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charlie-rulerofhell · 3 years

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An interview with Måneskin: “It's not about out bodies, it's about our music”

Heyo, I'm back with another translation. This time the article is from the German Rolling Stone website who met with Måneskin after their TikTok performance at the Schwuz, Berlin, and posted the interview yesterday. Again there were some interesting questions asked (and the pictures they added to the article are quite nice, though severely lacking some Ethan content, but check it out!).

Again, I hope that no one has already gone through the effort and translated it or is currently working on a translation. Also this is an official invitation, if you stumble across any articles or video interviews in German that you would like to have translated just message me and I'll get to it! (or if you just wanna chat about Måneskin, my inbox is always open :))

Have a great day everyone!

Full article under the cut.

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An interview with Måneskin: “It's not about out bodies, it's about our music”

Jose-Luis Amsler

July 6, 2021

Måneskin are just what this generation has been missing. Passionate, corny, and full-on honest. In an interview with Rolling Stones, the ESC winners explain to us why they would never work in a normal job and why the hype for their appearance is sometimes going too far.

Damiano, Victoria, Thomas and Ethan are entering the nearly deserted dance hall, before they wait on stage in a red-blue spotlight. They are wearing glittering fish net tops, black tape across their nipples, leather pants, heels and make up. The camera men who are filming in portrait format (9:16) suitable for TikTok are whirling up the haze of the fog machine.

Måneskin are [in] Berlin to give a TikTok concert. A TikTok livestream of this scale has not been done often – tension is in the air. The four Italians don't know at this point that due to the stream the few people present are not allowed to clap or cheer. In complete silence and with slight uncertainty the four are crossing Neukölln's club Schwuz. A few puzzled glances are exchanged. Finally, Måneskin are striking the first chord.

Then the rich sound of Ethan's bass drum is tearing through the silence. It's almost as if someone has flicked a switch somewhere. There it is, the rock star presence that is hovering over everything they do, with an ounce of arrogance (in the best sense of the word). Singer Damiano is dancing lasciviously on his heels, and during an especially ecstatic solo guitarist Thomas is throwing himself down on the floor in a way it can only be done by a passionate 20-year-old musician who had never had to worry about the looming doom of an artificial knee joint [for 'passionate' the interview is using the term 'besessen' which means 'possessed', and although I think it's rather supposed to describe the way Thomas is 'possessed / obsessed' with the music, thus passionate for the music, you never know if they didn't mean to say that the way he dances looks 'possessed' … I mean, they might be on to something here ;)]. Around half an hour and about 120 decibel later, Damiano says their goodbyes with an almost shy-sounding “Okay, bye.” After the performance, we do our interview in the Schwuz.

Rolling Stone: It was a little bit weird, right, when you went on stage today?

Damiano: Yeah, that was really strange (laughs). They only told us after the performance that the audience was instructed to stay silent for the stream.

Vic: But at least they weren't silent because we were shit (all laughing). We are slowly getting used to playing without a live audience. I mean we are doing this now for more than a year.

RS: What do you think about these new kinds of concerts such as the TikTok livestream today?

Damiano: Well, at the moment it is the only option to perform anyway, so it's alright. But of course you cannot compare this to a proper concert.

Thomas: But it's pretty cool that so many people can experience our concert live.

Vic: Also we're gonna start touring again soon. Right now we are arranging some festival and gigs. In December we will be touring Italy and afterwards we are planning to go on tour through Europe. But we don't have anything fixed yet, there is just a lot going on at the moment.

“A lot going on”. Quite an understatement considering the recent journey Måneskin has made through the past weeks after their ESC win. Their singles “Beggin'” and “I Wanna Be Your Slave” went through the roof (also thanks to Social Media) and are currently dominating the international charts – lately they were also number one in Germany. There is barely a radio station that isn't playing the band on heavy rotation [would love to know what stations they listen to, have never heard Måneskin played in German radio tbh :( ], and everyone opening Instagram or TikTok these days is flooded by Måneskin content. Every second a new fanpage with the name of 'maneskin_obsession' or 'damianos_slut' is springing up like a (virtual) mushroom. It sounds like a cliche, but Damiano, Vic, Thomas and Ethan became international stars over night.

“Of course it's nice to get compliments. But sometimes they definitely cross a line.” – Damiano David

RS: How has your life as a band changed since your win at the ESC in Rotterdam?

Vic: I think we don't even notice a lot of what's happening. Right after the ESC we went to a studio in the countryside where we made music the whole day long. So at first we didn't realise that so many things were happening all around us – and that we had so many new fans. We're just now beginning to learn what's going on. We were at Sony yesterday, there were so many fans waiting for us. That was crazy.

RS: A large part of the attention you are getting now is about your outer appearance, your style, your attractiveness. Is that getting a little too much sometimes?

Damiano: Of course it's nice to get compliments (laughs). But sometimes they definitely cross a line. Especially when we just talk about our music or about a social or political topic that we care about. In those moments it's just completely inappropriate to reduce us to our appearance. Sure – when I'm posting a half-naked picture of myself on Instagram I know that I will get these kind of comments. And then it's totally fine, I mean in the end I'm posting the picture to show myself. But sometimes it's not the right place for it.

RS: And also you should be allowed to wear what you want without being sexualised, right?

Vic: Yes, absolutely. We are wearing these outfits because we feel good in them, not to put the focus on our bodies. And in general it shouldn't always only be about how you dress. We are musicians – so first and foremost it should be about our music. But I think it will still be a long way until we will reach that point.

“That the boys are wearing make up does not tell you what gender they are attracted to. Those things should never be equated with each other.” – Victoria De Angelis

RS: But still you are sending a message with your style against stereotypical gender roles. I guess it's also not only coincidence that we are in the Schwuz today, which is normally a party location and safe space for the LGBTQ community.

Vic: Yes, that is all part of the positive message that we try to send. We want to give our audience the feeling that they are free. Free to wear whatever they want to wear, be how they want to be and love whom they want to love. It's unbelievable that there is still so much intolerance in our times. That has always been really important to us so we try to talk about these topics. We also believe that the narrow-mindedness of society is an educational problem. When you grow up with people all around you telling you how you should be, you will never feel completely free. The more people are talking about it, the sooner things will change.

RS: Some artists who are advocating for these topics are accused of 'queerbaiting', that they are only pretending to be a certain way to gain more support from the queer community. Have you also been faced with those allegations?

Vic: Yes, a few times. But of course we never pretended to be anything. Some people accuse of us queerbaiting because we look and act the way we do. But that's flawed thinking. We don't believe that clothes are connected to a person's sexuality. That the boys are wearing make up does not tell you what gender they are attracted to. Those two things should never be equated with each other.

RS: This courage for free self expression that you are conveying is mainly lived by our (young) generation through Instagram and the like. What is your relationship to social media?

