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axolot-of-ideas · 8 months

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SO I RECENTLY finally WATCHED LUCCIOLA AND ITS SO FUCKING GOOD

NOBODY in the fandom is talking about the bridge scene in Loop 14 (Im a whore for Debris okay) despite all the discussion of the bridge and its making me so upset- ITS SO GOOD

SHUT UP ABOUT THE BRIDGE SCENE IN AURORA ITS THE SECOND LOOP AND THE SECOND EPISODE

DEBRIS IS THE LIGHT ODYSSEY EPISODE- THEY DIE IN EACH OTHER’S ARMS-

The bridge has represented so much but in this one specifically its about communication and relationships-

AND IN RELATION TO LOOPS 11-13 THE PREVIOUS EPISODE AND HOW IN THAT ONE THE BRIDGE REPRESENTS LUCI MOVING FORWARD AND HOW IT FRAMED CALY AS HOLDING HER BACK OH MY GODS ITS SO ADSJFKLHKF

i AM going to not shut up about this pair of episodes because they are my favorites

Ep.6 (Ambush) WHICH IS A CALYPSO EPISODE BTW WHICH WITH HER CHARACTER ARC IS SO ASSFLKASHFSJ I DONT CARE ITS LOOPS 11-13 WHICH ARE LUCIANAS LOOP THIS IS LIGHT ODYESSEY’S EPS

BBYGIRL I LOVE YOU AND DEBRIS AND AMBUSH ARE YOUR EPISODES

The episode starts with luciana entering the practice room interrupting calypso practising but we can hear the song a few seconds before she gets cut off AND ITS THE PART WHERE CALYPSOS MELODY TURNS INTO THE CHILDHOOD MELODY- AND THATS WHEN LUCI WALKS IN

The loop continues as normal until the bridge! AND THEN IN THE NEXT LOOP- WE WATCH HER START PLAYING- WE HEAR LUCIANA’S MOTIF WE HEAR THAT LUCIANA IS PART OF THE SONG- and then caly starts to play her own motif but thats when it cuts and we see luciana trying the loop again, trying to take them down again!!! And just seeing the montage start with the music in the background,,,,,

AND THEN THEIR CHILDHOOD MUSIC STARTS WHEN WE SEE LUCI PASS THE PRACTICE ROOM- THE PLACE WHERE THE LOOP DIVERGES- AND THEN WHEN LUCI STARTS RUNNING THE MELODY GOES TO A NEW ONE WHERE BOTH THEIR MOTIFS ARE THERE AND THEIR MELODIES ARE INTERTWINING- AND CALY GETS UP AND STARTS MOVING WHILE PLAYING AND THEIR MOVEMENTS MIMIC EACH OTHER

and then the bridge- BOTH FOR CALY WITH THE MUSIC AND LUCI WITH THE ACTUAL BRIDGE

the song is meeting its peak and then luci gets ambushed like she did in the previous loop but the way caly is dancing vs luci fighting and they’re so in sync but also its almost like they’re fighting each other

AND THEN THE BLAST HITTING LUCI AND CALY’S STRING SNAPPING AT THE EXACT MOMENT AND SHE JUST KNOWS WHAT HAPPENS AND SHE COLLAPSES AND THEN IT LOOPS-

and it seems like luciana’s perspective of the same loop but the music is quieter and luci’s melody is more prominent- AND THEN THE MOMENT IT SWELLS AND WE KNOW THIS IS WHERE IT LOOPED LAST TIME- AND SHE CLOSES HER EYES AND THEN CALYPSO’S MELODY AND SHE OPENS THEM AND CALYPSO IS THERE AND SAVED HER

AND WHEN LUCIANA AND CALYPSO HOLD HANDS AND THEIR RINGS ARE RIGHT NEXT TO EACHOTHER AS CALY IS THE ONE THATS SHOT AND LUCI IS IN THE POSITION CALY WAS LAST LOOP ON HER KNEES AND DEFEATED AUUUGGGHHH

AND THEN LOOP 14 I WONT EVER SHUT UP ABOUT DEBRIS

Its a luciana episode and has her waking up before calypso as always- the way she looks at her sleeping though always gets me and the camera lingering on her,,,, aaaaaaaa- AND LUCIANA TAKES OFF HER RING- you think it represents her not being held back caly and breaking out of her loop,,,, and the loop is pretty normal for this point but Luci is obviously like super out of it and barely says a word all episode and the sound effect usages are so good in this ep especially

and its such a slow episode but that makes it nerve wracking tension filled episode because she isn’t saying anything and is clearly affected still

And then we watch her walking to the bridge with the step sounds aadshehdjajhdjxhshgkdl

and the slow pan up to Calypso there and shes so bbygirl sad and the soft “Please just let me help you” while they’re on other ends of the bridge

AND THEN LUCI SUMMONING HER BLADE AND JUST “THIS IS FOR YOU …All i’ve done” WITH HER MOTIF AND THEN IT KICKS INTO CALYS MOTIF AND THEN ITS THEIR SONG FROM LAST EP JUST FUELED WITH SO MUCH MORE

MORE ANGER MORE LOVE MORE *THEM* ITS SO- BUT THEY’RE FIGHTING EACH THEIR MOVEMENT STILL SO IN SYNC YET AUUGGGHHH- AND THE DIALOGUE- THE ONLY DIALOGUE THE WHOLE EPISODE- the pauses between the strumming of Caly’s magic and the clangs of Luci’s blade for their soft words to each other-

“THIS IS WHAT WE TRAINED FOR- WHY WONT YOU JUST LET ME HELP-” “BECAUSE EVERYTIME I DO- YOU DIE AND I LOOP-” “SO YOU’LL JUST KEEP DOING SUICIDE MISSIONS?" “BECAUSE I CANT LIVE WITHOUT YOU… And not just because of the loop” “Please- Let me help-” “NO- I WONT STOP UNTIL YOU ARE SA-” “I CANT LOSE YOU- “I AM LOOPING BECAUSE I KEEP LOSING YOU” “AND I CANT KEEP LOSING YOU AGAIN EITHER” “...again?-” “I AM LOOPING BECAUSE OF YOU” “Calypso..”

