laughter. James glared at him.

"Do you have any ideas? We did this for you as well, you know?" James poked his shoulder.

"Actually, yes." Sirius looked over at Remus' numbers in the dirt as he continued his figuring. "I think Remus here is going to find that he'll need the whole army to pull the trebuchets back to the capital. So why not leave them here? He can do all his experimenting here, we can employ the soldiers who swear loyalty to you and me to help guard them, and then when they've run out of usefulness, you let me use them as firewood."

Remus froze, "You, you wouldn't really do that, would you?"

"Come now Remus," Sirius chuckled. "I'd certainly wait until you had a new set at the capital to play with."

Remus looked in the direction of his machines on the other side of the castle and sighed. "I would need the whole army and probably every rope in the kingdom to move them. If you're willing to let me work with them here then I'll consent to them being yours when I've built a new set at the capital."

"But," Sirius interrupted before James could speak, "you turn them all to face away from my castle. I have enough to rebuild as it is."

Remus chuckled, "Well, if James is willing to let me use the army to turn all four of them, I think we have a deal."

James grinned mischievously, "I'll tell them that they can either turn the monsters or pull them home, that ought to do it."

Sirius laughed as he tucked Marlene's favor away. "Let's get everything in order, the sooner things get done, the sooner we get to go home."

James stood and held his hands out to his best friends, "Come on then, let's go prove how strong we all are."

Remus and Sirius laughed as they took James' hands and walked back into Sirius' castle.

#blackinnon fanfiction #blackinnon #sirius x marlene #sirius black x marlene mckinnon #sirius black #marlene mckinnon #medieval au #medieval fantasy au #fake relationship au #jily #trebuchets

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uacboo · 7 years

Photo

The English author Kazuo Ishiguro has been named winner of the 2017 Nobel prize in literature, praised by the Swedish Academy for his “novels of great emotional force”, which it said had “uncovered the abyss beneath our illusory sense of connection with the world”.

With names including Margaret Atwood, Ngugi Wa Thiong’o and Haruki Murakami leading the odds at the bookmakers, Ishiguro was a surprise choice. But his blue-chip literary credentials return the award to more familiar territory after last year’s controversial selection of the singer-songwriter Bob Dylan. The author of novels including The Remains of the Day and Never Let Me Go, Ishiguro’s writing, said the Academy, is “marked by a carefully restrained mode of expression, independent of whatever events are taking place”. Speaking to the BBC, he called the award a “magnificent honour, mainly because it means that I’m in the footsteps of the greatest authors that have lived”.

“The world is in a very uncertain moment and I would hope all the Nobel prizes would be a force for something positive in the world as it is at the moment,” he said. “I’ll be deeply moved if I could in some way be part of some sort of climate this year in contributing to some sort of positive atmosphere at a very uncertain time.”

Ishiguro’s fellow Booker winner Salman Rushdie – who is also regularly named as a potential Nobel laureate – was one of the first to congratulate him. “Many congratulations to my old friend Ish, whose work I’ve loved and admired ever since I first read A Pale View of Hills,” Rushdie told the Guardian. “And he plays the guitar and writes sings too! Roll over Bob Dylan.”

According to the former poet laureate Andrew Motion, “Ishiguro’s imaginative world has the great virtue and value of being simultaneously highly individual and deeply familiar – a world of puzzlement, isolation, watchfulness, threat and wonder”.

“How does he do it?” asked Motion. “Among other means, by resting his stories on founding principles which combine a very fastidious kind of reserve with equally vivid indications of emotional intensity. It’s a remarkable and fascinating combination, and wonderful to see it recognised by the Nobel prize-givers.”

Permanent secretary of the academy Sara Danius described Ishiguro’s writing as a mix of the works of Jane Austen and Franz Kafka, “but you have to add a little bit of Marcel Proust into the mix, and then you stir, but not too much, and then you have his writings.

“He’s a writer of great integrity. He doesn’t look to the side, he’s developed an aesthetic universe all his own,” she said. Danius named her favourite of Ishiguro’s novels as The Buried Giant, but called The Remains of the Day “a true masterpiece [which] starts as a PG Wodehouse novel and ends as something Kafkaesque”.

“He is someone who is very interested in understanding the past, but he is not a Proustian writer, he is not out to redeem the past, he is exploring what you have to forget in order to survive in the first place as an individual or as a society,” she said, adding – in the wake of last year’s uproar – that she hoped the choice would “make the world happy”.

“That’s not for me to judge. We’ve just chosen what we think is an absolutely brilliant novelist,” she said.

Ishiguro’s publisher at Faber & Faber, Stephen Page, said the win was “absolutely extraordinary news”.

“He’s just an absolutely singular writer” said Page, who received news of Ishiguro’s win while waiting for a flight at Dublin airport. “He has an emotional force as well as an intellectual curiosity, that always finds enormous numbers of readers. His work is challenging at times, and stretching, but because of that emotional force, it so often resonates with readers. He’s a literary writer who is very widely read around the world.”

Born in Japan, Ishiguro’s family moved to the UK when he was five. He studied creative writing at the University of East Anglia, going on to publish his first novel, A Pale View of the Hills, in 1982. He has been a full time writer ever since. According to the Academy, the themes of “memory, time and self-delusion” weave through his work, particularly in The Remains of the Day, which won Ishiguro the Booker prize in 1989 and was adapted into a film starring Anthony Hopkins as the “duty-obsessed” butler Stevens.

His more recent novels have taken a turn for the fantastical: Never Let Me Go is set in a dystopic version of England, while The Buried Giant, published two years ago, sees an elderly couple on a road trip through a strange and otherworldly English landscape. “This novel explores, in a moving manner, how memory relates to oblivion, history to the present, and fantasy to reality,” said the Swedish Academy. Apart from his eight books, which include the short story collection Nocturnes, Ishiguro has written scripts for film and television.

Awarded since 1901, the 9m Swedish krona (£832,000) Nobel prize is for the writing of an author who, in the words of Alfred Nobel’s bequest, “shall have produced in the field of literature the most outstanding work in an ideal direction”. Ishiguro becomes the 114th winner, following in the footsteps of writers including Seamus Heaney, Toni Morrison, Mo Yan and Pablo Neruda.

The award is judged by the secretive members of the Swedish Academy, who last year plumped for the American musician Dylan “for having created new poetic expressions within the great American song tradition”. He proved an elusive winner and was described as “impolite and arrogant” by academy member Per Wastberg after initially failing to acknowledge the honour.