Damiano: For me it was almost scary at first. The more we grew, the more people were trying to twist all of my words. But over time you start to understand that with more fame you also get more criticism. The happier you look the more hate you will get. It's not only like that for celebrities. If you are brave enough to show the things that make you happy there will always be people that support you, but they are also those that envy you. Of course, this should never lead anyone to not express themselves openly but that's easier said than done.

Vic: We are also trying not to spend too much time on social media. In the end we just try to be honest with our fans and to avoid negativity.

[caption under the picture of Damiano: 'Is already being compared to icons such as David Bowie']

It's actually surprising how little power a win at the ESC holds in most cases. Almost 200 million people are watching this shining spectacle every year – and still, a few months afterwards it is hard to remember who those people were that got covered in confetti during the award ceremony. It's the well-known curse of a casting show that rests on the winning bands. When just next year a new sensation will come to marvel at, how much impact does a win have then? There are exceptions of course, like Lena who is until this day, 10 years after her win in Oslo, a part of the more famous music scene of German pop music. With their charisma, their unusual sound at least for our modern standards, and their contemporary message Måneskin could become such an exception, too.

It's likely also helpful that the band already had a standing in the Italian music scene prior to their ESC participation. Their first album 'Il ballo della vita' already achieved platinum in 2018, three years prior to Sanremo and the ESC. And then there is also the long way that led the four schoolmates to this point that helped them gain the necessary persistence. Because contrary to what some people might want to believe Måneskin are not a phenomenon that has just been deliberately bred to be this way by the entertainment industry for Eurovision.

“I have worked [in a 'normal' job] for a whole month in my entire life – it didn't really end well.” – Damiano David

RS: You were all raised in Rome, the capital of the catholic church. What was it like to start as a young progressive band in such a conservative environment?

Damiano: In the beginning, when we started as buskers, no one gave a damn about us anyways (all laughing). But of course … Once we got a bit bigger there were a few people who had a problem with us. For example when we went to Sanremo, there were quite many people who thought that the way we looked and acted we shouldn't be allowed to represent Italy. They didn't even want to listen to our music first.

Vic: Especially when it comes to appearance and sexuality, Italy is a little more backward than other countries. The church probably also has an influence there. They are often quite conservative of course, so many people grew up with such a [conservative] mindset.

RS: You once said that the song 'In Nome Del Padre' is an answer to exactly those people. What does the song mean to you?

Damiano: Back in the beginning [of our career] we had to deal with a lot of problems. They didn't want to let us play in clubs because we would take too much space as a band or because they didn't like our (fashion) style or because they didn't want to pay us. Italy isn't a good place for bands. Our musical style was also criticised a lot. Many people were telling us: Don't do that [rock music], you won't get popular with that in Italy, you will never achieve anything with it. Of course those comments were hurtful but they were also a good reason for us to continue with what we did. And we turned our sadness into anger. With that song we wanted to tell those people from back then: Fuck off and look at us, we did it!

RS: Did you ever consider working in a nine-to-five job and live a 'normal' life?

Damiano: Nah, not really. For one month in my life I worked [in a 'normal' job] – it didn't end well (all laughing).

Vic: We all made music since we were kids. It's a huge part of us, that we couldn't just ignore. And the most important thing is that you do something that makes you happy. At least that's what we believe. So we started from a young age to put all our time and energy into music.

Thomas: Yeah, exactly. Ever since we were in school together we always made music. That has always been our main focus and it is until today. We play and play and play because it is the only thing that …

Ethan: … we live for.

Damiano: Music has also something very therapeutic for us. Even when we are in a bad mood or fight with each other – yeah, that happens, too – then all of that is gone the moment we enter the stage. Maybe that's the beautiful thing about music – that it allows you to forget everything else. You're just standing on stage, having fun with your friends.

From most bands you wouldn't buy such a corny love letter to music. Mostly it just sounds like an empty phrase, a well-practiced quotable line. But when there is something that defines Måneskin and that becomes more and more evident during our conversation it's their uncompromising honesty. The four of them are definitely not lacking a sense of humour but they take their music very seriously. Which should not be taken for granted in a generation that has mainly produced sarcastic cloud rappers and has made cynical twitter comedy a national sport. And maybe Måneskin are exactly what this generation was lacking all along.

Still, the four musicians, all in the age of 20 to 22, are also prone to the constant need for self-expression, that has become an intrinsic part of today's life. This does not only reflect in the outfits of the band (always 'on fleek') and their Instagram profiles, but also in their lyrics. Their latest record 'Teatra D'Ira – Vol. 1' shows a clear theme: The album is an ode to individuality, accentuated by fast and hard sounds.

Sometimes this message fitting for a Disney movie [really? guess I have been watching the wrong Disney movies my whole life …] is wrapped in a contrasting loud and forceful packaging, but never so much that it becomes inauthentic or self-caricaturing [note: I'm honestly not entirely sure what they wanted to say with this sentence since it uses a lot of rhetorical devices that could be interpreted in different ways, but I'd say this sounds the most plausible]. And in the end, the thing that makes Måneskin so interesting is their unification of the spirit of this time – between TikTok hedonism and an omnipresent political statement – with the music of past generations.

“When you are twenty, you start to think about what the future will hold.” – Damiano David

RS: Your musical style is often described as classical 70s rock, but in fact there are many different influences in your music. Sometimes you groove almost into funk, sometimes it's more rapping than singing. How did this mixture come to be?

Thomas: It's just that we all have our own individual influences and then we meet somewhere in the middle. And we always try to stay open for experiments.

Ethan: Yes, we are very experimental in our song writing process.

Vic: We also don't want to limit ourselves to what is regarded as typical rock music. If rap fits better at some point then we just add that in. It just happens naturally without us thinking too much about it.

RS: So why was it still rock music in the end?

Vic: Because it's the style that we feel most represented by. But actually we just play the music that we enjoy playing. That's really important to us so that we can show something real on stage. We don't want to pretend to be something that we aren't or mock those people that really enjoy our music. You should always be proud of what you're doing and never fake anything just to sell more records.

RS: Is there something like an Italian rock music scene?

Vic: There are quite a lot of bands – but the most of them are much older than us or they are more going in the direction Indie rock. There isn't really a young rock scene, which we think is a pity. But ever since we got more famous people are telling us that they started listening to rock music because of us or that they bought their first guitar and such. That's incredibly nice!

RS: So you're saying that you also want to show this style of music to a younger generation. And you capture this contrast quite well in the song 'Vent'anni', which is a typical rock ballad but lyrically portrays the thoughts of today's youth. Where did the motivation come from to write that song?

Damiano: With the song I wanted to show that I'm just a normal guy, a really typical 20-year-old. I experience the same things that other people in my age are experiencing, I'm just doing another job than them. Also I wanted to describe this age as a whole because I think it's a really special age. At 20 you start to think about what the future will hold. I think it's one of the most important stages of your life. Since we (the four of us) are all in the same age, I then started to mix our experiences together. In the end the song shows what it means to us to be 20. There is a lot of good things – you are quite carefree and are looking at life enthusiastically. But on the other hand you're too young to do certain things and too old to do others. Some people are treating you like a full-grown adult, but …

Vic: … not entirely.