AND THE PAUSE AS THEY LOOK AT EACHOTHER Just steps from the center of the bridge and eachother- and luci finally seeing the tiredness in caly’s form,,,, THEN CALYPSO PULLING OUT A TARNISHED GOLD NECKLACE WITH BOTH THEIR RINGS ON IT

THEN THE BOLT THAT KILLED THEM BOTH IN THE PREVIOUS LOOPS HAPPEN AND KILLS THEM BOTH AT THE SAME TIME- CALY FALING INTO LUCIANA AND THE ZOOM IN TO THEIR HANDS BOTH HOLDING THE NECKLACE- THEIR RINGS AND LOOPS NOW INTERTWINED

AND THE WAY THE CAMERA LINGERS LIKE IT DID AT THE BEGINNING-

THE BRIDGE REPRESENTING COMMUNICATION BETWEEN THE TWO AND THEIR RELATIONSHIP- EPISODE 7 BRIDGE IS ABOUT THEIR LOVE AND THE CONFESSION OF LOVE (I can’t live without you) AND OF LOOPS

#lucciola #lucciola ep analysis #calypso logrecco #luciana angeli #light odyssey ship #luciana/calypso #calypso/luciana #calypso logrecco/luciana angeli #luciana angeli/calypso logrecco #lucciola anime #im so unhinged about this show #please go watch it #unreality #im so sorry but im gonching

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baliluxuryvillasrental · 1 year

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Villa Adasa Seminyak

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An oasis of repose, Adasa reveals the influence of traditional Balinese architecture in the magnificent open-sided vaulted living pavilion and the liberal use of local materials (alang-alang roof, Palimanan stone walls, floors of terrazzo and polished teakwood). The interiors are achingly chic – black and white prints of 1930 Bali balance batik cushions in wild contrasting colours, an antique mirror reflects the bowls of orchids adorning the large dining table, Turkish and Tibetan rugs ripple across acres of floor. In contrast to such traditional touches yet completely in keeping with the clean contemporary lines are welcome 21st Century luxuries like Satellite TVs, Sonos music system and Bose sound system. There’s luxury in the sense of space too – entertaining is a breeze, yet myriad terraces, balconies and private spaces provide quieter areas of retreat.

Adasa means ‘ten’ in Balinese – and top marks must go to the villa staff too, for whom nothing is too much trouble, no detail is overlooked. The poolside bar counter sees a lot of butler bartending activity (the master bedroom loggia is just the spot for sunset cocktails).

This is a glamorous ‘grown-up’ villa and perfect for a group of friends who want to be in the thick of the action, yet families with kids, especially teenagers who appreciate the freedom to wander down to the beach in minutes, will not feel short-changed.

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leibal · 4 years

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Casa Lucciola is a minimalist renovation located in Corippo, Switzerland, designed by Rafael Schmid Architekten. The project site is located in Corippo – the smallest municipality in Switzerland located in the Italian part of the country. Corippo is a renovation project, revitalizing and converting an animal barn – originally built around 1850 – into a cozy and fully sustainable holiday home. As the inner spaces are quite tight, every inch of the house is considered as storage space. Especially the cupboards under the stairs have been proven as a really convenient solution. Throughout the whole interior, a simple material palette is used, as all the finishes are made out of timber panels to provide a sense of simplicity and an inviting environment.

#minimalism #minimal #minimalist #minimal interior #interior design #leibal

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animebw · 3 years

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Binge-Watching: Last Exile, Episodes 20-23

In which we arrive at the final destination, the Guild is weird in a lot of ways, and I get frustrated with how Lavie- and the show’s female cast in general- is sidelined.

Welcome to the Guild

We’re officially in Last Exile’s endgame, which means it’s time for the story to take us to the enemy’s home base. We’ve caught bits and pieces of what the mysteries Guild is like from the characters who are or once were part of it, but now we get to see in in person. And unsurprisingly, it is weird as shit. Weird technology, weird culture, weird priorities, and lost of suitably fucked-up reminders of how evil they are. My favorite scene in this whole chunk of episodes is Maestro Delphine’s dinner with Claus and Al, as she explains her philosophy on life to them. The Guild hoards all the world’s riches for themselves; while countless people lack clean drinking water, they happily waste gallons of pure water just to wash their fish. Delphine scolds Claus that there are too many people in the world to be supported equally, and if the unwashed masses are allowed free reign to drink and revel and populate, they’ll surely drive themselves to extinction. Which, of course, totally justifies hogging all the world’s resources for the elite and leaving the many to scrounge over scraps. It’s the same mindset that the Anatory and Disith leaders used to send countless soldiers to their deaths while the upper crust sat pretty and stayed out of the action. Only this time, there’s no cheap excuse of “chivlary” to disguise how nakedly evil it all is. In Delphine’s eyes, the Guild deserves better because they are better, and all these scrabbling peasants can wither in misery for all she cares.

That’s a good hook to build the climax around, giving us a nasty villain worth kicking in the teeth off. That said, the further in the weeds of the Guild stuff we get, the less and less interested I felt myself becoming. This show has never really been good with interesting characters, but the Guild especially is just boring. Beyond that one scene, Delphine’s just every stereotypical Evil Lady villain with creepy sexual/incestuous overtones, with no creativity to set her apart and all the cringe associated with that archetype. Which has the double problem of rendering Dio’s character mostly lifeless the moment he’s pulled under her thumb. And yeah, I know the whole point is that this weird ritual has turned him into a willing slave of society and it’s horrible that he’s lost his personality, but I wasn’t that endeared to him to begin with, so I don’t feel the loss of a character I cared about, he just loses what little spark he had in the first place and I don’t care about him anymore (though he does have some good moments prior to his brainwashing: ”Ship 5, report status.” “I have no idea!”) Same deal with Lucciola; we’ve barely focused on these characters until now, so we haven’t gotten the chance to connect with them the way we have with Claus and Lavie. I get the broad strokes that Lucciola was raised as a mindless pawn until Dio’s friendship gave him a will of his own, but until we get that backstory, he’s just so unbelievably bland. And then he pulls a Supernatural right afterward and gets sent to turbo hell for confessing his gay, so that’s the last we’ll see of him.

