#its categorized as jazz

[delightfullygiddy]

I know arbitrary “if only” posts swim around tumblr all the time, BUT. I would truly love if I could earn a weekly allowance according only to the amount of posts on my blog. Do you know how ludicrously amusing that would be? It’s like...penny for your thoughts, except it’s a dollar for each of them.

#Forget trying to categorize original posts/reblogs all that jazz #LITERALLY posts on your blog / this is a communal effort #everyone just aids others in the circle #also works wonders with posts that have been around for ages #posts over 10 years grants you an extra boon of $10.000 #LIke...some of the most ancient posts you can think of...you actually go around to find them / a fresh reblog of it gives you that 10k #im not gonna do the math because it would be ridiculous / and its jsut the funsies thinking about it #also my current post count is currently 125434 #i think that's an odd enough amount to be placed into my account every week and id enjoy that #*inserts that Bugs Bunny communism reaction image* #fun

[madeup-community-episodes]

Theoretics of Bisexual Lighting

Background: The Dean rents out a gaudy hotel venue for a Greendale faculty only dance and NOTHING ELSE THIS WAS ALWAYS HIS PLAN (lying). Its all nicely decorated and he even got some LED lighting, specifically bisexual lighting, which is pointed out by Abed. A-Plot: Troy and Abed decide to go together as each others platonic dates, but the atmosphere gets Troy REALLY thinking about his and Abed's relationship. (More under the cut)

He looks back and sees that for the past 6+ years he has always been with him, save the rare moments they fought. Troy starts to think about spending the rest of his life with Abed, but the thing is he doesn't want to stress Abed out with anything romantic, he doesn't even know if this feeling IS romance, but he also doesn't think its platonic. Abed notices Troy is avoiding talking to him and asks if he wants to go, but Troy says nothings wrong. Throughout the night Troy gets more and more caught up in trying to categorizes his feelings of Abed into romantic or platonic or even familial. Later on in the night Troy confess he loves Abed and wants to kiss and all that with him but still doesn't know what he wants call it, and Abed's just kinda like 'I mean we could make something up, just for us', which helps Troy a LOT and yeah they kiss under the bisexual lighting and to the song 'Somewhere out there' by Linda Ronstadt :] B-Plot: Jeff and Duncan, the night before, decide to stay the night at the hotel to treat themselves, in separate rooms. HOWEVER, the hotel had a system glitch so Duncan's booked room was given to someone else. Jeff lets him stay in his room. That room happens to be a 'Honeymoon suite' because Jeff wanted to treat himself okay? So first off, they take a name in the middle of the day because the room situation kept them up until late in the night, but someone forgot to set an alarm and they end up missing one hour of the dance. THEN Jeff takes an inordinate amount of time in the shower, missing 30 more minutes of the dance. After THAT Duncan can't find the suit top he was going to wear, only realizing he forgot it at home, which loses them another hour. and after more comedic shenanigans ('dont you dare wear that tie, I am NOT matching with you' 'its the only one I brought Ian.' 'idc'), end up missing 4 hours of the dance, Jeff tries to go down without him- he really doesn't know why he didn't while he was looking for the jacket- but the lock on the door breaks and they're locked in and instead of yknow, calling the front desk, they argue about it. Duncan's like 'Why the hell didnt you just go without me?' and Jeffs like 'maybe I like being around you??' and Ians like 'bullshit, you started ignoring me after I didnt get you the test answers' Jeff is all like 'jesus christ, I know I sucked back then but MAYBE im a different person now and want to actually put in effort to be friends again' and Ians like 'Well-' but his ankle does that thing where it just twists while he's pacing around and he falls HARD into the lighting system of the room and, through the divine power of comedy tropes, turns on the Honeymoon Suite bisexual lighting and jazz music. Jeff goes over to him to check if he's okay and yknow after a heart to heart like that (pretend the dialogue was more emotional Im not good at writing emotional dialogue), emotions are racing and they are looking into eachothers eyes all deep and shit and and gay kiss and make out for the first time. First time SOBER, that is C-Plot: Annie meets one of the caterer girls and she tries so hard to get her number because hoooolllly shit she was so pretty omg. She embarrasses herself a lot and at some point just walks away to the bathroom to cry. Britta finds her and is like 'girl you dont have to bust your ass for anyone just go and ask the world wont explode i prommy' and so Annie works up the courage, goes over shaking and lands the girls number. :]

Extra: The dean rented the venue originally for a furcon but that fell thorough and it was a LOT of money to just waste.

#nbc community #mod grim #annie edison #jeff winger #ian duncan #abed nadir #troy barnes #trobed #jeffduncan

[bearlytolerant]

Fandom: Starfield

Pairing: Delgado x OC

Chapter rating: M

Chapter: 7

This is part 3 and the final part of the Bannoc IV chapters. More on AO3 or start at the Beginning.

It’s late and alcohol buzzes in his veins as he palms the nav table with slumped shoulders. There’s a brunette sucking him off that he’d brought back from The Last Nova. It’s been three weeks of worrying and he needs to find pockets of relaxation. So, the brunette offered relief and a blow job’s a blow job. He’s never been too picky about it before. But this one? It’s not that it’s bad and it could be categorized as pretty good. It’s just not—it simply is not her. It’s not great.

Delgado grits his teeth together and vacantly stares as the red lights in the command center flicker. Fucking annoying. He’s losing focus. But he shouldn’t have to concentrate this hard. It’s a goddam blow job. Shouldn’t he be thoughtless and less tense by now? Maybe if he just imagines the mischievous glint in her eyes or the feel of her teal strands in his grasp the tension might unravel. He closes his eyes to paint her picture but it’s blocked by flickering orange behind his eyelids. Flicker. Flicker. Suck. The suction is pleasurable but his mind is so fickle, and he falls flaccid with the languid lathing of the pirate’s tongue. Fuck, he can’t even remember this one’s name.

He backs up and tugs her off. Teeth scrape against sensitive skin and he winces. “Go.”

“But I—”

Raised finger like the reaper, he points at the fated door, his pants bunching around his ankles. The pirate doesn’t even huff right as they saunter from the room. Delgado yanks up his pants, and strolls those few steps to the exit. He marches down the stairs to the command center. There’s not a single glance spared in the direction of the displaced pirate.