Some members of the literary community were also less than impressed: “This feels like the lamest Nobel win since they gave it to Obama for not being Bush,” said Hari Kunzru at the time. The choice of a writer who has won awards including the Man Booker prize should pour oil on at least some of the troubled waters ruffled by Dylan’s win, though Will Self reacted to Ishiguro’s win in characteristically lugubrious fashion.

“He’s a fairly good writer,” Self declared, “and surely doesn’t deserve the dread ossification and disregard that garnishes such laurels.”

*Also from The NY Times coverage about this award: Mr. Ishiguro said that he was the only Japanese boy in his neighborhood in England. Almost from the start, he said, “I have always been conscious of not being quite like anyone else.” But, he added: “If I’d grown up in Japan, I doubt I would ever have become a writer.”

Did you know? Ishiguro wrote The Remains of the Day in four weeks. Read about that here: https://www.theguardian.com/books/2014/dec/06/kazuo-ishiguro-the-remains-of-the-day-guardian-book-club

#kazuo ishiguro #the remains of the day #nobel prize #never let me go #the buried giant #a pale view of the hills #british novelist

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ghostie-hoe · 7 years

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MY THOUGHTS ON 7x19 'FAREWELL MY LOVELY'

OMG I LOVED THIS EPISODE AND I NOW HAVE MANY SUSPECTS MAINLY EZRA AND CALEB HOLLYYYYY SHIT PLL 7x19 REWATCH - Very predictable that Aria was able to save her ass and retrieve her keys before that cop saw the body and dragged her tiny lying butt to jail. - Ezra dragging the girls to the ground, pointing out that they've all made mistakes they have to live with and Aria is no different. This episode was lacking a snarky comment from Hanna or Alison shading Ezra for being a lying, stalking predator. (I can dream, I just want them to say it out loud again!!!)!!! It's my aesthetic. - Directly after a scene where someone hid Aria's keys in the trunk of her car along with the body, Caleb mentions Aria having spare keys???? Caleb has been so shady this episode like, my heart couldn't take him being AD, just for the fact of Hanna, her reaction would destroy my soul, I mean she's targeted the most and Halebs love seems the most pure:((((( - pie????? And the Alison Varjack / Holly Golightly reference???? HELLO EZRA, I SEE YOU - Mary Drake is my favourite. I actually love her Idc - wtffff? We waited so long for that classroom scene only for it to be a gas leak related dream Emily had???? Wtf Marlene really does know how to disappoint - Why cant Emily tell Alison she loves her? I mean Emily is the one that has been pining over Alison for years and Ali has said it twice, but Emily can't seem to say it. Marlene just sort your ships out ffs - 'You have an alibi, you're in the clear' at what point did Aria speak to Ezra about this little prize AD gave Aria? Hmm hmm or should I say, the prize he gave her. - Are all these scenes of team Spahaleb together to make us as viewers forgive Marlene for the ATROCITY THAT WAS SPALEB??? The whole situation wasn't fair on any of them. - Can we just talk about that Mona and Caleb scene for a second, it's like when they were talking over coffee that time and seemed very comfortable around each other. Well, in that scene or was almost as if Mona was expecting Caleb, as if he were the one she were meeting with. The way Caleb takes control and literally gives Mona a order as if being at an a team meeting. - wow there's a secret passageway between the three crows diner and where Charlotte was killed. Ironically, Caleb knows exactly where to look hmmm - Oh Ezra aren't you just the biggest hypocrite "I think they gave up the right to be your friends." Well Ezra Fitz, I think you gave up the right to roam freely after breaking the law and involving yourself with two minors, one of which you built a relationship with on lies, stalked, lied and manipulated whilst writing a book about the other. You my lovely predator can't say shit. - Ezra my masters degree In American literature will help me dispose of a body so that the police won't find it and trace it back to either of us Fitz. Can you please dispose of yourself in prison now thanks - THE BODY IS GONE???? WHAT A SURPRISE???? NONE OF US SAW THAT COMING... HUH EZRA..? - Wow what another disappointment. Honestly Marlene should get an award for the biggest disappointments. We all really wanted that kissing rock video to have some relevance but nope we can't have that - AD DOESNT GET MESSAGES, THEY SEND MESSAGES. IS CALEB HINTING AT HIM BEING INVOLVED. OMG OMG THERE ARE SO MANY EZRA AND CALEB CLUES ITS LIKE THEY COULD BE SECRETLY IN CAHHOOTS - Have I ever mentioned how much I love Troian the director, producer, writer and actress???!! Have I ever documented my love for her talents and screamed to the rooftops about how much this woman deserves the ultimate happiness in life and millions of Grammys?????? - ITS PROBABLY JUST TROIANS ABILITY TO AMAZE ME WITH HER ACTING SKILLS BUT THAT SPALEB SCENE WAS .. sweet - Alison apologising to Aria. CHARACTER DEVELOPMENT. QUEEN BITCH ACTUALLY APOLOGISED 👏 👏👏👏 - STOP. MAKING. MENTALLY. ILL. INDIVIDUALS. THE. VILLAIN. WE. WOULD. NEVER. HURT. ANYONE!!!!!! - UMMMM IM REALLY IMPRESSED WITH VANESSA RAY'S ACTING IN THE MONA VS CHARLOTTE CONFRONTATION SCENE. LIKE IM LIVING FOR IT. AND DID I MENTION HOW FABULOUS JANEL PERFORMED IN THAT SCENE TOO. ALSO MONA HAULED HER ASS OFF THAT ROOF LIKE MY GIRL IS STRONG. BUT WHY DIDNT WE GET TO SEE IT??? AND WHY IS THE BELL TOWER SIGNIFICANT TO THE SHOW I MEAN, CECE WAS LITERALLY SHOVED BY ARIA OFF IT AND IAN COMMITED SUICIDE THERE??? - Mona's the most intelligent person on this show. When the doctors and Alison were blinded by Charlotte and believed that she was getting better, Mona had doubts and she knew that Charlotte wasn't sorry, she knew that Charlotte was going to start the game again and I seriously don't believe that Mona had any intent on killing Charlotte, just wanted to scare her. - 'Not only did you lose the game, you lost the story' Why does this seem to me that Charlotte is low key hinting at stealing Charles's story thus not actually being Charles???? I hope. Please Marlene - Mona is so precious. I'm so in love with her. I want to protect her. - 'She went back to a safe place. Where she only had to worry about you being mean to her in the cafeteria.' - Spencer throwing shade at Alison again 2k17. I'm here for it. This also sticks out to me considering they have been shoving this kind version of Alison down our throats since she came back in season 4, and it could totally hint towards the whole Alison we seeing now isn't actually Alison, reminding us that the bitch still exists - EZRA MONA AND CALEB. THE A TEAM HMM - The relevance of the body being buried in the fake Charles one to me, emphasises Charles being alive and not CECE. Also lmao they go to leave and Tanner turns up. And then Mary drake makes the ultimate sacrifice and CONFESSED TO BOTH MURDERS BUT TANNER JUST FUCKING LETS THE GIRLS LEAVE EVEN THO SHE CAUGHT THEM WITH A SHOVEL LMAO WHAT - These bitches get away with everything and I'm so fucking done with it. Lock them up. Kill them. I'm done - SASHAS ACTING IN THE SCENE WHERE MARY CONFESSES TO KILLING JESSICA HAD ME CRYING LIKE SASHA IS SO GOOD AT PORTRAYING EMOTION - don't ever try to convince me that Mona vanderwaal doesn't love and care about Hanna Marin. Mona would sacrifice everything for Hanna, and although I love Haleb, IM HERE for Mona and Hanna running away together and having Vandermarin babies ❤️❤️❤️❤️❤️ - AS A MEDIA STUDENT I REALLY LOVED THE END SCENE WITH AD DRIVING OFF INTO THE SUNSET BUT WHAT BITCH WANTED TO LESVE ROSEWOOD THIS EPISODE??? EZRA PREDATORY RAPE FITZ THATS WHO