Losing Lavie

The problem, really, is that we haven’t gotten invested enough in the Guild characters to build the climax around them. They’ve been important, yeah, but we’ve barely spent any time getting to know them. My emotional investment lies almost entirely in Claus and Lavie; they’re the characters I’ve actually been given a chance to care about. Everyone else is little more than pawns being re-positioned on a chessboard. But now Lavie’s basically been taken out of the action and Claus has to carry the main plot by himself, and I’m sorry, he’s just not up to the task. Without Lavie playing off of him, he’s every generic Serious Boy Protagonist ever. And it sucks that the show’s been re-orienting around him after billing itself as a double act from the start. Claus and Lavie together were what endeared me to Last Exile initially. The promise of their teamwork and relationship was what got me invested beyond the cool steampunk worldbuilding. But ever since Lavie bailed from the action back in episode 10, she’s been given basically nothing to do but get pissy at Claus for spending time with Tatiana, and you all know how I feel about that shit.

In fact, the more I think about it, the more frustrated I get with how Last Exile treats its female characters. Which is weird, because there’s not a lot of outright “offensive” stuff you could point to and get pissed over. There’s been basically zero fanservice, female officers exist comfortably alongside male officers... in terms of gender parity, there’s not much to complain about. But it feels like every single female character is made to exist in the shadow of some dude. Sophia is the empress of the entire country, but she has to be rescued by other people and is constantly positioned as the right hand man of Broody Bad Boy Alex. Tatiana’s character arc revolves around her realizing that Claus is better than her, and now she wants to live up to the example of a younger boy. Al is your standard-issue innocent child who needs to be protected from everything. There’s also that Disith girl who inexplicably gets roped into a romantic subplot with Mullin, all so he can be a big strong dude and promise to protect her right before dying tragically and making her cry her eyes out. Which is only marginally less contrived and meaningless than when Gurren Lagann did it, and at least Gurren Lagann had absolutely incredible animation to make up for it. Not fights to the death choreographed and shot like a dance for some reason. Like, I guess that could be cool on just a cinematic level as a Thing to do, but the too-close camerawork and awkward direction do it no favors. The only female character who doesn’t answer to a man in some way is Delphine, and she’s Crazy Incest Evil Bad Lady, soooooo yeah. It’s not as obvious as something like Fire Force, but it seeps into the fabric of the story all the same. I swear, Lavie better get to do some bomb-ass shit in the final episodes, or I’m really gonna be pissed.

Odds and Ends

-Is this search just one day, or several days? It’s a little unclear.

-Aaaaw, Al, that’s really sweet.

-”Okay, let’s party quietly.” pfft

-Ooh, I like all the different legends about what Exile might even be. Adds to the mystery.

-JESUS CHRIST WHAT ARE THOSE THINGS

-That’s... a weird place for an insert song scene transition.

-Jesus, they fight to the death for the right to be the next leader? This society is fucked up.

-”The Exile is a colony ship from those who created this world.” ...alright then.

-Well, this imagery is just getting weird now. Why is the rose bush bleeding?

One more session to go. Let’s hope it’s a good one. See you next time for the finale of Last Exile!

#anime #the anime binge-watcher #tabw #last exile

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theodoramoreaus · 4 years

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WHEN: April 4th WHERE: Twelfth Night Museum WHO: Closed @maeve-petre

They’ve been away too long, though they’ll never let it show. Theodora missed the sensation of their fingers wrapping around a pen and the strokes that it made to draw up their ideas. First order of business, make sure everything was in proper shape. With this blow to the Montagues and their need to reconvene, Theodora knew this was a prime opportunity to resurface and go on the offensive with their business, snatch clients and grow those entering the whimsical world of the Fae. Catherine has been a lifesaver on the management end of things, ensuring smooth production while they were unable to even with so much on her plate. They knew they’d chosen the right apprentice; they knew their lucciola would glow bright enough to join the stars.

Production was all fine and good, as was distribution, but Theodora knew the market needed expansion. The snatching of pain was a good selling point, but what about those who didn’t care about pain? What about those who thought themselves invincible to it? There was untapped potential in the youth of today, with so much connectivity at their fingertips ready to spread the word about the most unbelievable high they’d had last night. Theodora didn’t think of themself as old, think of themself as past some sort of prime that didn’t exist, but they knew their hands were in too many pockets to imagine infiltrating yet another circle, especially not as they still had some recovering to do. So, they called upon the Capulet with round, rosy cheeks and eyes that sparkled almost as much as their products did, sat her down, and peppered her with the flattery they’d hoped would sweeten the deal.

“I remember what it was like to be young and full of so much hope and ambition.” That was a bit of a lie, but what did it matter when much of Theodora’s life was shrouded in mystery? There was no one to call them out on it, no one to see the pain that weighed them down at the ankles or the wear from the knowledge of the bite Verona had once the sun set. Hope was not exactly what they had. Ambition, however, had started to trickle into their veins around that time, for it was then glittering tears would begin their transformation to glittering powder, it was then that their pain would drive them to eliminate that which Verona had. “Tell me, Maeve, I must be missing out on so much; which is why I thought you could help me.”

#i: maeve #d: apr 4 #i hope this is okay!#l: twelfth night museum

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catherinedaly · 4 years

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date: 1 june 2020 location: theodora’s laboratory status: closed to @theodoramoreaus

It’s not often Catherine feels so detached and removed from Theodora Moreau’s lab. In fact, there’s hardly been a day in which the littlest Daly didn’t feel comfortable. From the very beginning, il sovrano delle fata opened their arms and ushered Cat in; they dubbed her their lucciola, and she’s been at home ever since.

But now, this home feels more constricting than freeing, especially with Verona’s budding principessa delle fata’s life having ended so abruptly. She feels the corner of her eyes prickle, but she does not cry. Rather, she caps the solvent with which she’s working and sets it aside, knuckles blanching as she balls her hands, nails digging crescent moons into her palms.

She can’t do this. She just can’t.