The trip to ship services is the same as always minus the interruptions from Murdock. Instead of entering Jazz’s space though, he leans over the counter like any regular customer, waiting for her to notice him at the window. Eyes on her computer screen only, she doesn’t see him there.

He taps the ‘ring for service’ bell once and its jingle echoes throughout the atrium. “Have you heard—”

Jazz sighs and cuts him off. “No, still haven’t heard anything from your precious pirate.” Her brows furrow as she continues typing, the glow of the computer screen highlighting her annoyance.

Naeva barked out a laugh. “Your little friend probably ran off with the money by now. Do you really think someone who steals from you every chance she gets is going to suddenly become loyal? What reason does she have to bring it back here?”

“I hate to agree with Naeva on this one boss,” Jazz says while her fingers clack against the keys. She briefly glances up at him.

“You agree because deep down you know I’m right.” Naeva folds her arms across her chest, leveling a hardened stare at Delgado. “I say you hunt the bitch down and take back what’s ours.”

“Alright, Naeva. That’s enough,” Del says, his tone remaining cool and even. “Jazz. Ready my ship.”

A small smile graces Naeva’s lips and she almost nods approval. “I am leaving The Key in both of your hands while I am away.”

“You are leaving it in good hands.” Naeva’s smile grows bigger.

“Oh and Jazz, I need my ship prepped for Bannoc IV.”

Naeva’s face falls and the clacking of the keys ceases.

“You have got to be fucking joking,” Naeva says, throwing her hands up in the air in disbelief.

“I mean, I do have prototypes of both the ComSpike and conduction grid but they are just that. They are prototypes. I can’t guarantee your safety.”

“I do not tell you often but you should know that I have great faith in your capabilities, Jazz. I do not need the concern. I simply need my ship outfitted with what you have.” He turns away.

“Del,” Naeva reaches out to grasp his wrist.

“I know what you are going to say. But I need you to trust me on this one. Just one last time.”

Naeva releases his wrist with a sigh. “Fine but if you don’t come back—”

“I trust you and the others to take care of the fleet. If I don’t come back, you can say I told you so to the ghost of my memory.”

“Ha. Real funny,” Naeva says, shaking her head.

Jazz sighs. “Well, if you’re sure.”

“I am sure,” Delgado states without hesitation. “So outfit my ship while I gather a crew.”

He exits, heading back to the bunks. Hopefully, he will be able to scrounge up his usual crew and they won’t be too drunk or high.

#bear writes #starfield fanfic #Delgado x oc #vergado #split skin #chapter 7 #there’s a bit of spice at the start #brief bj mention

[sophie-st-2002]

Roundtable 3: All That Jazz (1979) directed by Bob Fosse

Question 1: What are the social aspects within the film’s narrative that align with the film’s songs?

The narrative of “All That Jazz” explores the dark side of entertainment. In the opening number, “On Broadway”, the audience is introduced to the allure of show business while being shown the grueling audition process.

The upbeat R&B song, performed by George Benson and popularized by The Drifters in 1963, complements the energized dancers and fast moving tryout. The lyrics of the song express longing and escapism, with the narrator dreaming of making it big on Broadway. However, beneath the glittering lights and promising opportunities lies a darker reality. The director, Joe Gideon, uses his artistic prowess and influence over the production to lead casting decisions based on who he wants to sleep with rather than talent.

He begins a sexual relationship with one of the dancers he chooses from the sequence, Veronica, and in a future scene he essentially breaks her down to tears in order to get the performance he wants out of her. To bring it back to “On Broadway”, the tension between the glamorous facade and the seedy underbelly of show business reflects another tension in the film which is a broader dichotomy in the entertainment world, where personal ambition often beats out artistic and personal integrity.

The scene between Veronica and Joe.

Another social aspect explored within the film’s narrative through song is the cyclical nature of life and art in “Everything Old is New Again”. The song was originally by Peter Allen in his 1974 album “Continental American”. As Joe grapples with his morality and attempts to reinvent himself creatively, the song serves as an important reminder of the cycle of birth, death, and rebirth, suggesting that trends and fashions often repeat over time. During the 1970s a large number of traditional values were being challenged and individuals sought to redefine themselves in the ever-changing and evolving world. Joe is able to find comfort and define himself with the comfort of the cyclical nature of art and life.

Question 2: How do the historiographies of previously recorded songs inform audience relationships with the musical’s narrative and performers?

The use of previously recorded songs in “All That Jazz” seeks to add layers of meaning to a specific audience familiar with their original contexts, an audience of Broadway and the style of bygone eras. For example, “Some of These Days”, a song associated with vaudeville performer Sophie Tucker, is used in a scene where Joe faces his mortality. Audiences familiar with Tucker’s career may interpret the song as a nod to the past, invoking a sense of nostalgia and paying homage to the rich history of stage productions and entertainment that predate Joe Gideon’s era which is inspired by Bob Fosse’s life.

Sophie Tucker

Similarly, “Bye Bye Love” originally by The Everly Brothers is used in a scene where Joe grapples with the dissolution of his relationships. The lyrics of the song become more significant in this context, reflecting Joe’s sense of loss and longing.

Question 3: What musical genre/style drives the film’s score, and how does the genre/style (re)define the film as a musical?

The music of “All That Jazz” encompasses a wide range of musical genres and styles including, jazz, pop, classic R&B, and traditional Broadway music. The eclectic mix reflect the diverse taste and influences of its director, Bob Fosse. By mixing the different genres, the film defies categorization and helps to redefine the musical genre. 

Bob Fosse in a situation similar to one we see Joe in many times during the film.

Unlike some jukebox musicals which adhere to a singular style or formula the film embraces experimentation and innovation. The film uses non-linear storytelling, surreal imagery, and unconventional musical numbers to challenge audience expectations. It doesn't feel like what one might think of as a musical, it feels more like a prolonged fever dream of a performance.

The Angel of Death that Joe converses with and performs for throughout the film in surreal scenes.