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abitterlifethroughcinema · 5 years

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WOKE! Film Reviews for Spring ’19

We Shouldn’t’ve Left You Without Some Dope Films to Step To!

Lucas Avram Cavazos

This first weekend of ‘Setmana Santa,’ as it is called in Catalonia, ushers in the fateful reality that we’ve all thankfully made it past a long, cold winter. It also welcomes with it the understanding that this year, Holy Week/ Easter Week/ Spring Break Week has come rather late, by well over a month, and since this is the first time in a month that I’m gracing the blogosphere with my critiques just before the week leading up to the 3rd Annual BCN-Sant Jordi Film Fest, it’s time to get woke. And that’s why this critic had to get all sorts of motivated and prepared as we dive into the real Movie Season 2019. Let’s get started with a few outings now, and I’ll return with a few outings more later on in the week. Without further ado…

Dolor y Gloria ####-1/2 This may be the best film that has been released so far this year. The fact that it has been so eloquently served up to us by Pedro Almodovar, my favourite Spanish director, may make things seem biased, to which I’d query… Have you seen the movie? This could easily be one of his strongest efforts, if not THE strongest, in years and the way that Almodovar has crafted it, using character actors he once worked with in his earlier heyday, has been expertly mapped out to weave a tapestry of torturous drama and comedic, sometimes drug-addled, delights. What is also apparent is that Pedro is very likely speaking about himself, as a creator, a director, a man. Detailing the current and flashback-to-the-60s life story of Salvador Mallo (Antonio Banderas), a revered if almost-forgotten director and writer from the 80s and 90s, we also get a peek into the history and mentality of a Spain and a (Movida) movement put away onto a shelf for far too long. What we find about Mallo is that whatever life circumstances have been thrown at him, he has managed to take them on with a certain, sad aplomb. It is a testament to his waning bravado that Mallo then goes about trying to reconnect with those long-forgotten members of his film past, briefly dabbling in heroin whilst using it as a metaphor for his need to deal with past pain bodies. In its own way, I’m quite sure that Almodovar did exactly the same thing in processing his own mother’s passing a few years back, and it brings into question the very nature of how every human being varies in their handling of life’s issues. I dare say that this film is something bordering on a frighteningly sharp therapy session and frankly, the performances here, especially by Banderas (and to a smaller extent, Penelope Cruz as his mother via flashbacks) are something from a prized possession of actors’ genius. One can only hope that award nominations get thrown their way later on this year…Superb Spanish cinema!

Perhaps the title gives a slight hint but the basis of the film that is Us ###-1/2 goes a long way in reminding all of US that evil rarely just dies…case in point, Donald Trump. Not to digress, so this second outing in big screen film direction by comedian/writer Jordan Peele attempts to go a step further in modern-day, U.S.-American, social-class politics. After his impeccably-timed, incredibly-successful and Oscar-nominated Get Out roared a somewhat sleepy horror genre/audience back to life, we now get a continuation or ode on a similar theme. Showcasing upper middle-class protagonists on screen who are not white has thankfully become more common since the 80s and 90s, so when it’s still possible to inject a bit of realism, I applaud the creator. That said, there is so much going on in Peele’s latest socio-cultural opus that when the horror-action takes over, you almost find yourself relieved; which isn’t to say the film lacks in punches and pull, but you definitely start to feel the languid draw of boredom a few times throughout the nearly two hour film. After the film opens in 1986 with a real advert to a throwback charity campaign, we quickly follow young Adelaide through an anecdotal moment that seems to come reeling its frightening head when she’s an adult again. The star draw of Oscar winner Lupita Nyong’o and Marvel wiz kid Winston Duke cannot be overstated, as they certainly bring some fan base and critical darlings with them, but the way they handle the mum and pop characters of Adelaide and Gabe Wilson is superb…plus the camaraderie between their cute as heck, and then bad-ass as heck, kids is adorable. When on a getaway at their lake home near Santa Cruz, CA, an unfortunate and sudden group of unsettling events is what finally jolts us, the viewers, wide awake when the sordid nightmare of a flashback-like attack commences and carries on for the rest of the fraught film. What creeps the whole thing out even more is that the attack comes from a psychotic group of almost familial doppelgängers. What struck me as odd is that Peele seemed to lose a sense of coherence just as the film started to pick up speed with the action, thematically and within a sense of the genre. The acting keeps the film bouncing along thankfully, but after the socio-cultural punch that was Get Out, I suppose we were all a bit wanton for more.

