#and i've been looking for the source video for a while and found it by ACCIDENT tonight yeehaw

[transjudas]

+ +

#frank iero #ray toro #mcr #mcredit #my chemical romance #fray #rank #frankieroedit #raytoroedit #userkam #the top gif is like all time favorite Them moment #and i've been looking for the source video for a while and found it by ACCIDENT tonight yeehaw

[what-even-is-thiss]

Since people ask me a lot how to research this or that type of mythology or religion I'll just tell you how I go about researching mythology and religion I'm not familiar with in general.

Keep in mind I'm not an expert. I'm just a guy who reads a lot about mythology.

So first, know what you're looking for. What culture's belief system are we looking at? Because you can't just look at a broad region. If you wanna know about "African" or "Asian" mythology generally that will not help you. You need to be looking at something specific. A specific group or religion.

So let's say, as an example, you want to research the stories and beliefs and history of Tibetan Buddhism. Because that's something I'm looking into researching right now, so I'll take you through my process of getting started on it.

So the first thing I do is... google Tibetan Buddhism. Now this is a still-living religion that has continuously been practiced since it's founding, so I scroll past the Wikipedia and Encyclopedia Britannica entries until I find something by the people currently practicing it. In this case, I found an article by the Sakya Monastery in Seattle that gives a basic overview of their beliefs and different types of the religion that is currently practiced. This is what I'm looking for. I want to give myself a fairly good foundation of understanding of what's going on here before I start digging past the surface.

After this, I look for more articles and videos by monasteries explaining the basics. If this were from a religion that is either dead or has not been practiced continually since its founding I would skip all this and just go to the next step. Watching YouTube videos made by outsiders.

So after I give myself an idea of how people who practice the religion present themselves, I go searching on YouTube for overviews. I'm specifically interested in videos made by people that regularly make videos about this kind of thing and take it seriously. Sometimes this can take some digging. Something to look for is people who cite their sources, people who present the facts without outward judgement, and people who acknowledge their own biases while they explain these things.

A lot of these videos often give me ideas for books and primary sources to start referencing. With Tibetan Buddhism there's a lot of the regular Buddhism texts, along with a few others. I'm not looking to become an expert in this religion or convert to it, so I'll settle for reading about these books. I'm fairly familiar with Zen Buddhism specifically and the history of Buddhism more generally so this helps me a teeny bit here but Tibetan Buddhism is very specifically its own thing so I start googling specific stories and types of practices mentioned in the videos and articles I've been using.

Once I have been reading things from various different perspectives and feel comfortable enough to the point where I feel like I could explain the basics to someone who knows nothing about the mythology or belief system, this is the point where I start looking into books. This is also the part where I actually start combing through various Wikipedia articles, following chains and looking through reference sections to see if there's any good sources I should be digging into.

When I look to buy or borrow books, it depends on how in-depth I want to go. As is, I'm probably gonna buy a couple of different books on a beginners guide to Tibetan Buddhism and perhaps something on the history of it. With each book I consider I look up the author. Are they an expert in this subject? Do they practice this religion? Would I rather buy a book by someone that follows the religion or someone that's a scholar of it? Because you will get very different results depending on who is writing it. Things written for spiritual purposes are very different from purely educational books, so what do you want to get out of this research? Are you just looking for entertainment? Do you just want to be more knowledgeable about the world in general? Does someone you love find importance in this subject? Are you doing research for a project? Are you looking to incorporate aspects of this religion into your own life? The types of books you buy or borrow will heavily depend on your intentions and you should be careful about actually reading the book descriptions and reading the backgrounds of the authors to make sure you're buying the correct one for what you're hoping to get out of this.

My purpose in this case is simply feeding my own curiosity, so I'm leaning towards buying Essential Tibetan Buddhism by Robert A. F. Thurman. It's a bit old but it's written by someone that's a professor of Tibetan studies and has translations of some essential texts in it, so it seems like a good starting point for me, and possibly also an ending point. Because like I said, this is mostly about my own curiosity.

If I wanted to dig further I'd probably start looking into the reference sections of various books for other things to read, start digging into lists of primary sources, possibly find free to watch lectures online by people with doctorates in this sort of thing, and read into primary sources I find referenced in the various secondary sources I've been consulting up to this point.

Basically, start on the surface and follow the rabbithole down. And always remember that the perspectives of people who study something in a secular way for a living and people who actively practice a religion will be different from each other. Pick and choose what sources you use depending on what your intentions are. Reading something about Orphic hymns for scholarly reasons or for other research purposes and reading Orphic hymns because you're a Hellenistic pagan who wants to incorporate them into your personal practice are two extremely different things. Both are valid reasons to buy a book on Orphic hymns but the two books that the two hypothetical people here would buy are very very different from each other.

Good luck out there and always be respectful while you're poking around.

#religion mention #mythology

[mrpsychokiller]

helloooo yes i am here to do finding-source work again. sorry i got addicted

anyways you may have seen the image above, i've seen it making rounds a lot on tumblr for being featured on the Wikipedia page for Caramelldansen, with the description "a furry performs Caramelldansen, 2009"

i really like this pic, and ive been curious about it for a while, specially because since its only seen from the back i really wanted to know what the suit looked like from the front

well, very fortunately to me, Wikipedia is very throughout with citing its sources both for its text and for its images. you can just go see all the details given by Wikipedia on this pic yourself right here

but regardless of all this info i got whats important, who the fursuit is and who it belongs to!

here it describes the suit as "Natalie Ceviche Lima", which leads to a page on Wikifur that explains that Natalie Ceviche Lima is the name of the fursuit, which belongs to a french user called Luciole.

the suit itself was created by the company Luskwood Creatures, and then put for sale. and fortunately, you can find the website post where it was announced for sale here

AAAAND BOOM! full pics of the suit!

including a video showcasing it being used in a con in 2008

as for who it belongs to, we know that because Luciole is the username of a FurAffinity user, who after the suit was put for sale in December 2008, started posting pictures of themself wearing the suit in January 2009, which matches the date in the Wikipedia image saying the suit was being used to perform Caramelldansen in 2009 (therefore, by Luciole)

though i won't link any posts i found from Luciole's FurAffinity as it seems they disabled their account so their content couldnt be accessed anymore, and i'll respect that.

but regardless this was very fun and im glad to finally satisfy my curiosity for knowing what the suit looked like!

#🧃 #furry #fursuits #sourced by me #furry archive

[wingsoverlagos]

Update (April 2024): Since writing this post, I have found part of the audio for this interview, which you can check out here. It's not the full interview, so I haven't been able to check every quote against the original audio - I believe the video compiles the audio clips from this interview that appeared on Elliot Mintz's "The Lost Lennon Tapes" radio show. Citation 36-16 is not in the available audio, but citation 10-9 has been substantially updated.