“Theo,” Cat says, voice still raspy from the unholy, ragged sobs that tore from her throat the night prior. She doesn’t look at them, choosing instead to keep her head down as she continues, “She was just at my house, learning about il sangue and il anello, you know. We were happy. Maeve and I hadn’t spent time together like that in so long and she just--” Words fail, and she’s suddenly feeling terribly small in the presence of one of the few people that have always been in Cat’s corner as she’s faced with the ugly truth: that no matter how happy Maeve seemed that afternoon, it couldn’t have been true--not entirely.

#re: theodora #l: theodora's lab #theodoramoreaus: 003 #act ii: scene vii #/ short and sad #/ just how it should be #e: the roses you gave me never got the chance to bloom

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serpentwined · 5 years

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I made all my friends watch my favorite anime, Last Exile. Lucciola and Dio are my dream meme team. I highly recommend this, especially the dub because there are a lot of good VAs! I always cry at the end too, I'm crying right now!

#Last Exile #Dio Eleclair #Lucciola #art #my boys ;_;#I love them sm

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xiv-endora · 5 years

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Questionable Judgment

..if you consider this witch at least.

The Perks

She's Elezen, so that right there should grab your attention.

What about secrets or a sad, long past that you rather not talk about? Oh, well you're in luck!Endora doesn't want to hear that lame story anyway! Never having to worry about being poked or prodded about things you don't want to talk about sounds pretty good, right?

Granted she's not fond of talking about feelings, chances are she'll never speak to you about them, there is one thing that the beauty will voice herself on and that subject is sex. There's no shame on the topic. Just don't ask her to share stories because she doesn't kiss and tell, even when completely drunk.

Not only is her tongue pierced, but it's always sharp and ready to give shit back. So if you like banter and wit, most likely you're going to enjoy her company.

Oh no, have a tummy ache? Endora excels in creating potent concoctions from every day ailments to things more, personal and ..soulful.

The woman is loyal and faithful, always. Nothing will ever change that.

Just because she might look fragile on the outside, doesn't mean she's weak. So, never judge a book by its cover because this woman will easily go head to head with someone if they wronged anyone she deems worthy enough as a friend or more. Be it with a fist, knife, poison, magick- she'll kill for you without thinking twice.

If you managed to creep into her heart somehow, congratulations, you're one lucky son of a gun. Expect quiet nights together, sharing a smoke, talking about anything at all, while finding nostalgia in the tone of her voice.

Also, she's out of this world. Take that how you will.

The Downfalls

The woman detests emotions and feelings, so you'll have to deal with someone that has no idea how to handle these things. This includes random bursts of tears, anger, shouting and so forth.

Don't smother her less you'd rather not see her ever again. Too much affection is no good.

She's possessive when it comes to things that are hers, let alone people. If you're with her and you're a flirt by nature? It won't end well.

If you dislike birds, especially ravens, then dismiss yourself. She has two of then that mean everything to her, Dio and Lucciola. They are more important than you.

Don't like spooky things? Cemeteries, ghosts, scary stories and so forth? Those are some of her favorite things. If you can't handle that, you aren't worth her time.

Endora is a neat freak. Can't deal with messes.

She can't cook well, so, better hope you have something to offer else you're going to starve.

Has a habit of picking up and leaving without warning, due to her job and some personal issues.

Sex drive is way too high, and if you aren't a fan of someone who might have slept with your friend while being in a drunken stupor, interrogated for information- long story short, chances are she's been with someone you know.

Stubborn, lies and fakes her smiles.

Can't handle not knowing what she does for a job? See yourself out the door.

Tagging: @cassian-kane @paleshadeofrose @theshroudwolf @the-wanted-man @s-udarshana @ladyrivienne @the-ruby-rogue @mythraltia @ze-dominant-demon (Or if you are reading this and haven't done it yet! I had to shorten this cause boy there are too many cons with Endora!)

#`the witch of the waste`#reference #answers #ffxiv #ffxiv rp #stories #ffxiv balmung #information #character information #endora bloodveil

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renatosampaio101 · 5 years

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‘Separados pelo nascimento’: 10 carros diferentes, mas iguais

Tem muito modelo de automóvel por aí que dá aquela sensação de dejá-vu. “Já vi aquela lanterna em algum lugar”, “Nossa, aquela grade não me é estranha” e “Conheço esse farol!” são algumas das frases que você já deve ter dito por aí ao confundir um carro com outro. Pois é, muitos modelos são bem parecidos entre si.

Seja a forma completa, ou só a dianteira, ou apenas as luzes traseiras, muitos veículos guardam similaridades no estilo, enquanto outras são cópias descaradas – prática que era comum entre as marcas chinesas. Alguns cabem, inclusive, naquele meme: “Pode copiar, só não faz igual”.

Veja 10 duplas de carros que parecem irmãos gêmeos

10. Honda CR-V (2ª geração) x Chery Tiggo (1ª geração)

Apesar de lançado em 2001, a segunda geração do CR-V tinha ainda aquele ranço de design típico de modelos asiáticos dos anos 1990. Faróis quase quadrados em meio a uma grade estreita e o estilo caixotinho eram os traços mais evidentes do modelo da Honda. Quatro anos depois surgia o Tiggo, a primeira geração do SUV da chinesa Chery, que guardava muitas semelhanças com o rival. Repare principalmente no conjunto ótico e na traseira após a terceira coluna.

9. Tata Indica x Fiat Palio (quarta carroceria)

O Indica é um compacto da indiana Tata que, de perfil, lembra até o Corsa. Mas a posição da grade e o capô remetem diretamente à última reestilização do Palio de terceira geração aqui no Brasil. Mas nada de preconceitos e culpar os indianos de cópia. O de lá foi lançado em 1998 e durou até 2008, ano em que o veterano compacto da Fiat recebia esta terceira remodelação.

8. Citroën C4 Cactus x Fiat Toro

Calma, aqui a semelhança está no efeito dos faróis e, obviamente, não na carroceria. O filete de LEDs na extremidade do para-choque, subindo pela beirada do capô, é bem parecido tanto no hatch metido a SUV da Citroën, como na picape meio média, meio compacta, da Fiat. Além das entradas de ar bem distintas, na Toro a diferença é que o conjunto ótico é mais prolongado, enquanto o capô do Cactus tem linhas limpas e é mais curto. Para completar, os dois recebem as luzes auxiliares posicionadas justamente nas extremidades do para-choques.