The Kindergarten Teacher #### Another tandem Netflix-cinema house offering, this US-American take on an Israeli original is just as good…thankfully. With an ending that is as unexpected as it is deserved, this little indie feature will give you something to ruminate for days after. which in turn is why I gave it such a sufficiently high score. Let’s talk. The monotonous life of a primary education teacher can be one of serenity or hardships, and I can only surmise that it would mostly depend on one’s intestinal fortitude, though I sinerely doubt, I’d be cut out for it. Exquisite actress Maggie Gyllenhaal plays mid-40ish Lisa, pretty mom to two teens and loving wife, who encounters something extraordinary one day whilst teaching her sweet class of five and six year olds. An incredibly gifted five-year old chap named Jimmy (read:cutest little tyke on-screen EVER!) has the uncanny ability to tap into his inner recesses and pull out beautiful poetry that takes on meanings and lives of their own, painting a canvass of wonderment for our long-suffering Lisa. You see, what is easy to decipher as one watches is that Lady Lisa has slowly begun waging her own, tiny war on her mundane life by the commencement of living vicariously through this little man-poet. When she steps out of her bounds and finagles a way to take little Jimmy to a Bowery-based poetry slam, this very NYC borough tale takes a turn for the cringe-worthy as we slowly watch an empathetic woman lose herself in a self-delusional, self-pitying way. This complicated if completely relatable piece of celluloid will challenge anyone’s views on what young tykes are capable of feeling, doing and demonstrating. It will also leave you with the pertinent question of deciding what you think happens to the main characters as the film ends. Brutally honest and highly poignant.

#abitterlifethroughcinema #theclubwithlucas #dolorygloria #pedroalmodovar #banderas #penelopecruz #us film #jordanpeele #lupita nyong'o #WOKE #thekindergartenteacher #maggie gyllenhaal #poetryINmotion #BCNinVOSE

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celticnoise · 4 years

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Next week the SPFL will have its time entirely wasted when its clubs are asked to vote on Sevco’s abysmally weak and desperately dodgy dossier. Have we really got nothing better to do than go through this twaddle for the next seven days, as if it were a credible document instead of a list of petty and pitiful grievances?

Where is the “smoking gun?”

Stewart Robertson has taken it and blasted off his own foot with it.

Sevco has been humiliated here in front of the rest of the clubs. 41 of them were sent this thing this afternoon; that’s whole hours of quality box-set watching time, squandered utterly, on page after page after page of Sevco Logic poured out in an endless stream, like vomit from a teenage victim of demonic possession. Scottish football is facing a real crisis at the moment. That anyone should have to waste their time on this is frankly shocking.

Yet some “journalists” are determined to find any old nonsense they can in this document so they can keep alive the idea that there’s some sort of smoking gun here. Those responsible are the ones you would expect, but they can give these ridiculous “charges” – based on supposition and speculation – acres of coverage they simply don’t deserve.

Let’s take the “allegation” the SPFL and SFA wrote to UEFA asking them to bring the season to a close because it was supported by the top flight clubs; this before a vote was held. Sevco’s dossier claims that this proves the governing bodies acted corruptly.

Have none of these yahoos ever heard of a “straw poll”? The hacks who are pretending this is important knew full well that such a proposal already had majority support amongst clubs, and they published dozens of articles to that effect in the weeks before the vote.

I knew the rough outline of the SPL club’s voting intentions; do you know where I read it?

On a Sevco fan-site where one of their well-connected posters was being constantly pilloried for trying to tell the more febrile members that he’d spoken to club chairman and executives and almost all of them were in favour of that outcome, including awarding the title to Celtic.

This site and a bunch of other Celtic media outlets knew long before that vote was held that it was being supported by the majority of the clubs; how did we know that? Because nearly every chairman or executive who was interviewed in the press had confirmed that it was the way the wind was blowing.

Nobody was in the slightest doubt about that.

But tonight, desperate hacks – including, shockingly, Ewan Murray at The Guardian; a Hearts fan in case the agenda wasn’t clear – are clinging to the UEFA letter allegation as if the governing bodies sent it without having the first clue how the member clubs felt.

It is such desperation. It is shamelessly clutching at straws.

One of the “crimes” being highlighted by The Record are the four “cease and desist” letters Douglas Park is alleged to have gotten. They quote just one of them, and I’ve read it a thousand times and cannot find the word “cease” or “desist” in it; indeed, if it’s an example of bullying then Douglas Park must have gone to a school which was already well ahead of its time on social distancing and where the playground must have been run by Julie Andrews.

The “bullying” communique in question reads thus; “Can we not simply resolve this by a confirmation that such an allegation will not be repeated in connection with these events and that the suggested course of action will not be proceeded with?”

The average maternity blanket has more threatening things knitted on it.

STV just did their report; they brought out an SPFL board member to ask whether or not he supported the club’s allegations. Do you know who they brought out? For those who haven’t seen it, go and look for this online. It was Stewart Robertson himself.

And to think this lot mocked Murdoch MacLennan for answering a bunch of questions he’d selected on his own? (From amongst those the media was asking.)

Other “allegations” are so vague that they are barely worth repeating.

The “£10 million claim” which the media is going on about is so full of if’s buts and maybes that it doesn’t even enter the realm of hypothesising; still, some of the hacks think this is potentially explosive. Potentially. But even they have to hedge their bets because it doesn’t quite make the grade.

This is the best they’ve got, and even as Robertson makes the rounds – Clyde just did exactly what STV did and gave this discredited joker a platform to insult the board on which he actually sits and on which he must have had actual influence – continue to smear all and sundry.

It is unconscionable. The media should be deeply shamed of its role in all this.

Indeed, Roddy Forsyth, one of the worst journalists in the country, confirmed what was surely obvious earlier this evening, as if it was nothing; Sevco’s famous “whistle-blower�� was none other than their own chief executive, in breach of his duties as an SPFL board member.

That revelation – which most Celtic fans had already guessed – was not explored in any detail, although it might well be the most bizarre part of this whole affair.

I can write about shamed the media should be about all this until I’m blue in the face; indeed, I have, and repeatedly. They have no more shame than the club itself does. This incestuous partnership clearly doesn’t bother either party, although one of them constantly makes the other look ridiculous. More fool them you might say, but there are still a lot of our fans who aren’t on social media and who read and listen to this nonsense, and may even believe it.

For those who wonder why this blog is so often focussed on our press, well this last month has been a startling case in point and the ultimate example of churnalism over journalism. For weeks now our media has given Sevco its unqualified support in a witch-hunt against those who that club perceives as its enemies.

They have used a global crisis as a cover for pressing their agenda.

Not only has their entire campaign been revealed as the naked fraud the bloggers said, but even with that now crystal clear much of the press refuses to accept it.

The incredible thing here, of course, is so many clubs expressed themselves quite clearly in the vote to end the campaign and award prize money on the “as you were” basis; Sevco and two other clubs, both of them with a vested interest in reversing that outcome, have gone on the offensive and the hacks report that as Scottish football being embroiled in a civil war instead of stating what is surely obvious; this is all down to a handful of malcontents and sore losers, determined to reverse a democratic decision by way of a smear campaign.