@mythserene's fantastic exposé “A Beatle Didn’t Say That! Lewisohn’s Lab-Created Quotes” exposed several altered, sewn-together, and otherwise doctored quotes from Mark Lewisohn’s Tune In: The Beatles: All These Years (henceforth Tune In). I already had a less-than-favorable view of Lewisohn’s work after @anotherkindofmindpod's mammoth “Fine Tuning” series, a well-researched, often infuriating, always entertaining series that laid out the overarching bias in Tune In, but there can still be value in a biased work, particularly if you consume it with that bias in mind. Doctoring quotes, on the other hand--for a biography of supposed historical import, that's a capital offense. So how could a big-name author, revered for his rigor and devotion to primary sources, put so many barely-concealed doctored quotes into his work? Why would he do it? And if @mythserene could turn up several as part of an initial investigation, just how many of the quotes in Tune In weren’t actually quotes?

Naturally, I’ve chosen to do the sane thing, and check each of his sources, one by one.

I’ve started with David Sheff’s 1980 Playboy interview of John and Yoko, which Lewisohn cites 19 times in Tune In. Of these nineteen citations, sixteen are in some way altered, many in substantial, meaningful ways. I’m working on a longer post with side-by-side comparisons of all sixteen altered quotes, but that’s taking me aaaages to construct. In the meantime, here are two examples that illustrate some of the common ways Lewisohn alters source material.

A note on sources and notation: My numbering system for Tune In's footnotes is Chapter Number-Endnote Number, with "P" used for the prologue. My comparisons were made using All We Are Saying (David Sheff, 2000, St. Martin's Griffin, 229p). Page numbers are given as Sheff 2000. Lewisohn recommends the version of this book contemporaneously published in the UK by Sidgwick & Jackson as "the best available publication of this Q&A" (P-22). Onwards!

We will start at the end with the quote Lewisohn uses to close out Tune In (36-16). Sheff 2000 (p.72-73) on the top, Lewisohn on the bottom, commentary under a cut.

Highlighted in yellow are changes made by Lewisohn; in pink, a phrase of Lewisohn's invention. Hardly his most egregious work, but it demonstrates four common features you'll find in many of his altered quotes. They are:

First: The misleading use of the ellipsis. An ellipsis can be used to indicate text omitted from the original quote, but Lewisohn uses it here where there is no omission. He does the same thing with brackets in other quotes. This is one of the strangest patterns I've found while fact checking, and I can't figure out why he does it. Is it sloppiness? Or is he using notation that looks correct to give his work the semblance of academic credibility while distracting from parts of the quote he's actually changed?

Second: The pointless switcheroo of "the best rock 'n' roll group" and "the best pop group". Lewisohn frequently flips the order of words in a list, phrases in a sentence, or sentences in a larger quoted passage. Frequently, as here, this has no effect on the quote's meaning. It seems arbitrary.

Third: The glib closing line. I've found a few other examples of Lewisohn inventing a closing line to a quote that wraps up the meaning he wants the reader to take from it with a tidy bow. This line feels out of place, doesn't it? It's a little too tidy, a little too cheesy-dialogue-y.

Fourth: The tonal shift. This line comes from a larger exchange in the original interview where John discusses whether the Beatles will get back together, and what their musical legacy is. He seems proud of the Beatles, but he also seems conflicted, jaded, tormented by constant dissatisfaction with his musical/artistic output. Never satisfied. By adding his final line, Lewisohn turns an emotionally complex statement into the victory lap of a has-been, a high school quarterback reflecting on their glory days. It flattens John Lennon, and it's hardly the only example. Which brings us to...

Tune In 10-9 (Updated)

This quote (Sheff 2000 p.182) is from the part of the interview where Sheff runs through the Beatles' catalogue to determine who wrote what. In this section, they tackle "Getting Better," and John candidly discusses his violent nature. He ends with the self-reflective “I will have to be a lot older before I can face in public how I treated women as a youngster.” Lewisohn quotes this line, then adds an additional line that doesn’t appear in All We Are Saying. I assumed Lewisohn had invented this line—that may still be the case, but things are stranger than I initially assumed.

Take a listen to the audio of this exchange at 2:12:10 in the video. Here’s my transcript:

JL: That’s Paul and me. His main lick, but lots of the words and parts and bits from me and possibly the others in the studio. All that [sings] “I used to be cruel to my woman and beat her…” That’s me because I used to be cruel to my woman physically. Any woman, y’know. I was a hitter. I couldn’t express myself, and I hit. I fought men, I hit women. I was violent. That’s why I’m always on about peace, you see, it’s the most violent people who go for love and peace, and I sincerely believe in love and peace, but I am absolutely a violent man who has learned not to be violent and regrets his violence. [Sheff interrupts] DS: …the chorus or just the idea for it? JL: Is this Getting Better? Getting Better is his chorus and then both together writing the sort of Chuck Berry-ish sounding, but I know that input about beating was from me and references to school and things like that. [clip ends]

HOO BOY. I’ve bolded the parts that Sheff used, though there are some minor edits/paraphrases compared to the audio even then. But the line, “It’s a diary form of writing”? Not in the audio. “Everything’s the opposite”? Not in the audio. “I will have to be a lot older before I can face in public how I treated women as a youngster”? Yeah, that’s not there either.

This clip doesn't appear to have any pieces cut from the middle. Sheff tries to interrupt John pretty much the entire time, so there isn't much dead air where you could seamlessly chop out a few sentences. This is particularly true where John supposedly says the "youngster" line. What the hell is happening here?

I’ve got two theories. Theory 1: John says the “youngster” quote at another point in the interview, and Sheff added it here. This leaves the possibility that Lewisohn’s “hitting females” quote actually appears before it on the tape.

Theory 2: Sheff made up the “youngster” quote. This is, unfortunately, plausible to me. Listening to the audio, Sheff spends the entire time trying to interrupt John, and eventually succeeds in doing so. He was a man on a mission: he wanted to sort out, on the record, who contributed what to each Beatles song. Then John was killed. Sheff listened to the tapes, and was mortified to hear himself derail John on an extremely sensitive topic. To make things right, he editorialized a bit, added a final, remorseful sentence, something he thinks John may have said had he not been cut off.

I’m not saying it happened, but, imo, it’s plausible. At the least, Sheff added in a real quote from a different part of the interview—this may be a common comorbidity for John Girls™.

The implication of this theory is that Lewisohn quoted something John never actually said, and then added in a further spurious sentence. I wish I could dismiss this as ludicrous, but maybe it’s fake quotes all the way down.

#mark lewisohn #tune in #the beatles #john lennon #i'm sorry this is so long i promise i don't have this much to say about every non-quote #lewi-sins

[earthnashes]

hey, sorry, but i was wondering how you started on your fitness journey? i'm in a similar spot that you were two years ago and i want so badly to make the progress you have. i keep trying to begin but stopping because i get too scared or nervous, it's so daunting. do you have any good resources like websites/videos/youtube channels/blogs/etc.? i would really appreciate it. you look awesome and your post was super inspiring.