Damiano: Exactly. It can get pretty frustrating at times. We wanted to show our audience: Hey, we're also just 20 years old, and we're going through the same things as you. We understand you.

RS: Except that you are the ones who are becoming a world-wide phenomenon right now. How do you want to maintain this honesty?

Damiano: I think that we could just reach this point because we have always been authentic – for better or for worse. Also we are just trying to have fun with what we're doing together. That's something special that we don't want to lose. In the end we're just four friends who started to live their dream. It's actually pretty simple. Of course – we go on stage, we get a lot of attention, we give interviews – but when we come back home we're just four friends.

#måneskin #maneskin #måneskin interview #my stuff #esc #again if you ever want anything to be translated just hit me up i'm free most of the time #ig my blog is slowly turning into a måneskin fanpage for translations and shitposting #but tbh i'm not complaining #have a great day everyone and happy waiting for sooooon

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i-am-extremely-mad · 3 years

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It shocks me over and over again when I come across blogs that extremely aggressively, absolutely HATE LOK, Korra, korrasami and practically every character and aspect of the show. I have to share this horror with others because these are just a small part of the awful views from that blog (supposedly feminist and lesbian), interestingly, attitudes about LOK and korrasami were mostly positive or at least neutral in 2014-2015, and then abruptly changed sometime in the middle of last year which coincides with LOK finally being on Netflix, I will probably respond to if I am in the mood for a toxic discussion...

Anonymous asked:

“I think it's a bit hypocritical that you hate Korra's personality and not Zuko's.Zuko is arrogant asshole bitch and you like him. I never see you criticizing him like you do with Korra”

“Zuko is an arrogant asshole bitch, but he’s not annoying. Korra is an arrogant asshole bitch and is very annoying. Hope this helps!”

#asks#anti lok#going to absolutely BLOW YOUR MIND to find out that the quality of the media itself determines how much I like a character#as well as the quality of the characters development#also this isn't math there is no transitive property for liking characters#some hit and some don't#get over it#Anonymous

Anonymous asked:

“As soon as I heard “I’m the Avatar; you’ve gotta deal with it!” I knew I would fucking hate that show. I naturally hate people who are like that. If Bryke was still smart they would have thought to make Korra’s personality more like water similar to Aang with air, not “haha fuck you, I’m avatar haha!”

“LOL YEP like 3 seconds into the show you hear that, and understand EXACTLY what the rest of LOK is going to be like. Not only is a jarring contrast to Aang and every other Avatar we’ve seen, it directly contradicts everything we know about the Avatar cycle from ATLA. All the other Avatars have to be TOLD that they are the Avatar, and have to work hard to master their non-native elements. Korra just naturally being able to bend 3 elements when she’s like 5 tells you everything you need to know about how the creators of LOK went about making their show: worldbuilding and logic don’t matter, it’s all about flashy visuals and one-time gags.”

#asks#anti lok#DISGOSTING#'meh meh if korra was a MAN you wouldn't call her arrogant' I absolutely would#korra being a dickhead is not okay just because she's a woman#Anonymous

Anonymous asked:

“Korrasami is shit,a joke, boring af, they don't have romantic chemistry, asami acts like a big sister towards korra. there I said it for you.”

“OOP! Well, I certainly didn’t say it!”

#asks#anti lok#but ur right#ACTUALLY I disagree on one point#asami doesn't act like a sister to korra#they act like work colleagues that only ever hang out during their lunch break#they act like very distant cousins that only talk on facebook#they act like people that share mutual friends but don't know each other that well#okay I'll stop#Anonymous

“Korra: 1/10, I will see myself out the door to be CANCELLED! Not only was her character very unlikeable, but the way fandom reared up to defend this (quite frankly) terrible character under the guise of “wokeness” when it is clear that the creators sprinkled in just enough ~representation~ to get brownie points without actually saying anything meaningful is just EMBARRASSING. Korra defenders are being manipulated by those cishet white men they hate so much, and they do it gladly. Anyway, I find Korra boring, disrespectful, and underdeveloped.”

#asks#ask game#character ask game#anti lok#SORRY YALL LOK'S CHARACTERS ARE BAD#also korra gives off 'mean feminine lesbian who calls gnc women slurs' vibes#korra and asami would bully me and then call me a homophobe#and kuvira gives off such heterosexuelle vibes I simply CANNOT with her#thetpot

“IT’S SO VILE! Korra is barely even an active character in her own show! She’s just a vessel that gets beaten and broken over and over again. She doesn’t actually get to LEARN from any mistakes that she makes, she’s just forced to recover from these external traumas that have literally nothing to do with her.

Ugh, tbh I feel NOTHING for korrasami. Korra and Asami don’t speak about anything except Mako for most of the show, and only really start actually TALKING to each other in the last half of season 4. None of Korra’s friends really spend that much time together throughout the runtime of the show tbh.

But yeah, it’s frustrating that people tout LOK as this amazing show staring a queer WOC, but the people making the show HATED Korra and HATED developing her in a meaningful way.”

Anonymous asked:

“Korra was like Zuko at the beginning of the show, now she in season 4 is like Aang. Bryke gave kuvira a redemption bc team avatar was missing a Zuko. now she is the new zuko and not Korra.”

Sorry, my brain short circuited. You think Korra???? Is like Aang???? That might be the most offensive thing I have ever received in this askbox.

#asks#anti lok#KORRA IS LIKE AANG#IN WHAT UNIVERSE#HOW DARE YOU INSULT MY BOY LIKE THIS#I WON'T STAND FOR IT#Anonymous

“also lock me in lesbian prison but korrasami is WEAK! they didn’t have a single conversation that wasn’t about mako for 3.5 seasons!!! they had zero moments together to indicate that asami would be the only person that korra would write to!!! yall tricked me, I thought I was getting some gay shit.

#anti lok#I SAID WHAT I SAID#korra had more chemistry in her one scene with opal than she ever did with asami”

Anonymous asked:

What do you think of korrasami?

no thank u, I don’t feel like being called a homophobe by a bunch of straight women today.

#asks#anti lok#a hornet's nest I will not be swinging at on this Monday lmao#I hate everything in lok you do the math#I'm sure I've talked about my issues with korrasami on my blog SOMEWHERE#have fun!#Anonymous

Not me seeing posts giving LOK and Korrasami credit for queerness in animation when Steven Universe, Adventure Time, and She-Ra were doing it unapologetically, openly, right from the very beginning....

#anti lok#TESTING MY GODDAMN PATIENCE#if korrasami was individually influential for you as a queer woman that's FINE#but do NOT give this insane credit to the cishet writing team of LOK!!!#not when these other shows were made by ACTUAL QUEER WOMEN#DISGOSTING

Anonymous asked:

if ur looking for an actual well-written canon wlw pairing in the atla verse, there’s rangshi. fc yee works so hard to fix all of bryke’s garbage, bless his soul. i have no hope for anything avatar studios related, but if fc yee is in the writer’s room, then there may be a very marginal chance that the stuff coming out is at least somewhat worthy of being associated with atla. the worldbuilding that he’s done in rise of kyoshi is insane.

