So Louis takes up photography and he gives a plethora of reasons as to why he's chosen it as a hobby. But then he's on a date with Armand and he's seeing Lestat there. And so he takes the camera and looks through the lens, just to make sure that Lestat isn't there. Because his mind can betray him but the photos do not, and the photos confirm that there's no one. And that Lestat is just in his head.
So when Louis says 'I walk the night capturing disappointment and regret', he's also in a way talking about himself. Because every time he takes a photo and Lestat isn't there, he's filled with disappointment and regret. He's grieving Lestat and he misses him. He sees him everywhere and it's not real. It's never real even if he wants him to be. And back in the present day he's still grieving Lestat. That's decades worth of grief.
Lestat says that he has a capacity for enduring. But I think that applies to Louis too. All that pain and loss and grief and trauma, and Louis still carries it all. And I think this makes Louis one of the strongest vampire out there because anybody weak would've crumbled from the weight of it all.
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— Tamino for Behind The Blinds, Issue 13 / Fall/Winter 2022 (x)
Tamino: The In-Between State
Antwerp, July 2022
Interview by
MARTIN ONUFROWICZ
Photography by
ZEB DAEMEN
Fashion by
JONATHAN HUGUET
For Tamino, the title of his new album, Sahar, reflects his mindset while working on the record. “The literal meaning of the word is “just before dawn” and I think that perfectly captures the feeling of being in this in-between realm that I felt at the time,” explains the Belgian-Egyptian singer. Having catapulted him to fame in Belgium just after turning 20, Tamino’s debut album Amir also earned him fans from all over the globe, leading to non-stop touring for years. With instant popularity — and responsibility — at a young age, Tamino oscillates between adolescence and adulthood; this very in-between state being at the core of his latest record.
With Sahar, the musician continues to express the melancholy and vulnerability that became a signature of his artistic language. The key tool in creating the record was the Arabic lute known as the oud — an instrument that takes center stage in a ballad titled A Drop of Blood. “With this song, I wanted to accompany myself with the oud as the main instrument, just like my grandfather and father did in the past,” says Tamino. “It was very important for me to have at least one song like this on the album to honor the traditions of Egyptian and Arabic music.”
MARTIN ONUFROWICZ: Why did you decide to name your new album Sahar? What is the meaning that this title holds to you?
TAMINO: The literal meaning of the word Sahar is ‘just before dawn’ and I think that perfectly captures the feeling of being in this in-between realm that I felt at the time of creating the album, and still feel a bit right now.
MO: Where is this feeling of being in an in-between state coming from?
TAM: It has a lot to do with what my life has looked like in the last couple of years. I went from moving to Amsterdam to study, where I felt so out of place, to moving back to Belgium and my music career taking off, and starting to tour almost immediately for years. It felt a bit like tunnel vision — my life started to just revolve around one thing. I’m still very young, and feel like a child on so many levels, but I'm working very much like an adult.
MO: The album was written during the solitary times of the pandemic. How has that period affected you?
TAM: I was always planning on having a break because my team saw that I was feeling a bit burned out. So when it came a bit earlier than expected, I was quite happy about it. That said, I always imagined that when I will have my rest, I will be able to integrate into the world again as a regular person who's not traveling all the time, but then that wasn't the case either because everyone was at home, and life as we knew it was on hold. I think that period has definitely contributed to that feeling of in-betweenness as well, and was also a very transformative and important time for me personally.
MO: You're starting touring again later this year. Having this perspective now, how are you going to try to avoid the burnout you had a couple of years ago?
TAM: That was the one thing I kept saying to myself during the break, “I’m going to learn from this and take this zen feeling that I found into the busy life that awaits me again." Of course, I’m not sure how well I will do, but it definitely already affected how I approach work. For example, I’m now in New York for a couple of weeks and not just packing all the promotion stuff into one week because I thought, "I don't really have that much to do in July, so let me spend some time here and see what it’s like." I wanted to be here long enough to be able to ground myself, get to know some new people, have fun and be inspired.
MO: That sounds like a really good idea! What are your favorite places in the city so far?
TAM: I’m staying in Williamsburg, which I really like. I also really enjoy the Lower East Side. I went to Central Park yesterday, which is always amazing. But I have yet to discover a bar or a restaurant that I really love — I’ll know when it will happen because I’m a creature of habit, so when I find it, I will want to return there every day. [Laughs.]
MO: Which of the songs on the album was the easiest to write and which one was the most challenging?
TAM: The one that I wrote really fast was The Longing, the first song on the album. I first came up with the guitar-picking sound that I recorded on my phone and the next day while being in bed, I listened back to the recording and started humming the melody. Then, all of the verses came in one go! I was stunned because that rarely happens, so that was a very cool moment. A Drop of Blood was probably the song that was the biggest challenge for me because it was the one that I knew I wanted to write — all the other ones were improvised while I was trying out sounds with the guitar. With this song, I knew that I wanted to accompany myself with the oud as the main instrument, just like my grandfather and father did in the past. It was very important for me to have at least one song like this on the album [to honor] the traditions of Egyptian and [more broadly] Arabic music.