No apologies needed! It is pretty daunting man because it's getting into it for the long run.

Before I finally stuck with it I started and stopped several times in the past as well. If I were to give short tips personally on how to get started based on how I did:

-Start with the most simple thing for you and focus on building a habit out of it. Whatever that is, do it even if you don't want to. For me, I started with a scheduled walk around a trackfield (one full loop around the track) twice a week.

-Take the time to really outline your goals. Make sure to include short term goals and not only long term ones! It helps to say "I'm gonna walk for 5 minutes" and building up to the goal of "I'm gonna walk for 60 minutes", for example. Additional: having something visual can help with tracking it.

-Take it slow, and keep it simple. You're in this for the longhaul. And it will be very slow, but trust the progress and focus on the present

------------------------

As for resources, these are what I used (with some notes if it helps!)

Jeremy Either's Youtube Channel

Great source of information in regards to many things, particularly muscle building. I already had a base understanding of working out due to my sports background, but he's great for complete newbies and for anyone who needs a refresher. I still watch his stuff today but I don't rely on it nearly as much now that I have a better idea of what I'm doing.

Hybrid Calisthenics Youtube Channel

Fantastic channel for complete beginners and for people looking to get into the swing of things again, but at a slower rate. He focuses on being genuinely positive and encouraging finding ways that'll work specifically for you. That includes doing variations of exercises that may be too hard at first, like variations of the pushup, or pullup. Simple routines to get you started without destroying yourself. Very good channel, honestly.

Sean Nalewanyj Youtube Channel

He was the first fella I followed before I found Jeremy. His content is short, punctual, and easy to understand, so if you're looking for much quicker advice without the super detailed explanations his YT Shorts would be recommended. You'll likely have to do a little more research on your own to supplement the knowledge though. Like Jeremy I still watch his content.

Jeff Nippard Youtube Channel

His content is chocked full of research based shit and sometimes can be a tiiiiny bit much to follow, so not really something I'd recommend for beginning lifters. That said, his content in general is downright fascinating and if you're looking for in-depth analysis on the world of bodybuilding, powerlifting, and so on, he's my go-to.

Leanbeefpatty Youtube Channel

Her content is far more vlog-ish, but she gives solid advice while simultaneously just being fun to watch. I like how much more relaxed her stuff is as well, so if you're looking for something that isn't as potentially stressful I'd recommend her over anyone else listed.

Eugene Teo Youtube Channel

I've only just started watching him a couple of months ago but he's been a joy to listen to. His content is relatively chill but he gives indepth explanations without getting too science-y with them. He also promotes things other than fitness that'll help with your goals; stuff like mindful hobbies, healthy food-relation habits (for example: there's no such thing as a good or bad food), so on.

----------------

Other sources I've used to help educate myself the more I got into it include MyFitnessPal (I use it to count my calories and macros), Healthline, countless other youtubes I won't list just so I don't talk your ears off, and asking for tips from fellow gym goers who attend the same gym I do.

I hope these are of some help to you! And keep up the grind; take it one step at a time, and if you need any more advice you think I can help with I'm all ears. I'm rootin' for ya! :)

#weightlifting #powerlifting #ash talks #earthsong talks #training tips #workout tips

[useless-catalanfacts]

Hello, how are you? First of all, excuse me for sending the message in English, I don't speak Catalan just yet.

So, recently I've been researching about the immigration in Europe and found out that Catalunya is one of the places in the Iberian Peninsula that has received the most immigrants throughout the years. So, I wanted to know: what are the feelings that most Catalans have on this matter? If you don't want to speak for most Catalans, I'd love to hear your own opinion!

I also ask this because recently I stumbled upon this video on Twitter, I don't know if you have seen it, where this guy named Quim Masferrer was interviewing a black woman and got VERY surprised that she spoke Catalan. Probably because he thought that she was an immigrant and could only speak Spanish. You mentioned in one of your posts that people usually tend to change to Spanish when speaking to black people, assuming that they don't speak Catalan.

Salutacions des del Brasil!

Hi! English is no problem at all, don't worry.

Yes, you are right that Catalonia is one of the places in Iberia that has received the highest amount of immigrant people. We started getting international immigration from outside Iberia in the 1990s, and since then it has continued growing.

According to elections results and polls, Catalonia's population has a better view of immigration than the average.

Share of votes for political parties in favour of restrictive measures on migration in the European Parliament elections of 2019. Source: European Union. You can see Catalonia is one of the greenest places (with lowest votes for parties that seek to restrict migration), and Catalonia's shape can be clearly seen from the greener tone it's painted in compared with its neighbours.

Every so often, polls are conducted on the topic and they always show something similar.

Catalonia has also held the largest demonstrations in Europe in favour of welcoming refugees (in 2017). This was a protest against the Spanish Government, which is the one who has the power on immigration and refugee issues, because they were not allowing enough refugees in, and people in Catalonia wanted to allow them in.

This is not to say there aren't racists, of course there are. Sadly, the fascist parties are growing in all of Europe, particularly among young men/boys. This is also happening here, with the Spanish supremacist party Vox. And outside of people who are directly fascists, racist beliefs still persist in other parts of the population, often ones who would like to get rid of their racist beliefs, but we live in a society.

What you mention about the black woman speaking Catalan is one of them (I saw the video when this episode was on TV, link here for anyone who wants to watch it). Well-meaning Catalan people who want to be welcoming do this when 2 problems come together: on the one hand, the fact that many people still aren't used to people who don't look or sound like they're from here actually being from here, and the fact that many people would be very surprised if any people who aren't originally from here would speak our language or even knowing that it exists. So when they see someone who looks African, Scandinavian, from any other part of the world, makes mistakes when speaking Catalan or sounds like they usually speak Spanish, the Catalan person will 99% of the time switch to Spanish with the well-meaning intention of making it easier for the person they see as "foreigner". This is often useless, because a person who speaks Mandarin or Wolof won't be helped by you speaking Spanish instead of Catalan, but our history has convinced us that it will.

People are not switching to Spanish on purpose to call the other a foreigner, they're doing because we come from centuries of illegalization, persecution and discrimination and we have internalized the idea that we are worthless, not "citizens of the world", and that only our most immediate surrounding speaks our "useless" language, while The World speaks Spanish, the respected and widely-spoken language that everyone admires. That's of course not true, someone who just arrived from, say, China might know as much Catalan as Spanish: that is, none. But in our minds, because of all these centuries of brainwashing through physical violence, the school system, media, etc, literally everything saying we're "provincial", "rural" and "worthless", and that we better hide the fact that we speak the language we speak if we want anyone to understand us, and that it's so so so rude to speak in Catalan instead of Spanish or to even be heard by a Spanish speaker when we speak Catalan; while also making us believe that the whole world loves Spanish and that most of the world speaks Spanish and that everything will be better if we speak Spanish- well, at the first moment of seeing someone they identify as a "non-Catalan", the Catalan person full of self-hatred will immediately use Spanish.