Tonight Hearts and Stranraer fans should be asking hard questions about why their clubs have allowed themselves to be associated with such an embarrassing affair.

As Scottish football goes through the current crisis it is important to keep up with developments and the key issues. We are determined to do so, and to keep you informed as well. Please subscribe to the blog.

https://ift.tt/2YKg2Eq

#CelticNoise #Celtic #CelticFC #TheCelticBlog #News

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213hiphopworldnews · 5 years

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How ‘Black Panther’ Became A Real Contender For Album Of The Year

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The first time a Kendrick Lamar song plays in Black Panther, T’Challa is in the club. As the doors to the underground casino in Busan, South Korea swing wide, the song presses outward like a hand: “Tell me, who’s going to save me from myself?” It thrums across the room as T’Challa, the king of Wakanda, played by Chadwick Boseman, and his companions, Nakia (Lupita Nyong’o) and Okoye (Danai Gurira), survey the scene below from a second-floor balcony.

The song — “Pray For Me” — is the closing salvo of Black Panther, the soundtrack companion to Ryan Coogler’s Marvel juggernaut. In December, the record, produced by Kendrick Lamar, landed eight Grammy nominations, making it the most-nominated project at the 2019 awards this month. Among its eight nominations is one for Album Of The Year, where it faces off against Cardi B’s Invasion Of Privacy and Kacey Musgraves’s Golden Hour. Though they’ve been nominated 14 times, film soundtracks have won Album Of The Year just three times: in 1979, for Saturday Night Fever; in 1994, for The Bodyguard; and in 2002, for O Brother, Where Art Thou?. This year, Black Panther looks especially well-positioned to become the fourth: It’s got Kendrick Lamar, it’s got blockbuster momentum, and it’s got precedent. All these soundtracks operate in parallel with the films themselves, using their themes as a framework, but they also stand apart from the movies, eventually becoming entirely their own thing, unmoored.

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This wasn’t always the case. For much of Hollywood history, film soundtracks were largely, indelibly affiliated with the movies they came from. “In the ’50s, ’60s, ’70s, and into the ’80s, for a little while, if you were a fan of music soundtracks, you were talking mostly about the underscore music — that is to say, the instrumental music that was recorded in the film,” like those for Star Wars, The Mission, and Breakfast At Tiffany’s, explained Daniel Carlin, the chair of the screen scoring program at the University of Southern California who worked as a playback engineer on The Bodyguard. Movies really only focused on songs, rather than score, if they were outright musicals — The Sound Of Music, for example, or West Side Story. When the transistor radio came around, though, it set a new standard: Film characters, like people, had to be playing music on the go, longtime music supervisor Maureen Crowe told me.

Then came Saturday Night Fever: Two years before the Grammy for Best Disco Recording made its debut, the same year as Gloria Gaynor’s “I Will Survive” was released, and the year after Ian Schrager and Steve Rubell turned Studio 54 into a nightclub. It was the zenith of mainstream disco, the era depicted at the beginning of Paul Thomas Anderson’s Boogie Nights. Saturday Night Fever opens with “Stayin’ Alive” — John Travolta saunters down a Brooklyn street, grabbing a slice on his way to work at a local hardware store, Barry Gibb’s crooning falsetto instructing, “Well, you can tell by the way I use my walk, I’m a woman’s man, no time to talk.” The Bee Gees wrote “Stayin’ Alive” specifically for the film — along with other now-immortal disco tracks like “How Deep Is Your Love” and “You Should Be Dancing.”

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When it was released, the Saturday Night Fever soundtrack proved inescapable. “We weren’t on the charts,” Maurice Gibb said at the time, according to Rolling Stone, “We were the charts.” Saturday Night Fever, per the same story, topped the charts for six consecutive months; the magazine described the soundtrack as the “ne plus ultra of mainstream disco.” It marked the ascendance of the Bee Gees as the popular faces of disco — despite the genre having emerged as the soundtrack of nightclubs frequented by queer people and people of color. (The co-opting of a music form emerging from Black, Puerto Rican, and queer discos by white musicians and fans in the ’70s is the theme of the film’s climax: After winning the top prize at a dance contest, Travolta’s character, Tony Manero, gives the trophy to the more deserving black couple who would have won, he explains, were it not for a racist panel of judges.)

The soundtrack’s astonishing success led The New York Times to remark that the Bee Gees “are getting as big as The Beatles,” underlining the “increasingly important commercial links” between music and film. There was a “well-orchestrated plot” to ensure the success of both soundtrack and film, film music historian Jon Burlingame told me recently. “It was a remarkable campaign that worked like gangbusters,” he said. Disco, while ubiquitous, had just crested its peak — under the surface of its mainstream success, the scene itself had already begun its inexorable decline; in a way, Saturday Night Fever captures this tragedy — but the band was only about to reach its own.

“Instead of driving a trend, it’s sort of capitalizing on a trend,” said Crowe, whose music supervising credits include The Bodyguard, True Romance, and Wayne’s World. Likewise, these soundtracks — the most successful ones — don’t tend to discover artists, but they do present an opportunity for established artists to make more music with a broader platform. When production began on The Bodyguard, Whitney Houston was already a household name, having put out the smash hits Whitney Houston and Whitney and I’m Your Baby Tonight, which went four times platinum — a falter, compared with her previous albums.

For fans of The Bodyguard, the swelling chorus of “I Will Always Love You” is perhaps forever entangled with the final kiss between Kevin Costner and Whitney Houston, but the half-life of the soundtrack’s hit has vastly outpaced that of the film itself. In the film, Houston plays Rachel Marron, a major pop star whose manager, after death threats culminate in an assassination attempt, hires a new bodyguard (Costner) to beef up her security. During the film’s climactic scene, Rachel wins the Academy Award for Best Actress, a gentle irony considering Houston and Costner both won Razzies for their own efforts. Still, despite its critical reception, the soundtrack — basically a new Whitney album — went on to become the best-selling soundtrack of all time. (The second? Saturday Night Fever.)

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“The film gave it its platform; it gave it its context,” Crowe said. Whitney Houston had been nominated for, but had never before won, the Album Of The Year Grammy; she’d be nominated again, for the Waiting To Exhale soundtrack, but The Bodyguard would remain her only win. Name recognition alone might not do it — Prince made a soundtrack for Tim Burton’s Batman that topped the Billboard charts upon its release but was not nominated for a Grammy — but they don’t hurt.