#oxyfilmmusical #@theuncannyprofessoro #disguisedmusical #Youtube

[aquariumdrunkard]

John Coltrane And Johnny Hartman (1963)

Turning 60 this year, Coltrane and Hartman is essential listening not just for jazz aficionados, but hopeless romantics far and wide. The smokey mood of the record eclipses its genre, belonging more to an ethereal wavelength of nocturnal ambiance than musical categorization.

#john coltrane #johnny hartman

[iheartbathroom]

examples of each category ↓ below ↓ IGNORE year discrepancies im basing it off of the year the artist originally recorded the song. ok

new orleans jazz: king oliver's creole jazz band - dippermouth blues (1923) (this is the original jazz style & is also referred to as "early jazz" although its still extremely popular among new orleans musicians. go to the french quarter and you WILL hear this style of music. this song features a young louis armstrong as seen in the photo)

foxtrot: eva taylor - if i could be with you (1927) (this subgenre was intended for couple dancing and was the most universally popular type of jazz during the jazz age)

swing/big band: duke ellington - take the "a" train (1939) (prevailing jazz style from the mid 1930s.. until the end of time)

bebop: thelonious monk - evidence (1948) (swing but make it crazayyyyyyy. not to brag but this song was based on a song my great grandfather composed..so..)

latin jazz: joão gilberto - desafinado (1959) (jazz w flavorings of one of the various latin music genres. this song is a bossa nova which is a brazilian style that uses samba elements. it later became popular to arrange bossa nova for big bands)

tito puente - el cayuco (1957) (this one is a mambo which is a style that originated from cuba & popularity spread among latino artists, this specific artist being puerto rican-american. posting a second example for this category because its so varied and also as propaganda bc its my favorite)

lounge/elevator/muzak: les baxter - pyramid of the sun (1960) (that chill 1960s film score type shit.. vibraphone my beloved)

jazz fusion: herbie hancock - chameleon (1973) (jazz with usual elements of funk, rock, and r&b. this song is categorized as jazz-funk specifically. WATCH OUT the preview starts loud)

smooth jazz: grover washington jr - in the name of love (1980) (chill r&b oriented jazz. makes me feel like im watching a sitcom intro)

acid jazz: the brand new heavies - never stop (1991) (acid jazz originated as essentially acid house + jazz. like jazz fusion, tends to contain elements of house, disco, funk, soul, and hiphop)

nu jazz: stereolab - fuses (1999) (another fusion genre but this one tends to have a more experimental electronic approach.. no one is surprised i shoved stereolab in here)

electroswing: tape five - tango for a spy (2006) (genre known for using jazz samples with modern dance music styles. electroswing is largely a misnomer for a lot of the music that falls under it bc a lot of it samples jazz that predates swing. but thats just my semantic thing)

#had to switch from spotify to youtube links bc you can only include up to 10 audio files in a single post lol #can you tell im an audio student .. #poll #Spotify #Youtube

[graph100]

im thinking that people need to start being more experimental with they media. the only thing genre labels are good for is telling you what to try and expand on. tired of mundane media.

when i was younger, i always found myself upset that certain musicians were hard to categorize. many groups just had something unique to me, and i couldnt find anyone who could replicate that. for me it was always a roadblock, but now i see it as something great

why should someone stick within the bounds of a certain box when their whole piece of uniqueness is how it says "fuck you box i never needed you anyways" and does something cool with it.

i love that indie creators are getting recognition they deserve but i just feel like things have gotten boring. and not in a "things used to be creative but now they arent because society" way but just that some stuff has reached a point of stagnation

the whole reason i came to jungle/breakcore music is because it pushed the limits for what i even thought could be music. i had never heard anything like it. now there is lots of music that can nice and cleanly be fit under the label of "breakcore" and i got bored of it.

same thing with indie horror. when it first started, it was new and fresh and defining, but its all now under the genre "indie horror"

not even just new media. i would definitely consider myself a fan of jazz music, but i prefer the more experimental, post-bop side of things, compared to what most people would imagine when they think of "jazz"

i dont think its bad that this type of media exists. i just wish that people would try and go outside of their comfort zone. and definitely no shame to the creators of any type of media that i happen to not like, more power too ya! im just some random netizen, no one with authority. just my 2 cents.

#opinions #uhhh idk how to tag this #media #stuff #breakcore #dnb #experimental #experimentalism #jazz #indie #indie horror #indie games #indie music #indie art #music #games #art #im upset but in a tired way in which i wont do anything im just a littlelittle bit sad

[cartoonrival]

ill be real though i dont really totally think making vocaloid its own genre is an issue .... a jazz vocaloid song would not be enjoyed by most people who say they like jazz. and while there is obv a very wide array of vocaloid songs there is 100% a Sound that is common across a LOT of vocaloid so i think categorizing them together isnt like. a travesty

#txt157 #oh sorry serena. agree to disagree smiles

[seosharks]

Jean-Michel Basquiat is a Beacon in the East Village Art Scene

In the dimly lit alleys and bohemian lofts of New York City's East Village, a vibrant art revolution was brewing in the late 1970s. At its forefront stood a young prodigy, Jean-Michel Basquiat, whose meteoric rise to fame would leave an indelible mark on the art world. His raw talent, coupled with an unyielding spirit of creativity, propelled him from obscurity to prominence, earning him a place among the most celebrated artists of the 20th century.

Born in Brooklyn in 1960, Jean-Michel Basquiat journey to artistic acclaim was as unconventional as his work itself. Raised in a melting pot of cultures and influences, he soaked up the dynamic energy of the city streets, which would later become the canvas for his bold expressions. With a father of Haitian descent and a Puerto Rican mother, Basquiat's heritage infused his art with a rich tapestry of symbolism and identity.

In the late 1970s, the East Village emerged as a hotbed of artistic experimentation, attracting a diverse community of avant-garde creators seeking refuge from the commercialized art world. Basquiat found his sanctuary amidst this eclectic milieu, where he honed his craft alongside fellow visionaries such as Keith Haring and Jean-Michel's close friend and collaborator, Andy Warhol.