Of course, this is racist (nowadays many people whose ancestors are African have been raised in Catalonia, sometimes even born here, or might have been living here long enough to speak it! it's racist to assume that just because of their looks or accent, that they are foreigner, and that they can't know the language of the place they live in and that they need us to make the effort of switching to an "international" language instead). But if you speak in Catalan to a racialized person or a person who comes from Spain (outside the Catalan Countries), many non-migrant Catalans will call you racist for it, because they'll say you're making things hard for the immigrant for no reason. They'll say, "why would you bother them with Catalan? You should make things as easy as possible for them", with the underlying assumption that Catalan is worthless and we should give up our right to speak it when it slightly inconveniences someone. And, again, the view that the immigrant person needs us to simplify and speak to them differently from how we would speak to a non-immigrant person because they can't know this, is very racist, even though it's done thinking that it's just being polite and, sometimes, believing that it's anti-racist and that it would be racist to treat them like any other person. At the same time, this alienates immigrant, racialized and Spanish people from the community, effectively showing them that we consider them a foreigner and not one of us, and we don't transmit the feeling that they need to learn it to live here, so in the end some of them will only learn Spanish (why learn Catalan, if nobody will speak it to them? Everyone speaks to them in Spanish, so that gives the idea that that is the language they need to learn) which fuels this circle.

So yeah, most people will do this racist thing because they believe it's the non-racist and polite thing to do. But, like racialized people have been saying for a very long time, that is not true at all. I have heard many racialized people (including friends of mine) explain how strangers in shops and restaurants will speak in Catalan to everybody and, when turning to the racialized person, talk to them in Spanish, clearly singling them out for their looks as if they needed any help, as if they couldn't speak our language perfectly (and even if it wasn't perfect, so what?). Some days ago I saw it again, I was waiting at the queue of the CAP (local healthcare centre) and the nurse attended everyone in Catalan. When a Moroccan family arrived and asked in perfect Catalan what they needed, the nurse (for the first time in that whole time) answered in Spanish. The Moroccan women continued asking in Catalan, and the nurse continued answering in Spanish, until the 4th interaction in which the Moroccan girl who was speaking ended up switching to Spanish as well. I can't imagine how heartbreaking that must feel.

I hope this answered your question. I hope you will understand why people act the way they do when they switch, that is not a matter of wanting to treat foreigners or those read as foreigners badly (actually, all the opposite). I hope you won't be too harsh on us for this, because it's a result of our own oppression and a manifestation of our internalized Catalanophobia.

Now, message to the other Catalans reading this: absolutely judge yourself harshly if you do this. Reflect and change your ways.

#ask #strdst-lobby #sociolinguistics #racisme

[coexistentialism]

hi! I was wondering if u know what exactly is normal to not remember in childhood? like did can cause memory gaps/amnesia in childhood but I hear people also say it is normal to have gaps. so I don’t really know what is the normal and what is the amnesia?

Yes, most people have at least some memory gaps in their childhood. It's not unusual. However, usually those memory gaps are mostly only present for ages 5 and under. Different sources will say anywhere from "3-4" to "3-8." Generally, personally, I feel like it's more normal for people to not remember things under the age of 5. Anything over that age is like yeah you'll probably forget some things, but the average person won't have a ton of gaps in the way people with DID/OSDD will.

It's also normal to have memory gaps around traumatic events specifically, but people with DID/OSDD will have many more gaps and will have gaps for things that aren't traumatic (I have memory loss for video games I played, the things I liked, my hobbies, the feelings I felt over those things, etc.)

I can't really say for sure what's "normal" versus "abnormal", but I can give some personal experiences.

I always felt like my memories were like a giant puzzle with broken, missing pieces and mismatched pieces. Or like burnt photographs. Or like shattered fragments broken down into the tiniest pieces. Etc. etc.

I have many, many memories that feel like they are missing context, don't make sense, are "unfinished." Like a half of a memory, or vague memories. Or memories that I "know" happened, but can't really remember. Or feeling like there are many, many "holes" in my memories.

I have evidence of things I did, said, felt, etc. as a child, but I do not remember ever saying, doing, thinking, feeling those things. For example: I have evidence of me roleplaying as a kid. I distinctly remember telling people around those SAME ages that I didn't like roleplaying, never roleplayed, and found it boring/uninteresting/didn't like it. Even though just like a year or so prior, I apparently really liked roleplaying and did so frequently with a close friend of mine at the time? (Looking back, that ""roleplaying"" was definitely very likely just alters fronting and we thought it was just roleplaying lmfao but like I said I have no memories of roleplaying, ever).

I have amnesia for my teenage years and adult years. To my knowledge, amnesia for teenage years and adult years isn't common/normal for the average person. Unless you're, like. Super old I guess, but I've met way older people who remember a lot from their teenage years still

My family would directly ask me if I remembered something from my childhood and I would tell them I have no memory of it, while my brother (who is only a year older than me) did or something

In general my family will tell me about things that happened in my childhood and I wouldn't remember it

I have to rely on outside, objective things to be able to remember things like "I lived in this house around ages (xyz) because (abc)-". That probably makes no sense, so for example: I remember playing Spyro: A New Beginning around maybe ages 6-7? And upon Googling the release date of that game, it was released when I would've been 5, so I may have been around ages 5-6 when I played that game. Or, another example, "I don't remember what age I was when I played Poptropica, but that game came out in 2007, so I must have been anywhere from 6-8-years-old, likely 7 because I remember playing that game when Ilived in this house and I lived in that house at-" you get the picture. I hope that makes sense? Like I have to rely on objective stuff like "when did this game release, that will tell me how old I might've been when I played it" or something.

Memories feel "out of order." I can't put my memories in order. Like they're all jumbled and all over the place and I have to figure out the timeline myself, I have to figure out the timeline but the timeline keeps changing because I remember so little and have so many missing memories and out-of-context fragments and such and. It's all confusing.

Talk to other people about their childhoods, people who you know do not have DID or OSDD. It might become a bit more obvious to you how little you remember when you start to talk to other people about what they remember about their childhoods. At least for me, when hear people talk about their childhoods, I'm so shocked by how much more they remember than I do.

I grew up changing homes and schools a lot so this might not apply but I basically remember Nothing about most of my elementary schools beyond maybe the name and a few vague memories, etc. and I have many memories from schools that I cannot place WHAT school these memories are from, what age, etc.