In the month before the 2002 Grammy ceremony, where the soundtrack to the Coen Brothers’ O Brother, Where Art Thou? would win Album Of The Year, several of the artists involved with the record took the show on tour. Down From The Mountain sold out as it traversed the country; two years later, it birthed a sequel, the Great High Mountain tour, with songs from both O Brother, Where Art Thou? and Cold Mountain. Produced by T Bone Burnett and featuring Alison Krauss, Emmylou Harris, and Gillian Welch, the soundtrack reimagines traditional bluegrass, folk, and blues tunes from the Appalachian region, setting classic tunes to modern recordings.

The film itself operates in much the same way, setting Homer’s Odyssey loose in the Depression era, with more George Clooney. But, while the film itself was not a particular commercial hit, the soundtrack absolutely was. “It was was this remarkable collection of roots and folk music that people fell in love with and somehow reminded us of our musical heritage,” Burlingame said. Outside of Grammy voter circles, T Bone Burnett might not have the same pop clout as Whitney Houston or the Bee Gees, but the soundtrack shared the same kind of internal logic — a study in vintage Americana, where the others drill into disco or power ballads or hip-hop’s most exciting contemporary voice — that allows it to function inside, and independently of, the film.

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Grammy wins certainly didn’t precipitate mainstream recognition of pop music from films, but they’re representative of a broader trend that’s continued to gain momentum since Saturday Night Fever first won in 1979. (The Grammy has occasionally also been granted as a corrective for previously overlooking an artist. Like Whitney Houston, Kendrick Lamar has been nominated for Album Of The Year multiple times — for every album, in fact, since 2012’s Good Kid, m.A.A.d. City — but has never won, despite a Pulitzer win last year, for DAMN.) The soundtrack for Guardians Of The Galaxy, a wide-ranging compilation of retro sounds, was 2017’s third-highest-selling vinyl, after two Beatles records.

Even more recently, Billie Eilish has said “When I Was Older,” her Roma song, was written “from within the narrative of the movie”; it was a tenuous connection and was greeted with some confusion online, but the song has nevertheless amassed more than 15 million Spotify streams. It’s probably pretty safe to say Roma has not been played 15 million times. A Star Is Born — whose Barbra Streisand incarnation came out in 1976, just two years before Saturday Night Fever — has burst once again onto the charts; “Shallow” earned nominations for Record and Song Of The Year while “Why Did You Do That?” is a whole entire meme. There is now, of course, a deeply commercial connection between an album’s promotion and its sales and awards success — what was novel for Saturday Night Fever is now de rigueur. But, as a film like Suicide Squad — a flop for the DC Comics universe, with its incidentally scattershot soundtrack — demonstrates, a strong publicity campaign can only take you so far.

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But Black Panther, like its predecessors, consistently reflects its film’s themes in a way that also gives it some structural integrity on its own. This isn’t always the case: Sometimes, the random assortment of songs that make up a movie soundtrack sound, feel, well, random, when set loose from the film itself. “Some soundtracks exist solely to capture the mood of a film; the best, however, have an excitement all their own,” Briana Younger wrote for Pitchfork in a review of “King’s Dead,” the second single off the Black Panther soundtrack.

Part of Black Panther’s success as a discrete album has been its association with Kendrick Lamar, the artist. It doesn’t just bear his name; his fingerprints are all over it. It’s brimming with artists drawn from Lamar’s own Top Dawg Entertainment and from across the black diaspora — like South African rappers Saudi, who mostly performs his verse in Zulu, and Yugen Blakrok, a female rapper who goes toe-to-toe with Vince Staples. It fits: The film is “a day-glo, big-budget, action-packed depiction of the same conflicts that animate Lamar’s career,” NPR wrote in a review last year. Just as Coogler was able to make a Ryan Coogler film inside the Marvel universe, so too was Lamar able to compose a Kendrick Lamar album from inside T’Challa’s catsuit. The relationship is symbiotic, at once elevating music and movie.

Yet just three of Black Panther’s fourteen songs are featured in the film itself; instead, the soundtrack is modeled on those of ’90s films, for which musicians “would take themes and make music inspired by the themes,” Coogler told Fact magazine last year. “You almost never see the phrase ‘music from and inspired by the film’ anymore, but that was always the catchall, starting in the ’80s and the ’90s, for people who wanted to put out a soundtrack and threw a bunch of songs in that weren’t necessarily in the film,” Burlingame told me. “In a way, Black Panther is almost in that tradition.”

The movie leans on the score, composed by longtime Coogler collaborator Ludwig Göransson, and existing pop music to set the scene; Lamar’s songs hover across the two categories, written specifically for the film yet used within it like any other club hit. And they could be any other club hit, because Black Panther is as much a Kendrick Lamar album as The Bodyguard was a Whitney Houston album or Saturday Night Fever was a Bee Gees album; it’s as much a survey of a specific facet of hip-hop as O Brother, Where Art Thou? was of a certain type of roots Americana.

So, in Black Panther, when arms dealer Ulysses Klaue instructs a lackey to “put some music on,” it’s only natural that the cue is Kendrick Lamar.

source https://uproxx.com/hiphop/grammys-black-panther-film-soundtracks-album-of-the-year/

#hiphop #hip hop legend #hip hop history #hip hop #music #trending #hip hop news #ballin #hip hop scen

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lindyhunt · 5 years

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Does Bryan Singer’s Film Bohemian Rhapsody Deserve to Get Awards Love?

The ranks here at FASHION are not filled with men. Shocking, right? But there are one or two (there are actually, literally, two). Naturally, when a question about male/female dynamics arises it’s only fair that one of them stand in for the members of his gender and provide some insight. Our last topic of conversation was about controversial Christmas song “Baby, It’s Cold Outside” and today we’re discussing whether Bryan Singer-directed Bohemian Rhapsody should be snapping up any prizes this awards season. Two of our staffers—from the men’s corner, Greg Hudson, and from the women’s, Pahull Bains—talk it out.

PB: When Bohemian Rhapsody won the Best Picture (Drama) award at the Golden Globes last weekend, in addition to perplexity from critics who had largely panned the film, there was a fair bit of outrage on the internet. Evan Rachel Wood tweeted, “So we just..we are all still supposed to be pretending we don’t know about Bryan Singer? Cause it worked out really well with #Spacey and #Weinstein.” Now, I’m all for men finally getting their comeuppance but I also think it’s unfair that the entire cast and crew of a film be punished for the misdeeds of one person, whose shadiness wasn’t known until the #MeToo Flood of 2017. Or so I thought.