Basquiat's art defied categorization, blending elements of street graffiti, neo-expressionism, and primitive art into a singular, visceral style. His canvases pulsated with frenetic energy, adorned with enigmatic symbols, cryptic texts, and fragmented figures that spoke to the chaos of urban life and the complexities of the human condition. Each brushstroke seemed to echo the rhythm of the city, capturing its raw vitality and relentless pace.

It was not long before Basquiat's work caught the attention of the art world's elite. His first solo exhibition in 1981 at the Annina Nosei Gallery catapulted him into the spotlight, garnering widespread acclaim for his provocative compositions and fearless approach. Critics hailed him as a visionary, while collectors clamored to acquire his pieces, propelling Basquiat from struggling artist to cultural icon virtually overnight.

Central to Basquiat's appeal was his ability to bridge the gap between high and low culture, drawing inspiration from sources as diverse as jazz, street art, African masks, and classical mythology. His paintings spoke to the universal human experience, transcending boundaries of race, class, and gender to resonate with audiences around the world. In a society marked by division and discord, Basquiat's art served as a unifying force, offering glimpses of beauty and truth amidst the chaos.

Despite his meteoric rise, Basquiat remained fiercely independent, resisting attempts to commodify or co-opt his work for commercial gain. He rejected the trappings of fame, preferring to immerse himself in the creative process rather than bask in the limelight. His dedication to authenticity and integrity earned him the respect of his peers and secured his legacy as a true pioneer of contemporary art.

Tragically, Basquiat's life was cut short at the age of 27, succumbing to a heroin overdose in 1988. Yet, his influence endures, his legacy immortalized in the timeless brilliance of his art. Today, Basquiat's paintings command record prices at auction houses, his name synonymous with innovation and rebellion in the annals of art history.

In the decades since his passing, Basquiat's impact on the East Village art scene and beyond has only deepened, inspiring successive generations of artists to push the boundaries of creativity and challenge the status quo. His spirit lives on in the vibrant streets of New York City, where his presence is felt in every splash of color, every scrawl of graffiti, and every beat of the city's pulse. Jean-Michel Basquiat may have risen swiftly to fame, but his legacy will endure for generations to come, a testament to the enduring power of art to shape our world and ignite our imagination.

#Jean-Michel Basquiat

[randomvarious]

1995 London Playlist (YouTube)

Alright, so I now have London playlists for the years of 1994, 1996, 1997, 1998, and 1999, so it's only right that I complete this whole sequence and give you all something for 1995 too 😊. And just like the rest of these city-year playlists that I've been making, this one is also by no means a comprehensive or authoritative look at what this particular year was like for the most musically diverse metropolis in the world; but what it is instead is a totally unique and scattershot mix of a bunch of obscure and underground London-made gems from 1995 that I've come across over the years from collecting various artist comps and DJ mixes. And no city on this planet is more eclectic than London itself, thanks in large part to both its independent and mainstream open-arms embrace of electronic music writ large.

So that's what this playlist is mostly comprised of. We have a few breakbeat tunes from the likes of Tim 'Love' Lee—who founded the Tummy Touch label, which put out the terrific Groove Armada's first two albums in the late 90s—Asian underground group Loop Guru, whose "Diwana," aka "Olwana," is a fantastic piece of psychedelic Eastern spiritualism, and "The Man With Three Heads," by Fluid, aka Dominic Glynn, who is way more known for being a bigtime film and TV composer, and whose music from that realm you're guaranteed to have heard before. Then there's a couple awesome acid jazz cuts from D*Note and Incognito, with Incognito's offering, "Jacob's Ladder," being remixed by probably the greatest New York house duo of all time, Masters at Work; a nice and rare house remix by Dimitri From Paris of Bjork's "Isobel" (Bjork was living in London when she recorded that song); a piece of drum n bass by the prolific T Power and his frequent partner Shy FX; and a very difficult-to-categorize song by System 7 called "Civilization," which was mixed by Detroit techno legend Carl Craig and is probably best described as goa trance meeting electro-flavored Detroit techno 😮.

And speaking of things that can't be categorized—check out this segue, folks—to close things out, we also have a boom bap jazz-rap tune from fleeting South London duo 499, whose "Don't Categorise Me" sounds like something that could've been produced by the legendary Pete Rock himself 😌. Oh, and right before that is something light and goofy from two-tone ska lifer King Hammond, who's been in two of the genre's most famous bands, The Selecter and Bad Manners.

This playlist is ordered as chronologically as possible:

Tim 'Love' Lee - "One Word" D*Note - "The Garden Of Earthly Delights (Ballistic Barrio Boom)" Bjork - "Isobel (Dim's Enchanted Forest)" Loop Guru - "Olwana" Incognito - "Jacob's Ladder (Masters At Work Yorican Mix)" T Power - "Amber (Shy FX extended version)" System 7 - "Civilization (Carl Craig Mix)" Fluid - "The Man With Three Heads" King Hammond - "Skaville UK" 499 - "Don't Categorise Me"

And this playlist is also on YouTube Music.

So with the launch of this playlist, we start with ten songs that clock in at nearly an hour. A nice blend of a bunch of different genres and styles, and you're definitely not gonna find another look back at this city and specific year that's quite like this one!

Next week we'll be going back to a decade-genre playlist that I don't think I've updated in a *very* long time 👀.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

#breakbeat #acid jazz #dance #dance music #electronic #electronic music #music #90s #90s music #90's #90's music #london #uk #great britain #england #united kingdom #britain #british #playlist #playlists #youtube playlist #youtube playlists #youtube music playlist #youtube music playlists

[the-algebra-thing]

I've said before that I think chip would be big on contemporary, if anything. like me, he has a love of moves that look very cool, and unlike me, he does not have some unknown connective tissue disorder, and can pull it all off LMAO

on this note, his balance and instinctual spatial awareness are really good, thief training etc, and this lends itself really well to a ton of inversions, complex balances, even lifts. he's not as analytical as jay is about it; he's not super aware he possesses these qualities, he just Does and they help him figure out what needs to tuck and hold and brace to achieve the image he wants. despite this intuition, he's not actually strong enough to lift jay, who is like half a foot taller than him, or gillion, who is shorter than him, just built like a brick wall—but he is better than either of them at conceptualizing fun ideas for them to try out in pairs or all together.