Many memories that I can't remember the age, where I was, what was going on, etc. in general. This kinda goes back to "out-of-context memories, memories that don't make sense, etc."

Just a hunch. I always felt like I remembered so little about my childhood, barely remembered things, etc. and I always felt like I had a lot of ""repressed memories""/that it wouldn't surprise me if I did

These are my own personal experiences and since I didn't link any sources here to back these up and I myself don't actually have a lot of understanding of what amnesia for childhood is normal versus what's abnormal/etc., I'd take this post less as scientific fact and more personal experiences.

#my posts #inbox

[dduane]

Oh dear Goddess but have I finally solved this problem I've been hacking at in Terragen for all this while?! ...Wow.

This is a shot of the alternate Earth on which the Middle Kingdoms are situated, viewed from about a million miles out (as opposed to any much closer map view).* The North Arlene peninsula is clearly visible at about halfway out to the nine o'clock position on the globe. (In fact, almost a little too clearly visible. I swear to everything, that clear space around it is not something I engineered on purpose! It's just how the NASA-based whole-planet cloud pack from this page at SolarSystemScape.com fell when I applied it.)

Still a lot of technical and artistic work to do on this before I'm done with it, as Terragen has many many MANY ways to customize imaging done from outside the atmosphere (even though it wasn't specifically built for that).** All the under-the-hood maps and images controlling terrain elevation and bathymetry, as well as the actual colors of terrain, oceans, polar caps, etc. etc., have to be repainted and detailed so that I can replace the very basic world maps used in this rendering. But at least now all the continents are appearing where they ought to—an issue that I've been struggling with for actual years (on and off since 2017 or so).

All praise to the lovely person or persons running the TerraTuts series of tutorials on YouTube. That's where I found out what I'd been doing wrong and how to put it right! ...Now I can just get on with the business of making this look more realistic...

*As in this view of our own Earth from the DSCVR:EPIC satellite.

...My sources inform me that a Dragon can make it out to this distance in about thirty seconds: twenty-five seconds to get out of Earth's atmosphere at a decorous speed—because it's thought to be gauche to do any significant percentage of c inside what we would consider low earth orbit—and another five seconds to get from LEO out to the million-mile mark.

**To get a glimpse of the kind of thing it was built for: take a look at the video here (https://youtu.be/JWb9v8OB8HA) of the very handsome Paramount 100th-anniversary trailer. One of the great strengths of Terragen has always been the way it handles clouds, and that's very much on display in this trailer.

#Middle Kingdoms meta #Terragen #global mapping #views from space #alternate earth

[rainbowchewynuggets]

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!,  waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa…  ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together. 

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of  water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red. 

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right. 

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

#chuncho song #animatic #chuncho animatic #night festival animatic #the night festival #yma sumac #the birds #the forest creatures #this was supposed to go up on her birthday but i got sick aaa #Youtube

[tyrantisterror]

Sea Bishops & Sea Monks

Ok, so, two of my favorite obscure medieval sea monsters are the Sea Bishop and the Sea Monk - basically what you'd get if mermaids were Catholic. The above examples are particularly monstrous, but sometimes they look a bit more civil.

And you know me, I love obscure monster from myth and folklore, especially when they're really weird and kinda goofy. So obviously I've been trying to figure out how to adapt these two into my fantasy setting. The obvious route would be to make them specific variants of mermaids, but that feels a little underwhelming, so I thought on it and waited for a bit.

Well, inspiration hit recently.

I'm not sure if I've mentioned it, but I've been playing a new video game called Baldur's Gate 3, and one of the side effects of that is that I've been reminded that squid people are pretty fucking cool as a concept, and, as it goes, that made me want to figure out how I could put my own twist on the trope. And as I was thinking of how I could make a squid person that stands out from other pop culture squid people, it occured to me that having a squid head... kinda makes you have the same silhouette as a person wearing a bishop/pope hat. Like some sort of... sea bishop. And sure, design-wise this would be a bit more of a departure from the source material than I usually take when making a Midgaheim version of a mythic creature, but a lot of the key features - the big head, the bishop hat, the flowing cape, the spindly legs - are still there, just in a remixed way.

and fuck you, I want squid people dammit

So these are Midgaheim's take on Sea Bishops - roughly human-sized relatives of krakens, who use magic to help them breathe and walk on land and are prone to disguising their inhuman anatomy with flowing robes. They're very smart and can be dangerous enemies when provoked.

While digging up pictures of Sea Bishops to see if my take was justifiable enough by the loose standards I adhere to with Midgaheim beasties, I found that fucking terrifying picture of the Sea Monk you saw at the top of this post, and immediately my brain went, "Oh, that's a shark. That's a shark that's trying to look like a human so it can get close to you. That's fucking terrifying." And, well, it's pretty hard to lose that mental image once you have it, and it basically made Sea Monks feel more concrete in my mind. They're human-imitating magic shark people. I made mine a bit less horrifying (by basing them on one of the cutest animals on earth, the great white shark), but there'd be at least a few other species of Sea Monk beside my example here, and at least one would have that ghastly "deep sea creature dragged to the surface" look of that medieval drawing up top.

#Midgaheim #Sea Bishop #Sea Monk

[rileys-battlecats]

anyway here's a big sketch dump of my children :) not sure why the image quality is Garbage but whatever lol. im still ironing out their designs but i think ive got their general vibes figured out!!

If you've seen the video I posted on Christmas then you've met Vaitus already! The other character shown here is Minare :)

Info about these two and their world is under the cut :P

This has been kinda hard to write tbh!! I have a giant document with a ton of stream-of-consciousness writing about the world but now I have to think of a way to explain it in an easy to understand way HAHA ^^;; I guess I can start with the main characters!! I'll start off with Vaitus, since I introduced him first with the video :)

Vaitus is the crown prince of the kingdom that the story takes place in! In this world, some people have magical abilities that are unique to them (or to their family), and Vaitus's magic is the main source of conflict for his character. His ability allows him to drain the life-force of any living thing he touches, be it plant, animal, or person. He doesn't want to use his magic to hurt anyone, but his father, the king, sees potential in this ability. Why not use such powerful magic to make a statement? So, the king has Vaitus use his magic to execute his enemies. They have plenty; even now, nearly one hundred years after his ancestors took power over this kingdom, the people whisper their dissent.

Minare is a member of a rebel organization, looking to dethrone the current king and place a new ruler in power—the last descendant of the original royal family from a century ago, the only one with the power of light to vanquish the monsters and purify the cursed grounds spreading through the land—Minare herself! She has quite the network of friends and acquaintances throughout the kingdom, and makes a habit of getting to know people all throughout the capital city that surround the castle; she'll be responsible for protecting and leading them in the near future, if all goes according to plan. As a normal civilian, she claims her magic allows her to create simple spheres of light; a helpful, if ordinary, power. In reality, her light magic is capable of powerful protections against the evils slowly gaining power in the kingdom. However, her light magic would be incredibly recognizable as being inherited from the original royal family, so she has to keep it a secret while she hides in plain sight.