Yes, in 2017 Singer was fired as director of the film partway through shooting for causing “on-set chaos”: showing up late, being unavailable for days at a time, disappearing without the studio’s permission. Just a few days later, it emerged that Singer had been accused of rape by Cesar Sanchez-Guzman, who had been 17 at the time of the assault in 2003. So, I thought to myself, production on this film began before this news came out, so we can’t blame the team for working with him. I’m no fan of the movie, but let them have their moment of glory, thought I, wee innocent one.

As it turns out, allegations against Singer—who has directed films like The Usual Suspects and X-Men: First Class—go way, way back. In December 2017, IndieWire published “The Bryan Singer Timeline: a History of Allegations and Defenses, from Troubled Films to Sexual Assault Claims,” and lets just say it’s not a short list, going as far back as 1994 and ranging from allegations of sexual assault and rape to accusations of filming minor boys naked without their permission.

So, now that we’re caught up on Singer’s problematic history, what does it mean for Bohemian Rhapsody as an awards contender? No one was expecting it to win two big awards at the Globes, which has led understandably to increased scrutiny as we make our way through awards season, with the Critics’ Choice Awards, the SAGs, the BAFTAs, and of course the Oscars ahead of us. Do you think the film’s shot at these shiny statuettes should be diminished because of Singer’s involvement?

FIRST REFORMED, but about Ethan Hawke struggling to find hope in a world where Bohemian Rhapsody is probably gonna be nominated for Best Picture. pic.twitter.com/dI4D7kxfJ7

— david ehrlich (@davidehrlich) January 4, 2019

GH: Before I single-handedly bring down Bryan Singer with my rhetoric and rage, I just want to point a couple of things out that are probably not all that relevant. Why do this? Because I’m a man, and we enjoy talking like experts on subjects we just did some half-assed internet research about.

Point 1: The Golden Globes matter to the Oscar race about as much as the Iowa Caucuses do to the Presidential election. You’ll recall, being the astute political observer that you are, that the Iowa Caucuses happen early in the American election cycle. That’s really the only reason they are covered so closely every four years. Sometimes they are a predictor of who the eventual nominee (and president) will be, but often not. Just ask Mike Huckabee, Rick Santorum, and Ted Cruz. And, similarly, the only reason the Golden Globes seem important is that they happen early in award season. But they are judged by such a niche group that their picks can seem downright baffling at times. Remember the 2010 flop The Tourist starring Johnny Depp? That was nominated for best picture at the Golden Globes. Have you ever seen Mozart in the Jungle? No! No one has! And yet, it’s a Golden Globe-winning television show.

So, do I think Bryan Singer’s creepiness will effect Bohemian Rhapsody’s Oscar chances? No. I think the fact that it’s a paint-by-numbers musical biopic will hurt its chances. (Seriously, the movie could have been called Walk Hard 2: This Time the Rockstar is Gay). I mean, Rami Malek and his mouthguard might still get a nod, but if you want a good Oscar predictor, the TIFF People’s Choice selection has a better track record. (So, get ready for a lot of Green Book hot takes!)

Point 2: Though she has already addressed and expressed regret about it—and she did so even before #MeToo made it a thing—Evan Rachel Wood starred in a Woody Allen movie in 2009. As with Singer, the allegations against Allen were pretty well-known even back then, but she still worked with him.

I’m not saying Wood is a hypocrite, or that her outrage is disingenuous. Not at all. I bring it up only to say that Wood clearly understands that sometimes actors work with gross directors, even if they should—or at least realistically could—know better. So maybe cut the cast a break when they celebrate what was clearly a huge surprise.

But 2009 was a very different time. And that’s good! If Bryan Singer never works again, that’s awesome. (Even if he happens to be innocent of all the many, many, many allegations–no one should be able to make the garbage Superman Returns and escape with their career). The real problem that’s complicating how we view Bohemian Rhapsody is that Singer is trying to get attention from it. If he didn’t rear his Botoxed head to claim credit for the Golden Globe, we might all be cool with forgetting he was a part of the film at all. Even if he kept the directing credit.

My question that rises from all of this is: why haven’t there been the public apologies and disavowals from actors who have worked with him in the past, the way there were for Woody Allen? So many of Allen’s former collaborators spoke out about how much they regret working with him, and how they’d never do it again. Actors who didn’t, or who expressed ambivalence toward Allen earned their own blowback. But no one is reaching out to Oscar Isaac or Jennifer Lawrence or, I don’t know, Stephen Baldwin, and asking them how they feel about having worked with an accused sex offender.

My theory: it’s because he, and his alleged victims, are gay. After all, it’s easier to ignore crimes in marginalized communities. Maybe there’s some discomfort because straight folks think they don’t understand gay sexuality in the first place—isn’t that normal for the gays—which, yes, is totally a homophobic holdover from when homosexuality was unfairly associated with pedophilia. And while I tend to think the retroactive shaming of actors is mostly performative, it’s still fucked up that we let Singer be Singer for so long.

PB: Hmm, I don’t know. Kevin Spacey’s accused of similar crimes and he’s been getting plenty of heat. I mean, he’s basically radioactive to anyone in the industry now. (Just for the record, though, Singer is married to a woman with whom he has a child, and has said publicly in interviews that he’s bisexual.)

I think maybe the reason Hollywood was slow to cool on Singer is because some of the allegations against him were dropped. As TIME notes, “he has faced two civil suits alleging sexual assault, one of which was dropped and one of which was dismissed.” In the wake of those lawsuits though, a bunch of stories began coming out about sordid “sex parties” Singer either threw or was present at but nothing was ever conclusively substantiated. A Buzzfeed story from 2014 details how Singer was brought “into regular orbit with 18- to 20-year-olds at parties sustained by large amounts of alcohol and drugs — edging precariously close to the line between legality and illegality,” but most of the sources quoted in the piece are unnamed and Singer wasn’t directly accused of misconduct. I think that sort of gave people the license to pull the whole “but nothing was ever proven” card.

Thanks to this latest lawsuit from 2017, though, which is ongoing, people are being denied an easy out. There is now a young man on the record claiming that he was raped by Singer, so there isn’t really any room for equivocating. Also, like you said, the climate has changed a lot in the past couple of years and stories that have been circulating on the whisper network for decades aren’t quite as easy to ignore anymore.