I have heard good things about the Kyoshi novels! Unfortunately, LOK is the drop of shit that has poisoned the entire water supply. All ATLA-related works are going to have to be LOK compliant now, which is so deeply restrictive and contradictory to what I liked about ATLA in the first place. I feel like pre-canon stuff is safer (and again, heard AMAZING things about what FC Yee has done with a pre-ATLA world), but I guess I’m too cynical to get really invested in any more ATLA stuff anymore.

#asks#atla#anti lok#put Nat in charge of Avatar Studios and THEN we'll talk#finally get the thotty aang and amazing worldbuilding THAT WE DESERVE#Anonymous

I know, this was awful to see...

#LOK #r/ant #personal r/ant #this fandom sometimes is just... ugh #some people are just so... ugh #some people are just disgusting #Haters gona hate #horrendous #disgusting #pathetic #UGHH

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sinagrace · 5 years

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As Pride Month comes to a close, it’s time I spoke candidly about my experience at Marvel Comics.

To date, I’ve always been honest about the joy of writing Iceman’s journey as an out gay superhero, but I’ve skirted around the challenges that came along with it. This is partially because I prefer to give off an upbeat vibe, and there’s also a fear that my truth will affect my career. With more corporations patting themselves on the back for profit-led partnerships wherein celebrities take selfies in rainbow apparel, and with buzz that Marvel Studios is preparing to debut their first gay character in the upcoming Eternals movie, there is an urgency to discuss the realities of creating queer pop culture in a hostile or ambivalent environment. Hopefully, my takeaways will serve as a guide for people in positions of power to consider when advocating for more nuanced and rich representation. In an ideal world, embracing our stories and empowering us to tell them will yield far more profitable (and way less messy) results than what I encountered while writing Iceman.

Stand by your people

It’s no surprise that I got the attention of trolls and irate fans for taking on this job. There was already backlash around the manner in which Bobby Drake aka Iceman came out, and Marvel needed to smooth that landing and put a “so what” to the decision. After a point, I could almost laugh off people making light of my death, saying they have "cancerous AIDS" from my book, or insinuating I’m capable of sexual assault… almost. Between Iceman’s cancellation and its subsequent revival, Marvel reached out and said they noticed threatening behavior on my Twitter account (only after asking me to send proof of all the nasty shit popping up online). An editor called, these conversations always happen over the phone, offering to provide “tips and tricks” to deal with the cyber bullying. I cut him off. All he was going to do was tell me how to fend for myself. I needed Marvel to stand by me with more work opportunities to show the trolls that I was more than a diversity hire. “We’ll keep you in mind.” I got so tired of that sentence.

Even after a year of the new editor-in-chief saying I was talented and needed to be on a book that wasn’t “the gay character,” the only assignment I got outside of Iceman was six pages along, about a version of Wolverine where he had diamond claws. Fabulous, yes. Heterosexual, yes. Still kind of the gay character, though.

We as creators are strongly encouraged to build a platform on social media and use it to promote work-for-hire projects owned by massive corporations… but when the going gets tough, these dudes get going real quick.

Believe in the work

You may be asking if my Iceman book was any good, or if I’m just being sour grapes over a bad work experience. Believe me, I asked that, too. From the get-go, my first editor asserted that Iceman would be DOA if it were “too gay,” while also telling me to prepare for a cancellation anyway, given that most solo X-Men titles don’t last beyond a year. Never mind that my work on Iceman had gotten positive press in the New York Times (in-print), or that in spite of (since-deleted) critical sandbagging, the series nets glowing reviews on Amazon… Marvel still treated me as someone to be contained, and the book as something to be nervous about. Do you know how hard it is to not argue with a publicist when he’s explaining the value of announcing Iceman’s revival via the Marvel homepage? Sis, that’s a burial. Instead of clapping back, I just went and got myself more press from the New York Times. From there, they tightened my leash. I had to get all opportunities pre-approved, and all interviews pre-reviewed. This would be fine if it was the standard, but I assure you: none of my straight male colleagues seek permission to go on podcasts promoting their books.

What Marvel should have done is assign me a special projects editor. They should have worked with a specialty PR firm, rather than repeat a tiresome cycle of treating the book like a square peg, and getting confused when it’s a hit.

Give us a real seat at the table

There was a moment before Iceman was cancelled where I wrote then-editor-in-chief Axel Alonso an email, pleading for a Hail Mary arc. I explained that Iceman was landing with a newer generation of readers who focused more on binge-reading than month-to-month periodicals. The series needed time in the book market before its true strength could be assessed. To Axel’s credit, he was warm to the idea and even gave me an extra month, but when he left Marvel that idea got brushed away. Of course I was right. The first two volumes sold like gangbusters thanks to word-of-mouth, librarian love, and support from retailers big and small.

When the series returned, no one at Marvel asked me: “What do you think landed with readers?” Nor did they ask the question that Axel did: “What matters to your community?” So when I wrote what I thought the fans would be into, a story about a man learning to be a better ally in the war against hate, editorial totally missed its value.

Seat at the table pt II: The Shade of it all

All of the weird drama I put up with crystallized when I created a drag queen mutant, first called Shade, now called Darkveil. I told my editor that Shade would be a big deal for X-Fans, and asked how we should promote her. He said: “leave it up to the reader’s interpretation.” Everyone at Marvel shrugged off two years of goodwill and acted like I’d coordinated behind their backs on an announcement that made headlines. Beyond mentioning on Instagram the queens who inspired the character, I didn’t coordinate shit. Of course, their head publicist can’t admit that my quotes were pre-approved from an unreleased interview. At this point, I stopped believing that there’d be any more work for me. There were so many shady moves on their end that I’m still having trouble putting into language, but it all aligned with an experience I had in retail where a corrupt manager kept lying and moving the goal posts in order to keep me selling in a department I didn’t want to work in. I offered to give Darkveil a proper character bio, and I walked away.

I recognize that some of my complaints can be filed under “this is freelance life.” I am aware that it was not a queer person of color who joked to me that “it’s not a matter of if Marvel fucks you over, it’s a matter of when.” That came from a cis white male. The same-day turn-arounds without warning, the work emails on Christmas week… that’s the freelance bullshit. Truly, I don’t even think of this as discrimination, I call it general ineptness. It is my belief that if we are telling stories about heroes doing the right thing in the face of adversity, wouldn’t the hope be to embody those ideals as individuals? Instead of feeling like I worked with some of the most inspiring and brave people in comics, I was surrounded by cowards.

Truly, I hate writing this. In keeping with Pride Month, I am proud of the work I did on Iceman... I love the book! It sucks that I may be tarnishing its legacy going public about how the cookies were made. That said, the time for self-congratulating is over, and folks should be earnestly listening when they ask: what could we have done better?