Ordinarily, these two would be on opposite sides of the conflict (and they are to an extent), but they've also found themselves in a very... interesting situation. See, through a convoluted series of events, Minare and Vaitus have managed to befriend each other, with both of them hiding their true identity from the other.

I've got lots more to share, but I think this is a good introduction to the characters and world for now!! Also it's late so I'm gonna go to bed soon :)

#rye's art #human ocs #Minare #Vaitus #these guys exist in less of a 'story' and more of a 'situation' I think #like. it's Schrödinger's story. as long as I don't commit to an ending then All of them are true simultaneously #I think there's a lot of Potential Interactions that are equally fun so I don't wanna commit to a single version of the story #does any of this make sense #idk im Sleeby #MaVst

[archandshri]

23rd Feb '24 - [arch] OH RISO my beloved!!!!!! ft. cyberpunk hermitcraft soup group

A cliffhanger!!!! And now I have to wait a month for you to upload the second half?? How will I cope :’’0

For real, it’s so awesome to see your process and the sheer amount of inspiration you take! In particular, I thought ‘Sit on Two Chairs’ and ‘This Was Our Pact’ were particularly yummy. 

I think book covers are really hard. You have to sum up a book’s energy in one image, make it stand out and show just enough so people want more. Exploring the narrative through those full pages is really interesting - though this is something you did for fun, it could be a really useful technique for getting to know a narrative. When I’m designing my comic covers, I always do it last - that way I’ve had practice with the visual style and I’m thoroughly familiar with the themes, so I guess spending a bit of time with the characters and narrative in this way helps for standalone book covers too. Of course, it helps if you have the time for that XD

Okay!! Onto what I've been up to!!! [warning this is a beefy post I'm sorry for your poor reading brain]

The past two weeks have been really enjoyable! I’ve been playing a lot with slow world-building, in sketchbooks, google documents, and voice notes to friends. Letting myself really sit with concepts, think about the characters, let them play in my head with no expectations. With this relaxation and lack of pressure, some beautiful narratives and interactions have been developing. I’m starting to need a name for a world/ the story. I’m not quite ready to give them a full introduction to the internet - I know it doesn’t but it feels like there’s some accountability to *produce something* and this slow development is really important for the quality and my skill building. It’s really hard to take on, but we actually don’t have to make the perfect thing now! In fact, it’s impossible. Pressure on ourselves makes it so hard to make something good if we’re always grasping at the final result.  In the meantime, while those characters develop, I have been working hard on my basic skills. I wrote about characterization last post, but this week I focused on setting and colour. I was inspired (once again) by Hermitcraft. I’ve seen some really incredible illustrations of Minecraft builds in the fandom, and it seems like a great exercise.

Bdouble0's Season 10 Base illustrated by @applestruda [source] and The Red Zone, built and illustrated by Bdouble0 [source]

One of the creators on Hermitcraft, ImpulseSV, created this build in a recent episode. It takes inspiration from the last season of Hermitcraft, where he was part of the ‘soup group’ with two other players, and his current base concept - a cyberpunk city.  I also LOVE his new character design, so I wanted to place him in the scene.

Screenshot from Impulse's video and new impulse design by @maxx-doodles

Here are some initial thumbnails I did, trying to figure out the composition. I wasn’t sure of the vibe yet, so I tried some rough thumbnailing, and drawing on an isometric grid and other perspective techniques. I’m going a bit mad for characters at the mo, so I wanted to place some in the scene. I found the angle of the isometric grid steep to place characters comfortably, so decided against that.

Looking back at it, I love the second! But I believe I was struggling with the perspective. I decided on the last one eventually.

Now, I absolutely adore all of the players in the Soup Group, and I am BIG fan of redesigning their notable characteristics to suit different settings. So yes, I decided to put all of the soup group in the image.

PearlescentMoon (left) from my comic and GeminiTay's Hermitcraft Season 10 design [from this thumbnail] (right)

Here's the sketch of the final image. I really enjoyed coming up with cyberpunk versions of them all. I used the impulse design almost exactly, with a few extra interesting details since he's mostly viewed from the back. For PearlescentMoon (middle) I kept her fringe, dark hair and gave her a glowing moon symbol on her top. For GeminiTay, I kept her long ginger hair, antlers (but glowing!) and took inspiration from her new season 10 design - a dark blue jumpsuit to match her dark blue clothes in her new design, and the braids she is often drawn with. I also gave them edgy new hairstyles. And a robot arm. I don't have lore for that.

As usual, I filled each flat colour-to-be with black and lowered the opacity to play with the values. Then I added colours one at a time, aware might be riso printing it. Originally I stuck to trying to make it printable (making the colours out of ones I could make my layering 2-3 colours at different opacities), but as I went on, I decided to drop that and focus on the quality of the image in a digital format alone. I did keep the grayscale version above with all the separate layers in case I needed that if/when I came to riso printing it. Below are the main two digital colour schemes I tried out.

I settled on the one on the left, with the blue tones - the foreground characters really pop. I put a few details in Gem's hair, colour variations etc, and cropped it for Instagram. I actually much prefer the cropped version - it sits better in a rule of thirds.

Now the moment we've all been waiting for :'')

RISO!!!!!!!!!!!

I returned to Cardiff after a couple of months away and was delighted to spend my first day back at The Printhaus, an awesome shared print studio where I have basically made my home. A few of my awesome friends happened to be there, so I spent the day playing around with this image with their help! (please check them out they're very cool - Gavin helped me a lot (we hung out at Thought Bubble, remember? and Rhi gave good crits too!!)

For those who don't know, risograph is basically a shitty photocopier that can only print one colour at a time. However, you can play with gradients and opacities, and layer colours really nicely to combine. I've done a lot of single-colour tonal work with riso but this is my first go really layering.

First, Gavin showed me how to separate the channels in Photoshop, using the flat image uploaded to the 'gram. We copied and pasted these layers in grayscale and added blending modes to each layer to replicate what they might look like when printed.

With blending modes, the digital mockup looked like this!!

This bit goes into technical details for replicating what the print might look like for those who might want it - feel free to skip :)))

I copied and pasted the Cyan, Black and Magenta layers as greyscale (as you can see above)

I made all of the greyscale layers multiply layers since risograph ink is transparent and we wanted to see how it layers. The ink usually comes out a bit lighter than you think, so it's good to bear that in mind. I used a clipping mask over each greyscale layer and a blending mode. WHEN YOU PRINT, PRINT IN GREYSCALE, NOT COLOUR.