7. Mini Cooper x Lifan 320

Esse rendeu até processo. Em 2000, a marca britânica resolveu dar uma nova leitura ao seu subcompacto e o transformou em um carrinho mais requintado e potente, sem perder o estilo charmoso e inconfundível. Quase uma década depois, em 2009, eis que surge o Lifan 320, chinês muito – mas muito mesmo – parecido com o Cooper, com direito a faixas esportivas no teto e no capô. Era tão idêntico que a BMW, dona da Mini, abriu processo contra a marca chinesa, em 2012. A sentença foi até favorável aos alemães, porém, só foi proferida em junho passado. O Lifan em questão deixou de ser vendido no Brasil em 2014…

6. Fiat Argo x Renault Sandero

Outra dupla parecida apenas em uma parte da carroceria, neste caso, a traseira. A recente remodelação do hatch da Renault, em julho, apostou nas lanternas invadindo a nova tampa do porta-malas. O aspecto meio “asa” ficou bem parecido com o estilo adotado pelo Argo, o compacto premium da Fiat lançado em 2017. Mas vamos combinar que os dois também têm um quê de Hyundai HB20, que estreou em 2013.

5. Range Rover Evoque x Landwind X7

Esse é um daqueles casos de cópia descarada dos chineses. O modelo da Land Rover quebrou paradigmas no segmento de SUVs em 2010, com seu visual bastante arrojado e fora dos padrões dos utilitários esportivos à época. A Landwind não se fez de rogada e, em 2016, apresentou o X7. Faróis e grade dianteiros parecem que são dos mesmos fornecedores. Veja que até o nome da marca asiática imita a tipologia dos britânicos.

4. Daewoo Matiz x Chery QQ

Uma das “tretas” mais antigas da indústria automobilística. O Matiz nasceu na Coreia do Sul sob as asas da Daewoo, marca pertencente à General Motors. Foi projetado originalmente por Giorgetto Giugiaro, como o carro-conceito Lucciola. O QQ surgiu cinco anos depois, mas a similaridade com o rival era descarada: não só pelo estilo da carroceria, como também pelos faróis redondinhos, capô e estilo da grade. A GM logo abriu processo contra a Chery e, como prova na ação, chegou a pegar a porta de um QQ e instalar em um Matiz – sem qualquer dificuldade.

3. Hyundai Azera x Chevrolet Cruze

A recente reestilização na linha 2020 do sedã médio da GM o deixou ainda mais parecido com a atual geração do modelo sul-coreano, lançada em 2018. Preste atenção no “calombo” que parece se formar no caimento do capô. Mesmo a grade do Azera se confunde um pouco com a entrada de ar inferior do Cruze. De perfil, os modelos também são parecidos. Em especial, o caimento da terceira coluna.

2. Jaguar S-Type x Kia Opirus

Outra “coincidência” das antigas. Os faróis redondos duplos que o sedã da marca inglesa trouxe em 1999 nem eram tão originais assim: três anos antes, a segunda geração do Mercedes-Benz Classe E já se valia de tal “assinatura”. Mas o conjunto dianteiro com a grade mais verticalizada e proeminente do Jaguar parece ter inspirado o visual do carro da Kia. O caimento abaulado do capô e a tampa do porta-malas mais retilínea também são bem parecidas.

1. Volkswagen Up! x Weikerui V7

Esse até parece daqueles jogos para achar sete erros em revistas de passatempo, de tão descarada que é a cópia. Em uma feira de elétricos na China em 2017, a pequena Weikerui causou escândalo ao mostrar o V7. O carrinho é praticamente um clone do Up! – mais perfeito que o da ovelha Dolly. Frente, laterais e traseiras são iguais ao Volkswagen lançado mundialmente em 2011. Nem na cabine os chineses tiveram algum pudor para disfarçar, já que o painel é idêntico e pintado na cor da carroceria. Até a logo redondinha dos chineses lembra o símbolo da marca alemã.

O post ‘Separados pelo nascimento’: 10 carros diferentes, mas iguais apareceu primeiro em AutoPapo.

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jonathanbogart · 7 years

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Magnitizdat: Soviet Aligned Pop and New Wave

Mix seven of seven. The previous mixes can be found here. The YouTube playlist for this mix can be found here. Below this paragraph is the tracklisting for this mix; below that are my notes on it. It’s been a gas.

Bravo, “Koshki”

Klaus Mitffoch, “Jezu jak się cieszę”

Spenót, “Szamba”

Tango, “Na šikmé ploše”

Forum, “Davayte sozvonimsya”

Urszula, “Wielki odlot”

Pankow, “Rock ‘n’ Roll im Stadtpark”

Florian din Transilvania, “Mă simt minunat”

Trick, “Elektronnoto kuche”

Dzeltenie Pastnieki, “Sliekutēva vaļasprieks”

Marika Gombitová, “Prekážky dní”

Grazhdanskaya Oborona, “Zoopark”

Gigi, “Divat a fontos”

Maanam, “Lucciola”

Silly, “Die Gräfin”

Kino, “Posledniy geroy”

Sfinx, “An după an”

Első Emelet, “Amerika”

Aya RL, “Skóra”

OK Band, “Žižkovská zeď”

Nastya, “Tatsu”

Magnitizdat: soviet aligned pop and new wave

In a just world, just about every nation represented here would get its own mix: Poland, Hungary, Czechia, and Russia, to name just the largest pop scenes, were (and are) too capacious to be summed up in the paltry handful of songs I’ve allotted them. But I’m already teetering on the furthest outside edge of my understanding. My grasp of Europe is comparable to Saul Steinberg’s legendary view from 9th Avenue: the further East of the Pyrenees I get the more featureless and notional everything is.