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luckyladylily · 3 years

Note

Apparently the transphobic billboard CDPR was so happy to show everyone is fucking everywhere in Cyberpunk 2077. This studio is fucking gross and this game is such a trainwreck

Ok so I got this like a month ago or something and I have not answered it because I have lots of thoughts, and lots of them are not going to be popular. I am not mad at you anon, just a bit frustrated at the general situation, and I am going to be very direct.

To start, I am not defending CP77. I just don’t care. I don’t know enough about whatever is going on with the game to go either way, and whatever the case is CDPR does not need me to defend them. The only thing I do know about enough to create a well formed opinion is about the labor problems associated with the game which, honestly, matters more to me than virtually any insensitivity or similar blunders within the actual game.

So this is not about CP77. It is about the discussion of how trans women can and should be depicted in media.

I am going to make a bold claim. I do not think that the initial advertisement is transphobic. I think it was inevitably going to make a whole lot of trans women very uncomfortable, but that is not the same thing. It just isn’t that simple.

God there are so many layers here to cover all the bases. Look, I am going to do this by bullet point so I don’t have to explain and cite feminist and queer theory for 5 hours and ten pages. Trigger warning for people that might get dysphoric about bottom stuff.

Sex is not bad

Catering to sexual appetites and desires is not bad

creating content that appeals to those appetites and desires (meaning sexualizing material) is not bad

individual creations are not bad, it only becomes a problem as a large scale societal trend that erases other aspects of people.

many people find non or pre op trans women’s genitals sexually attractive

this is not a problem unless it is fetishistic

as trans people have come into the spot light over the last decade or so sexual attraction to women with dicks has made huge steps towards normalization.

we are past the point where we can or should assume that sexual interest and depictions of women with dicks are fetishistic

people just think we are hot

this makes people with bottom dysphoria uncomfortable because it draws attention to something that makes them dysphoric

dysphoria is a personal trigger, even when a particular trigger is wide spread

sexual interest in a trait that is a potential trigger for dysphoria is not transphobic.

There is a massive double standard for women with dicks vs women with vaginas - our sexuality is deemed far more dirty and is policed far more aggressively by everyone, including the left.

women with dicks should be allowed to be sexual without shame

people should be allowed to be attracted to our bodies without shame

people should be allowed to express that attraction in the art they create without shame

individual depictions of sexualized trans women are not transphobic, it only becomes a problem as a society wide trend that erases other aspects of trans women.

We have two seemingly competing interests: Allowing women with dicks to be sexual and allowing people to be openly attracted to them an express that attraction vs preventing a society wide reduction of women with dicks to sex objects

these are not actually competing interests - both forbidding the depiction of women with dicks in a sexual manner and society wide sexual objectification of women with dicks are symptoms of the same problem:

women with dicks are seen as especially dirty sexually and inherently tainted by the fact of their anatomy. We are reduced to our anatomy by both.

The ad features a trans women with an especially prominent attractive sexual characteristic - a big dick. We are not similarly offended by depictions of cis women with especially prominent attractive sexual characteristics, like large breasts, or similar depictions of men with large dicks. Because only women with dicks are seen as inherently dirty to this degree.

The depiction of a woman with a big dick is not transphobic. It is trans inclusive sexualization. Maybe it is trans inclusive misogyny, which is an odd idea but I hope you get it. I honestly don’t know enough to say either way in that case.

Many on the left still see the depiction of unique sexual characteristics of women with dicks as particularly crass and gross and openly oppose any depiction of such except under extremely narrow circumstances - the vaguely defined ‘done right’ way, which in practice means that all depictions of women with dicks being sexual is subject to policing and attack from the left.

While this protects some trans women from dysphoria, it alienates other trans women, stigmatizes us, and reinforces the idea that our sexuality is inherently and especially dirty.

The old rule of thumb that women with dicks should not be sexualized, created many years ago under very different circumstances, has outlived its usefulness

I have not been shy in the past about how I am a highly sexual trans woman. I am one of the trans women who feels alienated by the online left being so consistently offended by depiction of women with dicks, and the reaction to the in game ad is frankly extremely disheartening.

Go and look at it again. It isn’t even that sexualized! It is practically tame compared to typical sexual advertising. She is a pretty woman wearing a leotard with a big, tight bulge. There is nothing else sexual about the image. She isn’t making ‘come fuck me’ eyes at the camera. She isn’t posed in some lewd position. She isn’t even wearing something particularly risque. It isn’t even terribly exaggerated in size, it is within the limits of realistic sizes (if on the big end of the bell curve). Its just a woman with a big, tight bulge. Why is that so offensive? Your average shampoo commercial featuring bathing women moaning in orgasmic ecstasy at how much they love their shampoo is more sexually objectifying, but it isn’t about a woman with a dick so at most it gets an eye roll.

It is only seen as “hypersexualized” and offensive because the left finds the overt depiction of women with dicks offensive, that any depiction of a woman with a dick where you can tell she has a dick is hypersexualized. And this is from the people who are supposed to be on our side.

That image is very nearly the minimum sexualization you can have of a woman with a dick. There are two steps you could take to make it less sexualized: Make it less tight, or make it a bit smaller. But if you do both then you literally just have a woman with a normal size dick wearing tight clothes, and frankly ‘trans women can’t wear yoga pants because ew’ is just. I am not even going to entertain the idea. And yet this in game depiction of a woman with a dick is supposedly so hypersexualized that it is exceptionally transphobic and gross.

Trans women’s bodies are policed so hard, the double standard is unreal. The range of acceptable sexuality is so narrow it is practically non existent.

We need to be more careful about how we criticize sexual depictions of trans women because taking it on gut reaction is only making things worse. It is highly stigmatizing of trans women’s bodies and promotes the idea that any sexual behavior from a trans woman is hyper sexual and therefore potentially predatory. It works to confirm everything the right and terfs say about trans women being sexual deviants. We do not destigmatize trans bodies by throwing a fit and calling hypersexualization and transphobia every time one is depicted.

#transphobia #trans women #cp77 #frank discussion of sex and sexuality #frank discussion of trans women's bodies

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simonjadis · 4 years

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Anon I’m ASSUMING that these are from the same person; apologies if they are not

I would say that my feelings are similar to yours, but not quite identical ...