Here's how I split the colours from CMYK to the riso colours, their hex codes and the blending mode I used to replicate the colours:

Cyan - Mint [HEX#82D8D5] Screen Magenta - Fluorescent Pink [HEX#FF48B0] Screen Black - Blue [HEX#0078BF] Overlay Yellow - scrapped for colour scheme purposes

Blue, Mint and Florencent Pink layers in greyscale in Procreate.

Riso printed Mint and Florescent Pink layers on separate paper, followed by the two layered together.

We always start with the lighter colour inks first, because sometimes the rollers can pick up the ink and cause extra marks where you don't want them. The first two colours came out great!

The first time we printed the blue, it came out very dark (left, first image). I have had this issue before - my last book, Winter Wellbeing, came out much darker than I wanted. Now I realise that the blue ink is super sensitive. All the 'white space' that is covered by a low-opacity blue on the left is only 2%, and yet it has come out pretty strong. We tried printing it on one of the misaligned images just to see, but it took all of the brightness out of the neon soup sign at the top of the image (second image). So I changed the values and pushed them way lighter, so it just pushed the values of the darker bits slightly, and brightened some of the lineart (right, first image)

And this is the final riso printed version!! I'm so so happy with how this came out. It's so different from the original digital version, and I actually love that.

I didn't create new colours in the way that I intended to - I wanted to play with overlaying purposefully to create specific colours eg. orange for the hair etc. But!!! I'm really happy with how it came out. That will have to be a project for next time.

Also, many copies are slightly misaligned, so in future I think I'd do flat layers for the colours a more blobby style with the linework on one layer only so there's less of a chance for obvious misalignment. design for the riso, rather than riso the design.

Overall though, this feels like a super cool step up and a milestone for me. Super happy with how it came out!! And I'm excited to play with colour some more. Can't wait to see the rest of the Lionheart brothers! Enjoy your weekend :)))

Archie 🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺 <3

#archillustrates #arch is learning #smileyshri #project development #art #art process #art resource #process #artists on tumblr #illustration #comic #picture book #small art blog #art blog #illustration blog #female artists on tumblr #queer artists on tumblr #illustrator #book illustrator #female illustrator #queer illustrator #comic artist #comic art #female artists on instagram #artists on instagram #procreate #digital artwork #digital artist #artist blog #artist on tumblr

[seeminglyranch87]

Taylor & Travis Timeline

September 2023 - part 1

September 1 - Ep51, S2 of New Heights airs, Travis says he doesn’t remember what he had been doing the week leading up to recording the podcast, saying “I think I was up in New York”.

Travis also mentions that if he wears a hat and glasses no one recognises him. (x) (x)

Jason Kelce asks

“Have you found out what Taylor Swift thinks of your moustache?”

To which Travis blushes and smiles, saying

“Um yeah we’re not going to bring up Taylor Swift... but something tells me she’s gonna like it”

September 2 - Travis liked a Louboutin IG post about Taylor's legs ; ) (x)

September 6 - New Heights Ep 52 (x) with guest Kylie Kelce on life as an NFL spouse, Jason's Tinder Bio and Setting Up Travis. Personally a favourite episode of mine!

(9:30) When discussing the definition of a "diva" Jason says a diva is" just a famous singer", Kylie looks to Jason with a knowing smile... do they know about Travis' interaction with Taylor?

(20:00) Advice Kylie gives on Travis dating and what he should put on a Tinder profile... "I think you are doing great on your own Trav..."

(25:40) Talking about a tinder profile would Kylie recommend Travis go "Stache or no stache? " Kylie jokingly replies "if they swipe right at your worst, then they'll love you at your best"

(28:00) Jason begins telling Travis how he felt first meeting Kylie after a drunken first date...

Jason tells "it was love at first sight, let me tell you" Kylie replies " he doesn't even believe in love at first sight" Jason responds " I didn't until I met you... it was like fireworks. It was like fireworks exploded the moment she walked through the door..." "I want to feel those fireworks" Travis replies wistfully "It was like you when a movie has like an angel walk through doors and there is only one light on that person" Jason continues "that's what happened, I've always wanted that to happen" says Travis

September 7 - Travis is benched for the Chiefs vs Lions game due to a knee injury (x). Chiefs are defeated 20 - 21. Arrowhead Stadium, Kansas City.

September 8 - Taylor is seen at Electric Lady Studios, NYC for a suspected album release party (x)

September 11 - Taylor has dinner with Blake Lively, Ryan Reynolds, Zöe Kravitz, Channing Tatum, Gigi Hadid and Cara Delevingne at Emilio’s Ballato Italian restaurant in NYC (x)

September 12 - Taylor attends the 2023 MTV VMA's wearing a very reputation-esque custom Versace look and the VMA's afterparty in a demin look with a red lip (x x)

Our girl cleaned up at the VMA's

ET publishes an article (x)

A source tells ET that the Kansas City Chiefs tight end and the "Anti-Hero" singer are not officially dating.

A source tells ET, "Travis has been into Taylor for a while and definitely has a crush on her. He is a simple guy that is very funny, charismatic, chill, and loves playing football."

'Kelce', Jason Kelce's Prime Video documentary is released

September 13 - Rumours circulating (x) according to The Messenger

"Taylor and Travis have been quietly hanging out," the source said. "She saw him when she was in NYC a few weeks ago."

September 14 - In an interview on TNF Nightcap (x), Jason Kelce mentions that he saw the rumours about Travis and Taylor but couldn’t comment on their relationship status, saying

"I've seen these rumours. I cannot comment... I don't really know what's going on there, so yeah, I know Trav is having fun. We'll see what happens with whoever he ends up with."

September 16 - ESPN's SportsCenter reporter Adam Schefter & Kevin Negandhi playfully reference Swift's song titles as they allude to Travis & Taylor dating rumours.

"Clearly, Travis Kelce, at this point in time, is trying to Shake It Off and get back out there. He knows how much he's needed and that he's The Man."

"It was a little bit of a Cruel Summer for Travis Kelce with that knee injury but he can see the Daylight, Kevin, he looks like he's Ready For It. And Travis [Kelce] is now tracking to play on Sunday against the Jacksonville Jaguars, despite the fact that he was just limited today."

Go to previous update -> August 2023, part 1

Go to next update -> September 2023, part 2

Return to the timeline

#taylor swift #travis kelce #taylor and travis #taylor swift and travis kelce #traylor #87 and 89 #killatrav #seemingly ranch #travis can fight #kelce swift #timeline #tayvis #Taylor & Travis timeline #87 + 13 = 100

[gryficowa]

I tried to check the source code of the site from nico nico (Yes, it's about the well-known lost media, i.e. "Interface"), because, for example, when launching flash games, you can use it (which is an interesting thing that I recently found out) and I tried to do something similar , yes, I know it's a movie and I know it's not a game or a flash movie, or rather something that was deleted, but you understand, many options have already been used, so why not try it this way?