To make things more complicated, although the seven nations (at the time; now 13½) represented in this mix were formally Soviet-aligned in terms of foreign policy and general economic structure, they all pursued different approaches to cultural policy, and those policies changed radically over the decades, and even from year to year. At the beginning of the 1980s, the Soviet Union was perhaps the most officially censorious in terms of rejecting Western influence, whereas places like Poland, Hungary, East Germany, and Czechoslovakia were relatively open to current trends in Western European culture, especially following the Prague Spring of 1968. Then too, one of the necessary preconditions for good pop is money (which doesn’t necessarily mean pure capitalism: state-funded arts education and broadcast media, e.g., made British pop the envy of the world), and many of the Eastern Bloc nations, whether or not they were eager to support international-style pop, were among the poorest in Europe.

Still, life finds a way. Electronic music in particular was taken up enthusiastically by many Warsaw Pact composers in the 1970s, both as a technical challenge and as a path forward into a Communist musical future that owed nothing to the dead traditions of the West. Young musicians in Warsaw, Riga, and Leningrad got hold of contraband records or reel-to-reel tapes (called magnitizdat in Russian, in parallel with printed samizdat, according to Wikipedia) of new and innovative forms of rock and pop, imitated them, and added their own perspectives. And Eastern European nations held their own national and international versions of Eurovision, and broadcast local singers in a variety of traditions, both as light entertainment and as a way to reinforce cultural nationalism.

So although Eastern Bloc pop in the 1980s was often cheaper and perhaps chintzier (or at least dedicated to different notions of cool) than its Western counterparts, there was still plenty of it; but it was also unevenly distributed. My division below is less about population size or global importance (either today or historically) than about what would fit into a single mix. There are six Soviet songs (five Russian, one Latvian), four Polish, three Hungarian, two East German, two Czech, one Slovak, two Romanian, and one Bulgarian. Linguistically, it’s my most diverse mix by far, with six Slavic languages, one Germanic, one Uralic, and one Romance language represented (the runner-up, Melodier, had five Germanic languages and one Uralic). Google Translate is my everything.

All of them are great songs, and most of them are great records as well (we’ll get to the exception), although I doubt anyone actually living in Eastern Europe, either at the time or presently, would group together these precise performers in this way: some were defiantly underground, some boringly mainstream, and most somewhere in the middle.

Most of these mixes have taken 1981 and 1987 as the boundary years: while this one ends with a longish 1987 track as per tradition, the rest of the songs are mostly clustered between 1983 and 1985. Due to protectionist policies (both Eastern and Western), inefficiencies of resource allocation, and the slow-to-arrive effects of glasnost, the new wave (if that’s even a useful term to describe a shift towards 1980s-era modernity in the diverse Communist scenes) rolled over Eastern Europe several years after it had blanketed the West. My early investigations all centered on 1984, and further research still marks that as a pivotal year.

Anyway, here’s what I’ve fallen in love with. I hope you dig it too.

1. Bravo Koshki no label | Moscow, 1985

WIth all apologies to Long Island’s Stray Cats, Southern California’s Blasters, England’s Shakin’ Stevens, West Germany’s Ace Cats, and Barcelona’s Loquillo, the greatest rockabilly revival act of the 1980s was the Russian Браво (Bravo). Formed in 1983 by guitarist Evgeny Havtan, with singer Zhanna Aguzarova signing on later that year, they played 1950s rock and roll with a side order of 1960s ska, with lyrics simple and catchy enough to be universal but subversive enough to get them into trouble. “Кошки” (Cats) could be a children’s song: “Cats don’t look like people, cats are cats,” is the opening lyric. But when Aguzarova adds that cats don’t talk nonsense or care about bits of paper, that’s questionable, and when she launches into some of the most thrilling scatting ever heard in rock & roll it’s downright revolutionary. After the band had self-released their first recordings on magnetic tape, she was arrested for using forged identity papers in 1984, and didn’t release a proper record until 1987. She left the band in 1989 for a solo career, and is beloved throughout Russia as a sort of Lady Gaga avant la lettre, while Bravo under Havtan and a succession of singers has continued to plow their rockabilly furrow to slightly diminished success.

2. Klaus Mitffoch Jezu jak się cieszę Tonpress | Wrocław, 1983

One of the most important Polish new wave bands, Klaus Mitffoch combined punk energy, two-tone nimbleness, and post-punk solemnity in a compulsively listenable and sometimes danceable mix. Their first single, Jezu jak się cieszę (Jesus, I’m Happy; the name is an interjection rather than an address) is a mordant portrait of callow youth that doesn’t think past the next payday, fight, or fuck, and of the system that keeps them that way: the shouty chorus translates as “Get up and be busy and own things/I can’t really do it/I don’t really want to.” A Polish “I prefer not to,” it’s a critique of the capitalist contract which worked just as well as a critique of Communist expectations: the lack of real difference between the oppressiveness of East and West will be an ongoing theme.

3. Spenót Szamba Start | Budapest, 1983

Although I’ve been attaching the tag “new wave” to these mixes, one of the signature sounds of the US new wave has been entirely unrepresented: the beachy kitsch of the B-52’s. Until now. Spenót (Spinach) was a Budapest arts collective founded in the early 80s which only released one single on the rock imprint of the Hungarian state label: “Szamba” (Samba) b/w “Hová tűntek a szőke nőket” (Where Did the Blondes Go). Casio, bass, guitar, and disaffected vocals from Kriszta Berzsenyi (now a costumer in the Hungarian film industry) make for a minimal-funk tribute to proletarian hero Popeye, as the refrain “Everything’s perfectly fine, I’ve got spinach flowing in my veins” makes clear. A late entrance from a mariachi trumpet only adds to the delightful kitsch effect, and makes me grin ear to ear every time I listen.

4. Tango Na šikmé ploše Supraphon | Prague, 1984

Although the island-borrowed rhythms and frontman Miroslav Imrich’s vocal qualities in this early song are rather heavily reminiscent of the Police, in terms of cultural positioning Tango were rather closer to Madness: a ska-pop band that could be goofy or heartfelt depending on the song, and burrowed deep into Czech working-class cultural identity, in part thanks to their inventive and prolific videos. Their first single, “Na šikmé ploše” (On the Slope) is a heartfelt and rather poetic love song on skis. Even after Tango’s dissolution, Imrich has been a consistently popular singer and songwriter in the years since, his work, both solo and in collaboration, ranging from ballads to techno.