Disney’s handling has been imperfect, and some of the mistakes have been made the highest level (I know that people give Kathleen Kennedy a hard time, but if rumor is to be believed, some of the interference that made IX kind of weird came from higher than that)

for example, Kennedy said in an interview that she tries to find people who just make big, successful movies to make sure that these are also big, successful movies. I can understand that as being a safe bet from a business stand point, but that’s not the same thing as finding someone passionate about very specifically telling good, new Star Wars stories, which we did not really get in the Sequel Trilogy

(one of the most common theories that I saw from TLJ apologists was that people didn’t like that it was new/different than what they were expecting, which was really not the issue for me or my friends. Also it was just a speedrun of parts of Episodes V and VI)

I think that I’m “too close” to Star Wars to see it as a financial asset rather than a beloved universe full of characters and stories that I adore, but I don’t think that “literally just rehash the Original Trilogy for two movies and barely acknowledge any other part of Star Wars until IX” was a good idea

Rey deserved her own story. and Luke deserved to not be retroactively robbed of his

as for George Lucas, I do think that years of backlash over the Prequels sucked the fun out of it for him. Also, who doesn’t want four billion dollars? it was a sweetheart deal for Disney, of course

the sad thing is that this meant the end of Clone Wars, because Disney took one look at Lucasfilm’s budget and was like “OH NO YOU CANNOT SPEND THAT KIND OF MONEY ON A CARTOON” which is why Season 6 was paid for by Netflix and why Maul: Son of Dathomir was a comic

I love Star Wars Rebels and I’m not trying to knock the show at all, but the budgetary difference was palpable. Clone Wars did have it a little easier because of the Clone Troopers (all having the same face), but on Rebels, you notice that 90% of the Imperials are the same guy wearing a hat with his visor obscuring most of his face. market scenes show just a few people (but plenty of Storm Troopers)

the designs of the main characters -- Ezra, Hera, Sabine, Zeb, Kallus, Thrawn, Kanan, etc -- are great and loving and detailed and most of those change a little over time, but there’s a reason that we only see so many planets on Rebels. look at the huge armies and crowds in Rebels. my friend @drunkkenobi is the first who pointed out to me that in Clone Wars, you sometimes see lines of ships (Space Traffic) and each ship in line will be unique, distinct from the others

it’s not Rebels’ fault that they didn’t have that kind of budget. that’s also why their space battles (and space ships) never quite look right. meanwhile, for Clone Wars, if they wanted a particular scene or ship that went over their planned budget, all that they had to do was ask Uncle George

eccentric billionaires funding expensive media isn’t necessarily the most sustainable model for storytelling, but it sure worked out well for Clone Wars and for The Expanse

(Jeff Bezos personally called up the head of Amazon Prime programming, who had already been considering acquiring the extremely good but expensive show, and was like “hey the cast from this show is at a thing where I am, I’d love to just tell them that their show is saved, give me it?” and we saw as many new locations in Season 4 as we did in the first three seasons)

but streaming -- where you actually get money directly from customers who then, through their activity on your platform, show you exactly what they want to see aka what is keeping them on your platform -- offers a new opportunity for high quality genre media. remember, scifi and fantasy were EVERYWHERE in the ‘90s and the early aughts, and then because too expensive for regular TV unless they had huge audiences. only through streaming do we have these new Star Treks, The Witcher, and the real possibility of a new Stargate series

why do I bring up streaming? because

The Mandalorian goes to show that Disney can 100% do good Star Wars. Rebels was good, despite its budget, but can you imagine how much better it would have been if it had aired on Disney+

as with the DC movies (three of which are good and I’m also excited for Birds of Prey), the solution to the our-movies-made-a-lot-of-money-but-aren’t-strictly-speaking-good is literally just “let the people who do the cartoons make the movies”

and now we’re getting a final, seventh (half) season of Clone Wars! twelve episodes looking better than the show has ever looked!!

if you’re like me, you probably thought to yourself “gee, only 12?” and, cynically, you figured that it’s a trick -- announced at ComicCon in 2018 to build up the first wave of hype for Disney+

and it is ... but it 100% worked on me, I signed up for Disney+ and will pay anything for Clone War

my HOPE is that this is a test run to see if people really like high-quality animated Star Wars stories enough to continue with it. there’s only so much clone wars that one can cover (my suspicion is that we will see Ahsoka fake her death during Order 66 in these eps, so yep, that’s the end of the Clone Wars right there)

imagine a well-written series with everything that Clone Wars had in terms of content and visual quality, but it’s set after Episode IX. to my frustration, IX ends with effectively the same worldstate as VI which essentially means that nothing much happened in the Sequel Trilogy. but imagine a series set after IX. we could see a new set of (Force-wielding) characters. we could see Rey, Finn, Poe, and Rose during some episodes. Rose could finally get to do something that’s not an insulting fool’s errand (she deserves so much better!!!!!)

we don’t need a new Big Scary Empire/First Order thing, just organized crime and pirates and Hutts and bounty hunters and individual planet systems going to war as the characters try to assemble a NEW New Republic (gods I hate the unchanged worldstate)

now, I know that Star Wars Resistance is not ... reassuring. this is the only screencap that I have from it because I couldn’t get into it. it’s not the animation (I enjoyed Tron Uprising and Iron Man: Armored Adventures and this is the same kind of deal), but three things:

-I watch Star Wars for the Force primarily; other stuff can be cool but I need the Force

-I will never care about ships racing and really I don’t care about an individual ship flying; I’m a Command Ship kind of space nerd

-apparently the writing doesn’t improve much during the first season. people tell the main character to not do something, then he does it, and disaster ensues. that’s ... it’s fine, it’s fine to exist as a show, it’s just not for me

obviously, not all Star Wars media is for me, but when something -- like TLJ or the Sequel Series as a whole (even though VII and IX are enjoyable) or Resistance -- disappoints me, I would never accuse it of “ruining Star Wars”

Star Wars is a whole franchise. the breadth of canon isn’t all wiped away by some disappointments. was the MCU ruined by Age of Ultron? no. it was a bad movie but from the same franchise that gave us The Winter Soldier and Thor Ragnarok. hell, Dawn of Justice doesn’t “ruin” Wonder Woman or Aquaman or Shazam. bad movies aren’t contagious

for the past several years, the Entitled Dude crowd has felt empowered. they were radicalized in the altright/redpill/MGTOW/meninist/nazi/gamergate/comicsgate/etc spheres of the internet and now they just have a reflex where they see any sort of representation and decry it as “SJW,” which they also seem to think is a bad thing

in the same way that well-meaning people on tumblr can get radicalized into being antis/puriteens, people with certain vulnerabilities on reddit or youtube can get sucked into a world that tells them that they are the default and that other people existing is “political” in media and in real life, and that people being upset by outright cruelty towards them is both funny and means that the cruel person is the victor. they need therapy and studios need to not listen to them

unfortunately, sometimes there are movies that are bad despite having things like solid representation. Ghostbusters 2016 was a delight, but my friends and I with whom I saw TLJ (all of us queer feminists) left the theater angry. we’ve bitten our tongues a lot (even if it seems otherwise) because publicly criticizing the film too often leads some incel monster to chime in with agreement, and we’re just like

the redpillgate crowed et all is a natural ally of conservative white evangelicals, even though the former group is generally made up of New Atheists (the short version is atheists who hold socially conservative views because racism/misogyny/transphobia benefit them without using christianity as an excuse). it’s kind of like how terfs will side with conservative hate groups because, though they’re natural enemies, they both despite trans people just for existing

unfortunately, when you’re looking at who went to see a movie or who hated it, not everyone posts with an ID card saying exactly their demographic. which is only going to make studios like Disney even more nervous about including queer content in Star Wars and in the MCU (I mean real queer content with characters whose names don’t have to be searched on a wiki)

that was a bit of a tangent, but yeah. sorry if I missed anything

#star wars #clone wars #anon #ask #anon ask

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thecourtneychronicles · 4 years

Link

“Courtney Act says she’s enjoying an endless “hot girl summer”. Which, for those not initiated into American rap memes, basically means she’s having a damn good time.