MO: Looking back, do you remember having a clear moment when you realized that music was something that you wanted to pursue as a career?
TAM: Music was always something I did, but I never really thought about making a career out of it — I remember that while I was growing up, I never really worried about how l am going to make money later and I'm very thankful for that to my mom. We didn’t have a lot growing up — she was a single mom with three kids — but she never put pressure on us to earn a lot or anything like that. I do remember clearly writing my first song when I was fourteen and the feeling of ecstasy that I got from it — for me, it was one of the best feelings in the world and something I've been chasing ever since!
MO: What's a music album that changed your life?
TAM: There’s been so many, but one that comes to mind immediately is one by Radiohead that I got when I was also around fourteen. I don’t think it was even a specific album, but rather The Best of Radiohead — I just remember being so inspired by their music when I first heard it. Now, my favorite record of theirs is In Rainbows.
MO: That's so cool! It must be a totally dream-come-true situation then for you to now be able to work with Colin Greenwood [one of Radiohead's band members] — I saw that you collaborated with him for Sahar.
TAM: Yeah, it's amazing! It sometimes still feels so surreal when I think about it, but now, Colin has really become a friend to me — we have played a lot of concerts together and he did seven songs with me on the new record. He's a lovely person and it’s a dream to work with a musician of his caliber.
MO: How did you guys first meet?
TAM: We had mutual friends in Antwerp — they took him to one of my shows and that’s how it started.
MO: Let’s end with a throwback question: who was the first musician you saw playing live and what impact did that make on you?
TAM: It was Lenny Kravitz at Sportpaleis in Antwerp. Also, his song I’ll Be Waiting was the first song I deliberately learned by heart — I performed it at a school concert. I love Lenny, he's such a good performer!
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from what i understand, AI art is good/useful for the following things
fun and memes! No one profiting, just goofs.
generating references which can then be given to artists/designers who are paid money to bring the concept to life properly (even if the job for the artist is just making a better reference. the idea is to use it as a tool for someone who for any reason is having trouble using words to describe what they want and the AI is assisting them). Its like using those online dollmakers to make refs for OCs.
Probably an offshoot of #2 which is just personal use like idk you wanted to funky looking monster ref for a dnd game or similar personal non-profit and google images failed you
Things it is bad for/reasons it is bad:
It is using people's art without permission/credit/payment. All AI generators should be trained only public domain content or content that the creator consented to be used.
One shouldnt call it art and get paid for the content they create with it. (basically what youve done is make a collage with digital magazine cutouts but magazines are public content and were paid for and shiz)
ALso dont give your own faces to any AI generator holy crap. but it is funny to see people putting politicians into the anime AI thing. This isnt a "Reason its bad" because this isnt about the art aspect anymore its about privacy/protecting yourself!!!
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just knocked myself out at 2am thinking about the h*nd h*lding in the hospital bed bc like. whew. whew. was the last time kinn had someone hold his hand this tenderly, huh
there’s no time or space for tenderness when you’ve got an intimidating reputation to maintain and guards to command and weapons to fire and money to count and people to kill. the most you might do is grab someone’s arm or wrist to yank them in front of you, or shake hands with someone over a deal that is just making your family richer and more dangerous. hands are for cold metal and rich velvet and hard cash but never for softness or warmth or closeness. and yes, perhaps kinn would pin someone’s hand to the mattress while fucking them, or twist their arms behind their back, or use his hands in all sorts of clever ways - but while that’s hot, and physically close, it’s not close like this, not in a comforting kind of way. we know he doesn’t cuddle with his twinks after he’s finished with them, he just sends them home and goes back to his whisky.
and then in the woods, when we see them hold hands for the first time, it’s an acknowledgement that okay - okay, we are stuck out here together, okay, i’m glad it’s you, okay, maybe we should start letting our walls down because it’s either that or we never get out of here. and then it’s easy to just not let go, to find comfort in that grip, and maybe a little thrill, just as their understandings of each other become something that brings them closer. the letting down of walls, the holding of hands, you get where i’m going
and so then, the hospital bed, porsche convinced to stay because kinn knows him now (and kinn feels comfortable enough to tease him about his fear of ghosts, something that he discovered with the skull in the woods), and kinn reinforcing that knowledge of what he needs by giving him the call to his brother, and porsche understanding that gift when he knows kinn wanted to give him his freedom, which he sacrificed for him by coming back - then, this hand hold. the way it’s porsche that initiates it, the gentle slide of his thumb over the family ring, kinn’s fingers tightening in return. it’s a thank you and a clear, unspoken sign of mutual comfort (and mutual feelings). and it’s so so so tender, and the cuddling that follows is equally so. so different from the violence and everyday powerplays that kinn is used to, and no agenda, no intention to take it anywhere further. just porsche, holding his hand, because he wants to, and because now he can. tenderness and closeness found in the place he never expected he would find them in return.
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