he never got any classical or modern training, and so he's not into the technical aspect for its own sake whatsoever—he is invested in the space between what looks cool and what feels good. he has a huge respect for flow and improv for improv's sake, but he isn't so devoted to that feeling and flow that he completely casts aside looks and composition and appearances like I think edyn does. edyn, in my head, is—by now, at least—straight contact improv ideology, but that's a different beast for a different time. regardless, chip does not sacrifice appearances, and is always actively searching for what is most awesome. if hes working without a mirror he'll drag someone over to watch his current thought, give feedback, and scheme with him to bring out the full potential of whatever he's working on.

he won't shy from hip hop, but he's definitely more into acrobatics and floorwork than you could categorize as strictly hip hop. nothing about it is strict, really; he just wanted to dance, and so he did, and because he never quite got the guidance everyone else did, he ended up with a mashup of influences he picked up along the way. contemporary isn't truly its own dance style at all—it's often thrown in next to modern, but really it's a combination that draws on disciplines with full histories, like ballet and modern, and newer styles, like jazz and lyrical. it's just meant to push the boundaries of those genres and look really awesome. I think his style is, in the end, very heavy and grounded—it's also very conducive to chairography. chip could do soooo much with a folding chair. he could entertain himself for hours on that thing I think. he also can and will lean on his surroundings (railings, banisters, walls, windowsills, seating surfaces) just to see what happens—to push his poses, for compositional interest, or just to achieve a different, more dramatic feeling.

in the same vein chip also swings ollie around like he's nothing, since he's so much smaller, and ollie obviously lives for it, small boy developing vestibular sense or whatever. this inherently works towards ollie developing that same sense of balance and spatial awareness—so chip is unknowingly passing on to him a really important and useful skill that they are both unaware of, really. even without all this dance stuff I think that's something that chip has in canon that nobody thinks or talks about, despite how incredibly valuable I think it has proven to be to the crew.

took some time today to put together small base playlists I can listen to while I do these drawings for chip and a few other characters; chips is here if you're interested! I'm not interested in dance as a competition or a purely analytical practice so music influences my work, whether it's choreographing or drawing, more than really anything else. I don't have regular character playlists; thats not what this is—it's just an auditory representation of everything I've tried to outline here. I couldn't do one for chip and not gil, jay, and lizzie, so maybe those posts are also in the near future for me. crossing my fingers lmao they've been on my drawing to do list for ages

#me and flynn are having a chip day I guess #ethereal air eternal motion #speaking to god #jrwi thoughts #chip jrwi #jrwi chip #jrwi riptide #jrwi fanart #jrwi show #chip has long asfuck hair in my heart and that's all that matters #props to him for discarding his shirt entirely so I didn't have to draw it #not that I couldn't have discarded it for him anyways I guess. #like I did with every single other thing he's supposed to be wearing

[airsignss]

Hbo War Fluffy Holiday Prompts Day 4

Title: I’ve Got My Love To Keep Me Warm

Prompt: Slow Dancing to Christmas Music

Pairing: Baberoe

Rating: T

Word count: 769

Author’s note: This one is on a technicality tbh. The songs referenced are ON a Christmas-type album. So,, it counts to ME. Lets see what else, its modern au (if you follow tumblr user @bitch-butter you will have seen a semi-recent prompt from the same universe) and its very near and dear to MY heart, so i hope you enjoy. Songs referenced are “I’ve Got My Love To Keep Me Warm” and “June in January” both versions by Dean Martin. [prompt from @almost-a-class-act]

><><><><><><><><><><><><><><><><><><><><><><><

Sundays are for slowness; on Sunday you’re supposed to roll out of bed slowly, watch the coffee drip at its own pace. Sunday is for “chores” that bring you comfort, changing sheets or making dinner for someone you love. Sunday was Gene’s favorite day.

The flurries outside the window made the apartment feel like the inside of a snowglobe, their darkening blue-gray sky in opposition to the warm golden glow of the living room. Babe hummed a few feet away, some song he heard on a commercial earlier in the week as he organized the boxes of holiday decorations to go back into storage until they were needed in January.

That Sunday had been spent in two distinct phases: frantic cleaning in the morning to ready the space, and peaceful post-shower (together) decorating. After a dinner of hearty chicken and dumplings, they worked in perfect sync; Babe on tree duty, and Gene on… Everything Else duty until Babe decided he didn’t like how Gene did it and would end up completely redoing it.

That was precisely the reason Gene was reorganizing his record shelves for the 900th time, after having been chased away from the mantle. Apparently, if two candles are even an inch too close it can ruin the entire display. So he decided that he would try arranging his music by decade, and if he could the exact year which was a categorization he hadn’t attempted before.

He ghosted his fingers over the 1950’s, perusing the titles he had before he stopped over a Dean Martin he wasn’t sure he had listened to yet. He didn’t remember when he got it exactly, it wasn’t his usual find when he visited music stores. Reading the tracklist on the sleeve, he got an idea.

Babe reentered the living room and flopped onto the sofa, letting out a huff. Gene smirked to himself, carefully removing the protective cover and gently laying the disc on the turntable. Babe had gotten him a whole setup complete with new speakers and everything the year before, upgrading him from the little Victrola he had. He flicked on the system, and Babes head popped up when he heard the tiny scratch noise. Gene found the spot on the record he wanted to begin at and turned to Babe who gave him a puzzled yet intrigued look.

The song began, the light jazz tune filling the space, Gene stood in front of Babe and offered his hand.

“Dance with me?” He asked softly, his voice hopeful. Babe let out a small laugh, but did not hesitate to take the hand offered to him. Gene helped him stand and just as soon wrapped Babe in his embrace.

Soon the lyrics began to swirl in the air and Dean Martin’s voice came from the speakers, but Gene sang them to Babe, his lips close to the shell of the redhead's ear. The pair swayed in the room, their interwoven fingers resting on Babe’s chest.

“But what do I care how much it may storm? I’ve got my love to keep me warm.” His voice was like warm honey in Babe’s ear. Gene never thought he was much of a singer, but he would record a whole album for Babe if that was what he wanted.