“I’m kind of lubed up and ready for Mardi Gras, so to speak,” she says. As Australia’s most famous drag queen, active since the turn of the century, Courtney helped lead the mainstreaming of queer culture in this country along with figures such as Carlotta and Bob Downe.

But being a leader or pioneer doesn’t guarantee being comfortable in your own skin. Courtney says that until recently her understanding of sexuality and gender was actually quite limited. When she was performing, she was a woman, but when she stripped off her make-up, she went back to being Shane Jenek, a man.

“Although I did drag, my masculinity and femininity were compartmentalised in the binary,” Courtney says.

But over the past few years, as public discussion of gender, sexuality and identity has grown, she has discovered things are more complex than your genitals, clothes and hair.

“I think sometimes people think identity has something to do with the wrapping, but really it’s the gift underneath,” she says. “It’s about how you feel. For me, I definitely feel like I occupy masculine and feminine qualities.”

Courtney explores this journey in her pop-cabaret show, Fluid, showing this week at the Eternity Playhouse in Darlinghurst as part of the Sydney Gay and Lesbian Mardi Gras festival. It’s a change of pace for her after focusing on television in recent years; first by winning Britain’s Celebrity Big Brother in 2018, then as the runner-up (with Joshua Keefe) on last year’s Australian Dancing with the Stars.

It’s also a far cry from her humble beginnings in the DIY world of drag, which has never been regarded as high art but remains a staple of gay bars and culture worldwide.

“There’s a lot less hot glue and sticky tape in this show, which makes it feel a lot more professional,” Courtney says of Fluid. “I don’t know if that will hold until opening night.”

Set to original music, Fluid was written by Shane and American comedian Brad Loekle. For the most part it’s a one-woman show, with some help from a ballroom dancer in the second half. (“It’d be weird doing a ballroom dance by yourself,” she says.)

The show acknowledges that, more than ever, people are being flooded with “ever-changing and flowing ideas of who we are, what we are and what we might become”.

This is something we should embrace, says Courtney. “We change our clothes every day – we change our hairstyles, we change our jobs. Everything is constantly in motion and constantly fluid. But we have this idea that our identities are fixed. When we look at our lives they’re actually a lot more fluid than we think.”

Courtney, or Shane, doesn’t identify as trans but has said that seeing more transgender people represented in the media was liberating and allowed her to explore her own doubts about gender. She’s previously been described as “gender fluid, pansexual and polyamorous”, although she no longer embraces those labels as she once did.

“They all work,” says Courtney, who prefers to identify as “just generally queer” these days. “It’s funny … so many of our groups identify so strongly with labels and they’re so important to us. I kind of feel less attached to those labels.”

She also understands why some people might feel confused, or even confronted, by the politics of queer identification. The acronym LGBTQIA+, which stands for lesbian, gay, bisexual, transgender, queer, intersex, asexual and others, has expanded over the years to the point that some critics deride it as “alphabet soup”. Even those who are part of the community can be intolerant.

“I get that LGBTIQA+ is a little cumbersome from a marketing standpoint,” says Courtney. “But if you find yourself with the time to complain and be confused by a few extra letters, then you’re one of the lucky ones. If there are people that get to understand themselves more because of a letter in an acronym, I’m all for it.”

“I definitely feel like I occupy masculine and feminine qualities.”

Courtney casts a sceptical eye over everything, including the rise of cancel culture, a predominantly left-wing phenomenon which argues that anyone who says or does something deemed to be racist, sexist, homophobic or in any way offensive should be called out, shamed and, preferably, silenced.

Lamenting the state of political discourse while appearing on the ABC’s Matter of Fact program last year, she said: “The volume’s too loud now and everybody’s yelling.” While history showed that people sometimes need to raise their voices, “when you actually sit down opposite someone and have a conversation with them, you get so much further”.

How, then, does Courtney view the debate over religious freedom that has raged ever since Australians voted to legalise same-sex marriage in 2017? She says it’s clear that sometimes people, especially older white males, perceive other people gaining rights as a threat to their own. She says religion can be a lost cause because it is, by definition, about faith rather than rational argument. Still, queer people have to make the effort to engage.

“The way to do that is to get people to picture themselves in other people’s experiences. That’s the only way you can foster that empathy.

“Rather than yelling aggressively back at the people trying to oppress us, I think the most important thing to do is to share our stories.”

Another thing you can do, of course, is march. This weekend, Mardi Gras culminates in the annual parade up Oxford Street, which will feature more than 200 floats and 10,000 marchers. For the first time, Courtney will co-host the coverage on SBS with comedians Joel Creasey and Zoe Coombs Marr, and Studio 10 presenter Narelda Jacobs.

She had something of a practice run hosting the coverage on Foxtel some years ago. “I saw a clip of it the other day,” she says. “And I’m definitely hoping to redeem myself.”

As a character, Courtney has been on the gay scene for about 20 years. The person behind the facade, Shane, turned 38 last week. He grew up in Brisbane and remembers watching the parade on television as a teenager in the 1990s, huddled up close to the TV so he could quickly switch it off if his parents came downstairs.

Shane came to Sydney when he was 18 and attended his first Mardi Gras. “I just remember it was such a melting pot of people,” he says. “It was the first time I really understood what a community was: that there were all these different parts, and we all faced different challenges and struggles.”

But even then, Shane says he failed to really comprehend about what Mardi Gras was all about. Just like many heterosexual critics over the years, as a young man he gawked at the giant dancing penises, fetish-wear and nudity and wondered: why?

“I remember thinking: why can’t they just be normal?” Shane says. “Have your parade, but why does it have to be about sex and penises? Because I had shame about all of those things. I realise now that the parade’s brash display of sexuality liberates the shame … it’s a really radical way to shake people and say there’s nothing wrong with sexuality – not just homosexuality but sexuality in general.”

The queer community has given Shane a lot: acceptance, identity, a career and fame. It has taken him to Los Angeles, where he was based for some years until 2018, and now to his new home in London.

Love, on the other hand, remains elusive. He is “on the rebound” at the moment, though eternally optimistic. “It’s Mardi Gras time, it’s summer in Sydney, I think this is the perfect time to be single. Maybe I’ll find love under a disco ball at the after-party.”

Incredibly, at 38, Shane is about to attend his first ever wedding, straight or gay – his friend Tim is marrying his partner Ben. It is set to be a baptism of fire. “They have asked my ex-boyfriend and me to give the best man’s speech together, which could be slightly sadistic,” he says.