Well, I've been playing with these links and all that, but not much has changed, although someone with more experience may be able to recover the video from Nico Nico, because unfortunately, other options didn't work, the people who said they had the song didn't have it , and Masa doesn't have the song itself at all, so yes, there aren't many options left, there probably won't be a situation with a bootleg from DVD where this song will be in the menu, or a found cassette with the entire song, because it is from a different era, from the times of the Internet

Unfortunately, waiting for someone to come along with the entire song (Or at least the music video) is unlikely, so you have to look for other options to get this song back, because even if it had covers, at least we would know what music and lyrics it had, and that's all we have a short clip and nothing else, so we can't even have information as basic as song lyrics

Heck, even if the original version of "Rogats Theory" disappeared for a while, at least we had the covers and the music itself, so that made it easier to find

And the remake itself doesn't help us much in our search, because we have no guarantee that the song sounds the same as in this case

So we don't have many options to find this song, other songs had a better chance and were therefore easier to find (Apart from that beloved pink radio song that everyone of us already knows)

And many lost media, being less known, often disappear into the depths and gradually lose any chance of returning at all, which is sad

#interface #【オリジナル曲PV】インターフェース【初音ミク・鏡音リン] #Lost media #lostwave #masa works design

[beatrixacs]

My final thoughts on Shogun

Overall rating: 9/10.

The show has its ups and downs - the downs mainly being the way they handled the romance in the show that could have been much better and much more impactful for a casual viewer, and the ups everything else.

I have never read the book - actually, I'm reading a copy I was lent by my colleague right now - but I have seen the 80s version many, many years ago and fell in love with it. By 'fell in love' I mean that I was up to 4:30 AM on Saturday because for some reason, the airing time was in the middle of the night.

I've always wanted to read the book (in my native language which is not English) but it was one of those that is rarely re-printed or found in second-hand bookshops. When they finally re-printed it in 2009, I preferred a different book with the money I could afford to spend, thinking that I would buy Shogun later when I save enough money.

Well, it was a mistake I regretted for long 15 years because the copies were quickly sold out and begging for re-print went unheard. It has a good ending, though. I can buy a new brand copy in May.

And I have FX Shogun to thank for that because they revived the interest.

When the news about the show broke out in 2018, I was excited but of course that my second thought was 'please, don't suck'. But then it seemed that the project was called off or something because I heard no news about it. You can imagine by happiness when the airing date was finally announced.

From the cast and photos to the trailers, podcasts, making of videos and the episodes themselves, the whole ride was amazing. The attention to detail was exceptional. The cast was superb. The whole feel of the show and the story was magnetic. Shogun Tuesdays rightfully became a concept people were looking forward to.

As I described above, I can't really comment on the changes as opposed to the book since I'm in the process of reading it for the first time but from my understanding, some of the changes were actually pretty good some of them less.

While I am the fan of "don't take too much liberties with the source material", one has to keep in mind that the source material might not be always as perfect or as easy to translate on the screen. That is why I am open to changes if they make sense. Since I haven't seen much outrage from the book fans (aside the romance), I suppose most of the changes were okay. At this point, I expect the book to give me better insight on the characters I saw on the screen because that is something only book can do.

As for the 80s show that has a special place in my heart, I actually want to avoid comparing them. You can feel that FX Shogun has a great respect for the legendary adaptation but they were bold enough to go their own way in some points and I'm glad for that. I don't want to watch a modern copy of something that has been already filmed, I want to watch a new, fresh adaptation of the book that shares some similarities but it's not the same.

Boths adaptations deserve praise. Both adapations are excellent in their own right. Those who haven't seen it yet, I say - do it.

All in all, I want to thank FX for bringing Shogun back on the screen (and on my bookshelf) and giving us one of the best series of 2024. I hope gets a lot of awards so the creators get the appreciation they deserve.

Arigato gozaimasu.

#shogun #shogun fx #fx shogun #2024 shogun #shogun 2024 #personal #my opinion

[houseofbrat]

HOB - Do you believe the story that just came out about her medical condition being leaked?

If it is true, it’s well within the public interest to publish the truth because KP the LIED when they briefed the media initially that her surgery was “non-cancerous”.

I think this is just another story spoon fed by KP to paint themselves as forever victims. The Daily Mail is calling William “dutiful” today with a straight face for…taking another month off 🙄

Kensington Palace seems to have a credibility problem when it comes to their pr timeline, which is in addition to their usual incompetence issues.

On Sunday, 17 March 2024, Roya Nikkhah published an article whereupon a "royal source" said, "I can see a world in which the princess might discuss her recovery out on engagements. If she was going to do it, that’s how she would do it.” Meanwhile, Forbes publishes an article with the rumor that the BBC has been told to be on alert for an announcement from the Royal Family regarding Kate's health.

It would have taken Roya a bit of time to gather information from her KP sources to write that article, and Roya clearly does have sources at KP, given all the exclusives she's gotten from them in the past few years, and publish it in the Sunday papers. So why push that line through the UK press, such as The Sunday Times, that Kate will only talk about it in the distant future IF THE REAL PLAN was to always announce it when the kids go on their term/Easter break?

Well, if the Daily Mail's recent article is true, then it makes a lot more sense that the video happened because they--KP, Kate & Will--felt forced to do it. Supporting evidence of KP having no real pr strategy is found with Valentine Low's recent comments in this video, starting at the 6:20 mark.

"But you do have to ask yourself whether they had the right strategy because there was so much madness around them, and it was very damaging for a while and i don't think the royal family, well, Kensington Palace had really anticipated how bad it would get. But of course, it was all fueled when William suddenly pulled out of that memorial service for his godfather, King Constantine of Greece. Now, it's not clear exactly when he pulled out. We're told now that it was to do with Kate's cancer diagnosis. But I've also heard another narrative that he told the organizers of that service that two weeks earlier that he wasn't going, so it's a little unclear. But suddenly things went mad after that and obviously, I think, the overall strategy at Kensington Palace was very much driven by William and Kate. I think it was their desires to keep things under wrap. Their desires to keep private medical information private, but I just wondered whether in the current climate and in the world we live in where social media is so rampant whether there might be an argument for greater transparency and greater openness."

So which is it? Did William really pull out two weeks prior, and KP just let everyone think he was going to attend until the day of? Or did he really pull out the day of the service? Because if William really did pull out two weeks beforehand, then KP is looking really incompetent by not having a better excuse than "personal reasons." Do they know how to change the lightbulbs over there? How many KP staffers does it take to change a lightbulb?

The whole situation reeks of a whole lot of this:

#ask #my gif #pr games #strategery #kensington palace #palace officials #lies lies lies #kate middleton #Catherine The Princess of Wales #Roya Nikkhah #Valentine Low #fleet street #MESS!