5. Forum Davayte sozvonimsya no label | Moscow, 1984

A Russian synthpop band who owed nothing to such English decadents as Human League or Depeche Mode, Форум was fronted by singer Viktor Saltykov, who had previously sung with rock band Manufactura, and anchored by synth wizard Alexander Morozov. The video for Давайте созвонимся (Let’s Call Each Other), from an early television appearance, has become a minor internet classic of kitschy Soviet aesthetics, but a google of the lyrics reveals as thoughtful and sensitive a song about love under modern technological conditions as anything Gary Numan or Scritti Politti ever recorded. Forum’s debut album wouldn’t see official release until 1987, by which time a lot of Russian pop had caught up to them.

6. Urszula Wielki odlot Polton | Lublin, 1984

Perhaps Poland’s most prominent female rock star for the last forty years, Urszula Kasprzak has recorded in a variety of styles, from hard rock to dance-pop; but her 1984 album Malinowy król (Raspberry King), recorded with members of prog band Budka Suflera, is a minor masterpiece of cool, reflective synthpop. “Wielki odlot” (The Great Departure) was the leadoff track and the album’s lowest-charting single, but I love its stately swell and the apocalyptic lyrics (or maybe it’s just about emigration, which is another form of apocalypse). I’m looking forward into digging around into the rest of Urszula’s discography.

7. Pankow Rock ’n’ Roll im Stadtpark AMIGA | Berlin, 1983

East Germany probably had the most thoroughly Westernized and extensive pop scene in the whole Eastern Bloc — only natural, given its proximity and exposure to West German media. But child star Nina Hagen had to leave East Berlin to help found the Neue Deutsche Welle: East Germany preferred shaggy 70s rock even as icy synths overran the NATO countries. Pankow, formed in the eponymous suburb of East Berlin, was a case in point: definitely a new wave band, they still clearly adored old-fashioned boogie rock. “Rock ’n’ Roll im Stadtpark” (Rock ’n’ Roll in the City Park) is an anthem of Communist rock (even the shouted refrains are collectivized): dancing to rock & roll in the park is better than bourgeois disco or high-priced cinema, because it’s free. Of the people, by the people, for the people, oh yeah.

8. Florian din Transilvania Mă simt minunat Electrecord | Bucharest, 1986

The hermetic and impoverished Romanian scene, tightly controlled by Nicolae Ceaușescu’s Maoist-modeled authoritarian government, was the slowest of the European Communist nations to catch up to the present of the 1980s: officially supported music tended to be folkloric, balladic, and at its most up-to-date, hippie-era hard rock. Mircea Florian was one of the grand exceptions: beginning as a mid-60s folk-rocker in the mold of Dylan and Cohen, and maintaining a parallel interest in electronics and modern composers like Stockhausen and Nono, he moved through many progressive, electric, and Eastern-influenced musical phases over the next twenty years, often butting heads with the regime. His last great record, 1986’s Tainicul vîrtej (The Secret Swirl), released just before his defection to West Germany, was a summation of his folk- and art-rock past and his new-wave present. This opening track “I Feel Great,” is a statement of gleeful modernism, the lyrics an expression of bucolic alienation while the synthesizers and drum machines wander off on prog-rock solos before being recalled to robot rhythms.

9. Trick Elektronnoto kuche Balkanton | Sofia, 1985

If the Romanian rock scene was impoverished, its Bulgarian counterpart was even more so. Trick was a vocal group — two women, one man — put together out of music school in frank imitation of Western acts like ABBA, Boney M, or even (if the record sleeves are any indication) Tony Orlando and Dawn. But this cut from their first LP, “Electronic Dog,” was produced by the young, ambitious Kristian Boyadzhiev to a hypermodern sheen: if the girls are still essentially singing disco harmonies, at least the music has heard of ZTT. After release, the song was suppressed by Bulgarian state media on the grounds that the goofy lyrics and synthesized dog barks were making a mockery of Bulgarian electronics. But today, it sounds like it might predict Eastern European trance.

10. Dzeltenie Pastnieki Sliekutēva vaļasprieks no label | Riga, 1984

The underground new-wave scene in Latvia was apparently the most active and prolific in the Soviet Union outside Mother Russia: the Baltic seaport of Riga, as one of the USSR’s few access points to global culture, saw bands like Pērkons, NSRD, and Dzeltenie Pastnieki making waves even as their magnetic-tape recordings were suppressed by the Soviet authorities and not released for decades. I chose this song by Dzeltenie Pastnieki (Yellow Postmen) not because it’s exceptionally better than the rest of their material, which is all pretty great, but because its combination of electronic loops and sensitive guitar sounded surprisingly to me like the Postal Service. The pitch-shifted vocals, sure, sound more like “The Laughing Gnome,” but that’s no deal-breaker.

11. Marika Gombitová Prekážky dní Opus | Bratislava, 1984

Probably the biggest Slovak pop star of the era, Marika Gombitová had been well-known in the eastern half of Czechoslovakia since 1977, when she sang leads for the popular rock band Modus. This synthpop gem (Daily Obstacles) from her fifth album, the unselfconsciously-titled No. 5 (it was her first stab at singing to synthesizers), uses sporting metaphors to talk about desires that slip forever out of reach, the evocativeness of which imagery would not have been lost on a contemporary television-watching audience: Gombitová had been confined to a wheelchair, paralyzed from the shoulders down, following a car crash in 1981. Her marvelous voice, thin but strong, reminds me of Cyndi Lauper’s: and the gorgeous production, with its slippery bass and a haunting electronic solo in the middle eight, makes this maybe my favorite song in this mix.

12. Grazhdanskaya Oborona Zoopark no label | Omsk, 1985

Here’s that not-great record, meaning only that it’s extremely lo-fi, so much so that the tape hiss and room tone plays practically an aesthetic role, turning a simple rock ballad into a fuzz-pop gem that could sit side-by-side with contemporary work by the Beat Happening or Hüsker Dü. Гражданская Оборона (Civil Defense) was the psych-rock project of Siberian-born Yegor Letov; after their first magnetic tape, containing “зоопарк,” was recorded, band members were institutionalized, their subversive attitudes having been dutifully reported to the authorities by the guitarist's mother. That subversiveness isn’t hard to detect in this song, in which Letov dreams of finding other crazy people (like him) with whom he can plot an escape from the zoo of contemporary life.