“I never took you for a Dean Martin guy.” Babe said, his voice teasing. Gene chuckled quietly, and Babe felt the vibration of his body against his own which made him press tighter to Gene.

“Well we have to keep it interesting somehow, don’t we?” He retorted with a wink. Babe rolled his eyes dramatically, but his smile widened. “No honestly I don’t know when I got this, but I’m glad it came in handy.” He told Babe who nodded before nuzzling his face into Gene’s neck as the song began to wind down.

They continued to sway as the song changed, June in January floating through the speakers. Neither were very familiar with the song, but danced anyway; gazing into each other's eyes silently telling each other everything the lyrics meant.

They swayed together until the motion of their bodies completely stopped, and they stood still in the living room simply holding one another. When the next song began with a much more upbeat tempo, they finally separated looking at each other with dopey grins, their eyes swimming in the depth of their feelings,

The sky outside was inky black, lights from the city illuminated the falling snowflakes for brief moments as they flitted through. It was Sunday, and Sunday was for all the things you loved; Sunday was Gene’s favorite Day.

#HBO War Barely Coherant Christmas Chaos #baberoe #pardon if im a bit rusty BUT #this was a fun one it came super quick too #babe heffron #eugene roe #my wrtitng

[3dsmall]

What would make dudes better at oral sex ? From what I know bad cunnilingus usually involves over focusing on one area and men as a whole just tend to ignore female pleasure signs. Because they're idiots. Also fingering is a lot of fun so not sure why some dudes don't do that.

this question, you asking it, infuriates me. my fury somewhat confounds me though.

there is no objective answer to your question. i am not a coach/instructor for my own sexual partners. if a sexual partner wants to lick my vaginer and i don't want them to, even if my unwillingness is purely bc their performance fails to meet my own personal non-universalizable standards, they are absolutely not entitled to coaching. that idea fucking disgusts me.

if a sexual partner thinks i owe them pointers, they are TRIPPING. if an anonymous person on tumblr thinks i owe them pussyfic or instructional guides, theyre tripping even harder. that's to be expected from anons. either you want more details about my individual sexual response patterns or you believe that sexual response patterns are generalizable subjects of study to extrapolate from. that just don't feel natty and organny to me. feels like your understanding of sexual chemistry sucks and that you see women as less than full complex individuals. you don't respect that we are autonomous, just that we respond to stimuli like moss or something.

am i making any sense? i can see someone being like 'BUT EMI how is a boy supposed to KNOW what you like if you don't TELL them or write it on TUMBLR??' literally not my problem not my concern and idk why it makes me *gunshot noises*

men think theyre great for theoretically wanting to make women cum even though they suck at it in reality. In actuality, they are disgusting entitled freaks for wanting that. this isn't specific to cunnilingus but its WAY more pronounced for me there. i will kick you the fuck out. i will kick your face. if you think putting your mouth on my vagina is something i should be categorically jazzed and appreciative to you for, you are KING TRIPPIN.

i will destroy you in time.

[burlveneer-music]

Marc Ribot's Ceramic Dog - Connection

On their 5th studio album, Connection, Marc Ribot’s Ceramic Dog have pushed their long-brewing tension between traditional pop songcraft and avantgarde improvisational music to the breaking point, bridging their customary genre-agnostic approach with elements of glam boogie, minimalist disco, psychedelic boogaloo, garage-punk-against-the-machine agitprop, and so much more. Recorded at Figure 8 Recording in Brooklyn, NY and mixed by Ben Greenberg (Danny Elfman, Depeche Mode, Lamb of God) the album sees Ribot – whose prodigious, impossible-to-categorize body of work as bandleader and musician spans no wave and jazz, Brazilian and Cuban music, roots and avant-garde and protest songs (often at the same time) alongside legendary collaborations with Tom Waits, Elvis Costello, The Lounge Lizards, John Zorn, Robert Plant & Alison Krauss, Caetano Veloso, and Laurie Anderson (to name but a few) – continuing to utilize Ceramic Dog as the vessel for his distinctive stream-of-consciousness songwriting, penning three out of the album’s four vocal tracks including the groove-infected “Ecstasy” (showcasing Anthony Coleman’s slinky Farfisa and longtime friend and associate Syd Straw behind the mic). From the anthemic manifesto “Soldiers in the Army of Love” to the unhinged ranting of “Heart Attack” and indescribable “No Name,” Ceramic Dog unleash a fury of complex time signatures, blues abstraction, and free-blowing energy to create their most unapologetically audacious collection thus far, their one-of-a-kind daring evidenced by the unlikely cover of Arthur Schwartz and Howard Dietz’s “That’s Entertainment,” written especially for the 1953 Metro-Goldwyn-Mayer musical film The Band Wagon but here, in Ribot and Co’s hands, deconstructs Hollywood cliches while simultaneously winking at both the post-punk and post-Cultural Revolution iterations of the Gang of Four. Fueled by what Ribot calls “several bolts of creative lightning,” Connections stands as a vibrant, odd, and in many ways definitive milestone in what is truly a singular creative journey for Marc Ribot and Ceramic Dog, its zeitgeist-busting sound and vision not only affirming their place in the musical universe but raising the stakes for whatever comes next.  CERAMIC DOG: Marc Ribot: guitars, tres (4), dobro (5), bass (2, 3, 9), vocals Shahzad Ismaily: bass, electronics, vocals Ches Smith: drums, percussion, electronics, vocals with SPECIAL GUESTS Syd Straw, vocals (4) Anthony Coleman, Farfisa (4, 8, 10) James Brandon Lewis, sax (5, 7) (appears courtesy of ANTI- Records) Greg Lewis, Hammond B3 organ (9) Oscar Noriega, clarinet (10) Peter Sachon, cello (6) Lyrics by Marc Ribot (Knockwurst Music, ASCAP) Music by Ceramic Dog (Knockwurst Music (ASCAP, Preposterous Bee (ASCAP), Wazir & Malika Music (BMI) Except “That’s Entertainment” by Arthur Schwartz/Howard Dietz (Chappell-Co Inc, ASCAP)

#Bandcamp #marc ribot #postpunk #skronk #2023 #guitar

[earthplanet]

Some Preliminary Prayers, Part 1: religion in general.