I know you brought up how Globe results aren’t a good indication of what’s coming down the pike—mainly because there’s no overlap between HFPA voters and Academy voters—but the film is still getting a lot of recognition from prestigious awards bodies. BAFTA noms came out yesterday and Bohemian Rhapsody features prominently on the list. So I’m just wondering—what’s an organization to do? I don’t think the film’s going to snag any more big prizes going forward; the backlash from the Globes has been substantial and other awards bodies probably don’t want to be tainted by a similar response on their big night. (By the way, did you see how poor 15-year-old Elsie Fisher, star of Eighth Grade, was dragged on Twitter for congratulating the team on their win?)

Why is everyone being so mean about this? I’m genuinely sorry if I did something wrong :(

— Elsie Fisher (@ElsieKFisher) January 7, 2019

Anyhow, I think what’s going to end up happening is: Malek’s going to continue getting recognition and maybe even some awards for his work, and the rest of the film is going to be shut out from any major wins. It’s the easiest way for them to award the film without really awarding the film, you know? And I don’t think anyone’s going to begrudge Malek a win. He’s got a ton of goodwill in the industry as well as critical praise for his portrayal of Freddie Mercury.

What I do hope for though—especially because we still have many, many awards shows and appearances ahead of us—is for everyone involved to get together and figure out how they want to address the elephant in the room. At the press conference after their Globes wins, the team flat-out refused to answer journalists’ questions about Singer. “That’s not something we should talk about tonight,” said producer Graham King, while Queen member Brian May quipped, “Good question though.” Malek then stepped up, saying, “I will take this one. There’s only one thing we needed to do, and that was to celebrate Freddie Mercury. Nothing was going to compromise us and giving him the love and celebration he deserves.”

They’re going to have to do a bit better than that. Don’t you think?

GH: It always baffles me when public figures don’t have thoughtful, satisfying answers to obvious questions. What are their publicists doing? Actors might not be the best at answering thorny ethical question on the spot (who is?), but they are pretty great at memorizing a script. Someone write that cast some talking points!

Having said that, I don’t really know what the satisfying answer would be. Because I realized, too, after you challenged my interpretation of the case, another reason why there hasn’t been the same retroactive hand-wringing from actors about having worked with Bryan Singer as there was about Woody Allen: It’s because it’s Bryan Singer. Woody Allen is an auteur—being in one of his films was an honour, a sign that you had arrived, or were at least arriving. Bryan Singer made some crowd-pleasing pictures, but no one is calling him an auteur.

I can’t decide whether that makes crafting an appropriate response easier or more difficult. On the one hand, because “working with Woody Allen” was such a cliche Hollywood status symbol, it was easy to understand when actors worked with him, despite credible allegations. Singer doesn’t have the same reputation. No actress has gushed about being granted the opportunity to be in an X-Men reboot. In that light, working with Singer seems less understandable.

But, that also could make it easier. And this seems to be where the cast is headed: you lean in on the Freddie Mercury Tribute and imply that, in the shadow of such an amazing performer, the director is practically immaterial. Bryan Singer? Who’s Bryan Singer? This was basically directed by the spirit of Freddie Mercury!

Also, lingering in the back of my mind, there’s that nagging concern that being fired or denied work because of an unproven allegation is a little dangerous as a precedent. After all, some of the rumours around Singer aren’t about illegal activity so much as being gross in a decadent, predatory, Hollywood way. Of course, the “nothing has been proven in court” defence is the least satisfying argument.

So maybe honesty would be best. Something that says they understand why people might feel ambivalent about the film, because of the director. That that is something, as a cast, they are dealing with, too. But, while we don’t want to shut down the conversation about how we should feel about problematic artists, the opportunity to celebrate Freddie Mercury is an unalloyed good. Then go on to talk about all the things Mercury did for human rights and the LGBTQ community.

And then just ignore the fact that the movie changes so much of Mercury’s story that it’s questionable whether it celebrates the real Freddie Mercury, or some postmodern, nostalgic construct we call Freddie Mercury.

But hating on Elsie Fisher? Let’s get some perspective people. The Oscars have a way of bringing out the darkness in people. That can be good (holding Casey Affleck to account for bad behaviour) and some can be not so good (rage-tweeting a teenager you don’t know). What should award bodies do to mitigate this? Should they vet nominees? And if so, what behaviour is disqualifying? What’s the statute of limitations? Or do problematic award winners just need to give better answers?

PB: Award bodies haven’t had to deal with a lot of scrutiny until fairly recently, so they’ve been able to skirt some of these issues without really shouldering any blame. Now though, their feet are being held to the fire and it’s not going to be as easy to just sit by and say nothing. It’s tricky; there’s certainly no one-size-fits-all solution but in my opinion, nor should there be. We’re dealing with complex issues here and I think everything needs to be addressed on a case by case basis. I really appreciate the diversity requirements the BAFTAs put in place last year: for the two awards categories specifically for British films (Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer), they’re only accepting films that meet two of the British Film Institute’s quartet of core diversity standards.

But of course, different award bodies have different nomination processes. The Academy, for instance, has over 8000 people who submit their nominees for various categories, which then cycle through some complicated process before the final nominees are selected. Because there are so many people involved, it’s easy to play the avoidance game. Who do you hold accountable? But if the final list of five or ten nominees includes some problematic faves that have been in the news for x or y reason, I think it’s the award body’s duty to call for a meeting of their board to figure out the steps forward. Interestingly, I just Googled “Who is BAFTA president” and it turns out it’s Prince William, since 2010! Obviously he can’t weigh in on this stuff but there are other people who can, namely the VPs for film, television and games (?). The Academy, meanwhile, has a Board of Governors that includes Whoopi Goldberg, Laura Dern and Steven Spielberg.

Whatever these governing bodies decide, it’s something they should be able to defend when asked about it. Because they will be asked about it. Sorry guys, changing the subject isn’t an option anymore.

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jessicakehoe · 5 years

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Does Bryan Singer’s Film Bohemian Rhapsody Deserve to Get Awards Love?

FIRST REFORMED, but about Ethan Hawke struggling to find hope in a world where Bohemian Rhapsody is probably gonna be nominated for Best Picture. pic.twitter.com/dI4D7kxfJ7

— david ehrlich (@davidehrlich) January 4, 2019

Why is everyone being so mean about this? I’m genuinely sorry if I did something wrong :(

— Elsie Fisher (@ElsieKFisher) January 7, 2019

They’re going to have to do a bit better than that. Don’t you think?

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