13. Gigi Divat a fontos Start | Budapest, 1985

Nobody on the Internet seems to know anything about Gigi, not even whether the name is of a performer or a group. The writing credit on the Hungarian compilation LP where “Divat a fontos” (Fashion Matters) appeared is to “Gigi Együttes,” which latter word just means Ensemble. But a bunch of people on the Internet, some in Hungarian, some in English, and some in Polish, have warmly praised this song, an aerobic synthpop jam that combines the best of Kim Wilde and Olivia Newton-John. It’s apparently all that this Gigi (the thirty-first entity of that name on Discogs) ever recorded, but it’s enough.

14. Maanam Lucciola Polskie Nagrania Muza | Kraków, 1984

The post-punk band Maanam, on the other hand, are legends of Polish rock, with dozens of records and a rabid fanbase: one of the most successful and important Eastern European bands of the decade. Lead singer Kora (Olga Jackowska)’s vocal style owed little to Anglophone precedent, digging deep into Slavic and Polish modernism, even when, as here, the most frequent word in the song is the Italian woman’s name of the title. In “Lucciola,” Kora dispassionately portrays a man searching for the titular woman in the night wind, while the band’s brawny Gang of Four funk motorvates right along regardless.

15. Silly Die Gräfin AMIGA | Berlin, 1982

Probably the most interesting East German rock band of the 1980s, Silly was centered around the vocal performances of Tamara Danz, who could be kabarett-outrageous in one song and luminously synthpop-tender in the next. “Die Gräfin” (lit. The Countess, but also slang for any stuck-up woman) is a funk-rock vehicle for her gift for satirical vocal caricature, as she mocks the decayed German aristocracy from a victorious proletarian point of view. Not that Danz was a strict ideologue: in 1989, she joined other East German musicians in demanding greater freedom, in protests that helped lead to the collapse of the Communist consensus. She died in 1996 of breast cancer, far too young.

16. Kino Posledniy geroy AnTrop | Leningrad, 1984

The only Russian band represented on this mix whose music was officially released within the era under consideration, Кино (Cinema) were no less skeptical about the Soviet system than their peers, just luckier in that they hooked up with the independent Leningrad-based AnTrop label, which gave them cover for sarcastic, despairing songs like Последний герой (Last of the Heroes), in which the familiar 80s theme of nuclear annihilation gets another airing, and East and West turn out to be not so different after all.

17. Sfinx An după an Electrecord | Bucharest, 1984

When Mircea Florian was one of the leading lights of Romanian prog in the 1970s, one of his few competitors in the field was the band Sfinx (Sphinx), formed in the mid-60s to play Western-style pop/rock. In the following decade, they grew more ambitious, taking cues from Yes, King Crimson, and Genesis, the last of whom, in their 80s incarnation, is a reference point here. “An după an” means Year After Year, and even though it was only their second LP (they were constantly running afoul of the Romanian censors), it was occasion for a wistful look back over the last twenty years.

18. Első Emelet ‎Amerika Start | Budapest, 1983

Perhaps the most popular Hungarian rock band of the early 80s, Első Emelet (First Floor) was formed from the remnants of several less fortunate acts which imploded around 1982. With a bright, energetic sound, witty lyrics by songwriter Péter Geszti, and an irreverent comic sensibility to their visual presentation, they were just the kind of band that would have been a lock to appear on MTV if they weren’t from a Communist nation. In fact, they did anyway — one of the television screens in Dire Straits’ “Money for Nothing” is playing an Első Emelet video. Their first single, “Amerika” is a terrific satire of that consumerist paradise, rendered with all the plastic pomp the subject deserve.

19. Aya RL Skóra Tonpress | Warsaw, 1984

One of the greatest long-running European indie-rock bands, Aya RL (for Red Love) formed when Russian keyboardist Igor Czerniawski and Polish singer Paweł Kukiz met in Warsaw. “Skóra” (Skin), their biggest hit and most well-loved song (I dare you to get that wordless chorus out of your head), is somewhat unrepresentative of their more psychedelic and intellectual work — but it’s a great song, a portrait of love despite the turmoil and violence of the heavily politicized street culture of Warsaw in the 1980s.

20. OK Band Žižkovská zeď Supraphon | Prague, 1982

If you didn’t know anything about Eastern Bloc music in the 1980s and relied only on what the Western media of the time showed you, you might expect it all to sound like this: icy, measured, foreboding. In fact, “Žižkovská zeď” (The Zizkov Wall) is just about the slowest and coldest song in Czech synthpop act OK Band’s repertoire: most of it is much cheerier and romantic. But I really dig its coldwave vibes and the sound of Marcela Březinová’s voice singing about the awful feeling of seeing your name written in graffiti by an unknown hand.

21. Nastya Tatsu no label | Sverdlovsk, 1987

Thanks no doubt to my own global position — in the (allegedly) democratic West — I’ve been focused throughout this mix on how the music of Communist Europe responds to or relates to or recalls its Western counterparts. But with “Tatsu,” the gaze shifts not West, but East. Nastya, a band formed on the border of Europe and Asia, and named after its frontwoman, singer, composer and poet Anastasia Polova, was fascinated with Japanese folklore, history, and mythology. The Tatsu of the title is both a Japanese child left for dead in World War II (that’s where the bits in English come in), and a mythological dragon-god protecting islands in the Pacific. It’s an amazing song, the centerpiece of an amazing album, and the fact that it only circulated as a bootleg tape for a decade before being officially issued in the mid-90s is the strongest indictment of late-Soviet cultural policy I know. I say that as a Communist.

That’s it, that’s all the mixes. For now, anyway. Thanks for reading and listening and sharing and liking. I’ve got other projects to keep me busy; I’ll try to mention them here from time to time.

#my mixology career

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