I WONDER IF there is a time and place for dogma, but none for dogmatism. When dogma, (a.k.a. imperatives), arise in theory or in every-day actions; they confront that dogma and give it form. You should give dogma form because this is the first step to changing or abolishing that dogma. 'Dogmatism' is an attitude toward dogma that holds them above theory or practice, such that; neither theory nor actions can revise or abolish them.

Living and thinking always brings about dogma. This is because dogma is not in our control; all human and non-human affairs throughout all history before you have given you dogma as your history. As time inherited. This nature of dogma, means that dogma is neither created nor destroyed, only affirmed or abolished. What I mean by abolished, is a categorical change to that dogma in the sense that it's theories or practices have different goals. Whether abolition or affirmation actually occurs is checked against the world via practice. In this way, dogma necessarily empirically alters either the world or our behavior. If something that looks like dogma cannot affect the world, either emotionally, behaviorally or materially, this is not the kind of "dogma" I have been talking about. This is dogma for the sake of dogma; what I feel dogmatism might mean. Dogmatism thus upholds the form of dogma without its content.

I talk about dogma first, because I am afraid of dogma, especially religious dogma. This is actually why I have written this. Dogma scares me because of how alluring unexamined beliefs are. They are alluring because often we have so many unexamined beliefs that beliefs which simply appeal to dogmatist thought want more dogma for the sake of dogma. By just writing through my dogma, I believe I can have my story straight so as not to tempt myself with religion I don't understand or maybe this story is simply the end of my religion. I don't know.

Wikipedia says, religion is hard to define but that it might be a set of symbols which are loosely necessary to that religion. What I take that to mean is that, some symbols in a religion; jesus, the bible, etc; are unnegotiable or negotiable but it's unclear to what extent and how. Thankfully, I already have a set of symbols which guide my thought and... maybe less so: my actions. It is always more than necessary to hold one's heart to the ear. The ear of the world's religions, philosophies, cultures, arts etc. But first let's see what heartbeat my ear has been listening to. These are my wikipedia symbols, but that I have mulled and mulled over for at least 5 years: jazz, aleph-alpha, the Dao, and nature.

#philosophy #eastern philosophy #jazzlovers #daoism #mathematics #religious #writing #faith #journal

[warsofasoiaf]

The Data Angels are the last human faction for you to cover in SMAX. Would love your analysis, particularly how they relate to the 1990s concept of internet culture versus how it has actually developed.

Alpha Centauri's Alien Crossfire expansion created radically different societies (with the exception, perhaps, of Foreman Domai and the Free Drones, which is quite familiar to contemporary audiences), an anarchic group based on hacker culture is fairly out there. Mechanically, it's a faction based around the probe team mechanics in a way that not even Morgan can match, but the lore perhaps dates the game almost as much as the early Secret Project "The Human Genome Project," which was launched in 1990 and declared mostly over by 2003. The Data Angels are deeply immersed in early hacker cultures that were found on college campuses and lurking within various Usenet groups.

The Internet was not new during the game's development cycle from 1996 to 1999, but it was radically growing - in 1993 the Internet carried 1% of all information transmitted over two-way telecommunications links, but by 2000 it was over half. We take it for granted today with near worldwide wi-fi, but the world even 30 years ago was radically different to the world today, a truly transcendent transformation not seen since the advent of atomic warfare. With the rise of computers came the rise of computer programmers, many of whom were engineers that saw the limitations of computer programs as engineering problems to be solved, not requiring brute force lines but creativity in the code. These individuals often chafed at the stolid, traditional method of computer programming in favor of creative, free-thinking experimentation, pushing the boundaries and restrictions of what modern computers were capable of. If traditional programming was the "the methodical experimentation and categorization which gradually extend the boundaries of knowledge," then these free-thinking hackers, as they called themselves, could conceive of themselves as "the revolutionary leap of genius which redefines and transcends those boundaries," perhaps not always the most accurately given that many were experimenters, categorizers, archivers, and most importantly, sharers.

Hackers developed their own unique subculture, blending a disdain for authority, sharing of their own created code, and encouragement of others to add on to their own code (forking). One overriding and abiding ethos was that information must be free to permeate throughout the net, available to all, and that such practices would benefit mankind. Even the 'jazz' that Sinder Roze remarks on is found in hacker culture, there was a strong current of both humor and style in hacker culture. Steven Levy even mentioned in his 1984 book Hackers: Heroes of the Computer Revolution that "to qualify as a hack, the feat must be imbued with innovation, style and technical virtuosity." Elegance and creativity in form was essential to qualify as a hacker, and not just a computer programmer with exceptional skill. This itself gave hackers a strong element of counterculture, of deliberately being different and being themselves, of never compromising and letting their code speak their worth for them. The Data Angels are this culture taken and expanded to a full society, a full nation of free thinkers and eccentrics who are true to themselves and express themselves in the way that they love, and their code is what determines how worthy they are (many of the Data Angels follow Roze because of how good she is as a hacker, an anarchic aristocracy - not the medieval conception of the word but the literal Greek definition, rule by the skilled). This is just like jazz music itself, improvisation, to take something and make it your own, is critical to jazz. The Data Angels take the bebop era and turn it to everything in the code, singing the body electric in 1's and 0's. At its best, the Data Angels is mutually supporting even when they differ, radically free, and celebrating of its differences.

"Ideology is a tool of power. Anyone who dangles a bright, shiny ideal in front of your eyes is likely trying to distract you from the chains they're about to snap around your wrists." -Datatech Sinder Roze, Infobop

Of course, like with every other faction that adheres to a strong ideology (which is all of them), Sinder Roze is a massive hypocrite when it all comes down to adhering even to the core beliefs of the hacker ethos. Roze doesn't believe in information freedom, she believes that all information should be free for the Data Angels. They will penetrate their adversary's computer networks and take their data, but not share the technology - they will hoard it for themselves. In this, they become every bit the corporate programmer that hackers profess to despise, the ones who copyright their programs and refuse to share the source code, even when every sense of profit is long gone. Roze takes all data and tags it for later use, which had its own implications in the 1990's but takes on a terrifying dimension in the 2020's with digital privacy and the rise of China's digital surveillance state. Privacy is a key topic in computer ethics discussions today, and Roze's cheerfully disregards it as irrelevant, save perhaps for herself. This itself is one of the negatives of anarchy, that it often devolves into strongmanism or mob rule, where the strong do what they can, and the weak suffer what they must. If you don't want your data stolen, then you'd best be a better computer engineer that can build a better firewall (or develop the Hunter-Killer algorithm), otherwise Roze will use your data however she wants and you'll just have to eat it. This was the case in the Spanish Civil War, where anarchists would surround farms and force them to turn over their grain under threat of execution as a Falangist or Francoist collaborator, or wait until the farmer left the grounds for any reason and occupy their home, seizing it as theirs. While Roze talks of ideology as a tool of power, she herself uses ideology as a tool of one herself, even if she forbids the pursuit of Power for power's sake.

Much like with Cha Dawn forbidding Wealth instead of Free Market because Deidre already had the Green/Free Market dynamics, Roze forbids Power instead of Police State despite her strong democratic ideals. Lore-wise, Roze would probably deeply despise of the Human Hive, whose brutal serfdom is deeply at odds with Roze's anarchist beliefs, and the Lord's Believers, whose fundamentalist approach censors information and dislikes dissent (unless its Miriam herself, dissenting against things like Zak's nanorobots). However, she'd also run afoul of Morgan, whose copyrighted and monopolized MorganNet software is the antithesis of her hacker spirit (although mechanically they don't cross paths) and the Spartans (who value Power in a way that Roze forbids).

Governmentally, Roze favors democratic governance in a way reminiscent of social anarchic thought. Particularly after the first few years after Planetfall and the difficulties of survival begin to fade, using informational technology, from network nodes to telepathy once it gets researched, would establish a form of direct democracy reminiscent of Iain Bank's The Culture series of books, albeit without the all-knowing power of the Minds (and that's all I'll say lest I rant about the Culture). However, Roze is not forbidden from taking the other choices available. A Police State runs close to modern-day China, a digital surveillance state where all behavior is categorized and filed away like any other piece of information, used to predict the point where free-thinking turns to dissent. This could help to corral the decentralized nature of the Data Angels and likely involves as many or more internal security personnel manned to the Network Nodes than physical security on the streets. Whether Roze rescinds it as a temporary measure or maintains it as a "temporary measure" common to other tinpot dictators is up to her (and the player). Fundamentalist thought likely takes Roze to enacting both information security and the notion of all information must be free to the Angels to the hilt, indoctrinating the people in the ideas that taking all information not known is a moral and social good. There is no need to invest in labs when the information is out there. A Fundamentalist Roze runs on copyright theft and manufacturing knock-off goods, ordering take-out when others are cooking.

Economically, nothing is off limits to Roze, and this is probably where her particular flavor of anarchism comes. Planned economies likely end up having a large degree of social property in the vein of social anarchism and access to tools with a high degree of worker self-management, causing inefficient production shortfalls but establishing a wide range of industry (and ideally, new forms of self-discovery and expression). A Free Market Roze embraces individualist anarchism and private property and becomes an ancap jazz queen. Private defense and insurance extends to the cyber realm, where skill is free to flourish and compete to continually prove itself the best or fall to a new competitor. Unfortunately, this could even result in societal collapse to drone riots with any sort of military unit away from the base, forcing Roze to truly rely on her maxim: "War is war; destruction is destruction. You think this is obvious. But war is not destruction, it is victory. To achieve victory, simply appear to give your opponent what he wants and he will go away, or join you in your quest for additional power." After all, if she can't send an army, she'll have to use her probes. Green Roze likely embraces eco-anarchism (though not anarcho-primitivism) as she seeks to accommodate even the Planet's mind into her society. This is both idealistic (Planet offers such a unique perspective on existence) and practical (a Planet not dealing with industrial waste is one that's not sending boils of Mind Worms to eat the Data Angels' brains). With the advent of telepathy, and the evolution to transcendii, new forms of thought become possible, and a closeness with the code is something that is entirely new - not the crude cyborgs of Mind/Machine Interface but those who have transcended humanity into running on the datalinks or in Planet's consciousness itself (and with the Ascent to Transcendence, both), and the early elements of this are found in accommodating Planet and exploring the planetary consciousness of Centauri Empathy.

For values, Roze is prohibited from Power, meaning that on some level, she does not celebrate a culture of strength. Power can be subverted, and the anarchic mind sees force as anathema to mutual gain. Power is ultimately hollow. However, what Roze can value can determine what her society values. Knowledge is the discovery, the new and novel that comes from an unchained mind (imagine Francis Crick on LSD developing the double-helix model of DNA as an example). Knowledge Data Angels might see chaotic labs as a scientist announces "I've got an idea" and others flock to see, then others fork off that research until something coheres. Wealth is instead the valuation of others. What do others think is worthwhile, and how can I provide that value in the context of the mutual aid that characterizes anarchism. After all, if the fundamental question is "how can I help you and you help me," then you saying "I want this," is exactly how I can help you.

For a Future Society, Sinder Roze looks like she would favor Eudaimonia, the ultimate end for the anarchic society where everyone does express themselves. This is the end-game that shows Roze meeting her utopian anarchist ideals in free expression. What really mattered was the jazz all along. Eudaimonia is the jazz, where everything looks as you want it to look, and all others cannot help but marvel. Cybernetic Roze ends up deciding that really it's the code that matters, and as AI becomes better and better, it becomes a better hacker possessed of even more jazz that Roze herself. How could it not, when it thinks so much faster, on so many more cycles per second. The only solution to stay on top, of course, is to further push herself and transcend, and the jazz is the code. Thought Control is the fugue, a betrayal of the anarchic state as ultimately unworkable and the devolution into strongmanism that has characterized anarchic states in the past. Everyone simply has to believe they are free, regardless of whether they're not. Everything looks the way Roze wants it to look, and all others cannot help but marvel, for they can do nothing else.

Thanks for the question, Anon.

SomethingLikeALawyer, Hand of the King

#sid meier's alpha centauri