Shane is still adjusting to the relatively new world of same-sex marriage. It’s not for everyone – many queers still think of it as a conservative and unnecessary institution – but it’s growing on him. “Weirdly, seeing all these people get married, I feel like my cold heart has melted a bit,” he says. “I think there’s something really beautiful about marriage.”

It’s a reminder of why events like the Mardi Gras are still so important – a celebration of diversity at the same time as the old divisions between straight and gay are knocked down. As well as marriage, this can manifest in small shifts, like the politics of Bondi Beach.

“I was at North Bondi on Saturday [and] it was surprisingly unlike North Bondi,” Shane says. “It was all families and those banana umbrella things. I was like, ‘Oh, I remember when this used to be [gay nightclub] ARQ, but with more light.’"

“I guess that’s the progress we fought for – the families are happy occupying the gay beaches now.”

Fashion director Penny McCarthy. Photographer Steven Chee. Hair Benjamin Moir at Wigs By Vanity.

SBS’s Mardi Gras broadcast airs live from 7.30pm on February 29. Fluid will return for a tour of Australia and NZ in spring.

This article appears in Sunday Life magazine within the Sun-Herald and the Sunday Age on sale February 23.”

Courtney’s interview for The Sydney Morning Herald - February 21, 2020

#ca interview #21.02.20 #courtney act #sydney mardi gras

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lastsonlost · 5 years

Text

I needed Marvel to stand by me with more work opportunities to show the trolls that I was more than a diversity hire. “

Sina Grace on Writing Iceman at Marvel: “I Was Surrounded by Cowards”

Posted by Jude Terror June 28, 2019 48 Comments

As has been documented in various Bleeding Cool articles throughout the course of the book’s two series, one of my personal favorite X-Men comics of the past few years was Iceman, written by Sina Grace, and drawn it its first volume by Alessandro Vitti and Robert Gill and in its second and concluding one-shot by Nathan Stockman. The book breathed new life into a character who it could be argued hadn’t really received significant character development since his days in X-Factor in the 1980s. It’s true that it was “The Great One” Brian Bendis who wrote Iceman outed by Jean Grey’s invasive telepathy, but it was Grace who wrote adult Iceman coming to grips with this and learning to be himself and love himself, alongside, of course, lots of mutant action and drama. The book ended too soon, when it was really just getting going, IMHO.

With all of that in mind, it’s sad but not surprising to read Sina Grace’s comments, posted to his Tumblr, about his time at Marvel writing the book and what he says was a lack of support from Marvel while he dealt with online bullying as well as a lack of support and promotion for Iceman itself.

Grace writes:

As Pride Month comes to a close, it’s time I spoke candidly about my experience at Marvel Comics.

Stand by your people

It’s no surprise that I got the attention of trolls and irate fans for taking on this job. There was already backlash around the manner in which Bobby Drake aka Iceman came out, and Marvel needed to smooth that landing and put a “so what” to the decision. After a point, I could almost laugh off people making light of my death, saying they have “cancerous AIDS” from my book, or insinuating I’m capable of sexual assault… almost. Between Iceman’s cancellation and its subsequent revival, Marvel reached out and said they noticed threatening behavior on my Twitter account (only after asking me to send proof of all the nasty shit popping up online). An editor called, these conversations always happen over the phone, offering to provide “tips and tricks” to deal with the cyber bullying. I cut him off. All he was going to do was tell me how to fend for myself.

I needed Marvel to stand by me with more work opportunities to show the trolls that I was more than a diversity hire.

“We’ll keep you in mind.”

I got so tired of that sentence.

Believe in the work

Give us a real seat at the table

There was a moment before Iceman was cancelled where I wrote then-editor-in-chief Axel Alonso an email, pleading for a Hail Mary arc. I explained that Icemanwas landing with a newer generation of readers who focused more on binge-reading than month-to-month periodicals. The series needed time in the book market before its true strength could be assessed. To Axel’s credit, he was warm to the idea and even gave me an extra month, but when he left Marvel that idea got brushed away. Of course I was right. The first two volumes sold like gangbusters thanks to word-of-mouth, librarian love, and support from retailers big and small.

Seat at the table pt II: The Shade of it all

Truly, I hate writing this. In keeping with Pride Month, I am proud of the work I did on Iceman… I love the book! It sucks that I may be tarnishing its legacy going public about how the cookies were made. That said, the time for self-congratulating is over, and folks should be earnestly listening when they ask: what could we have done better?

so what’s my take.....

Personally I think the kid got used, plain and simple. Also this should not have come as a shock to anyone.

Look at how badly they treat their customers that pay them money, OF COURSE THEY’RE GOING TO FUCK THEIR EMPLOYEES EVERY CHANCE THEY GET. A box full of scorpions would have had more loyalty.

@thespectacularspider-girl

______________________________

little history lesson for you kids: tokyopop did practically the same thing with the rising stars of manga. They snatched up young Talent, use them, and drop them.

#Marvel Comics #don't believe the hype #social justice is not your friend

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roidespd-blog · 5 years

Text

Chapter Eight : YEP, I’M GAY

Four words that changed lives forever.

THIS ELLEN OF MINE

Ellen DeGeneres was born January 26, 1958. With a stand-up career that began in the early 80s, she forged a solid reputation as a comedian, notably through appearances on The Tonight Show with Johnny Carson (possibly the biggest talk show and host of all-time). Shortly, she ventured into roles on TV and movies, to mixed results.

Her big break through came with an offer from ABC to create and star in her own sitcom, Ellen. Based on her career as a stand-up comedian. Referred at the time as a “female Seinfeld”, the show’s humor was quite close to what DeGeneres had offered previously on stage. Launched on March 29th, 1994, Ellen (called These Friends of Mine in its inaugural season before changing to simply its protagonist’s name to avoid confusion with a new show called Friends) got solid ratings for its first four seasons due to its actress’ popularity. Between you and I, ‘decent’ would be the first adjective that would come to mind remembering the sitcom. It was no Mary Tyler Moore Show and it did the work.

HIT THE FAN

Shit hit the fan in 1997. Speculations about Ellen’s sexuality weren’t a novelty but the media attention on the actress and her show (which made less and less subtle reference to a possible change of sexual orientation of its protagonist) became somewhat overbearing to all. Well, anyway let’s back up. By the end of the third season, producers were becoming frustrated by the fact that Ellen (Morgan in the show) were not dating anyone on the show. Disney (who owns ABC) suggested that since the character showed no inclination toward dating, she should get a puppy — you’ll see why it’s important. It was summer 1996. DeGeneres and her writers began negotiations with the network to have Morgan come out during season Four. Word of the secret negotiations leaked in September of that year, but without any clues if the character, the actress, or both would come out. Between that time and the announcement of the coming out episode in march of 1997, GLAAD (Gay and Lesbian Alliance Against Defamation) even launched a campaign called “Let Ellen Out!”. With the official announcement of the episode, backlash followed. The studio received a least one bomb threat. DeGeneres was followed by car to the studio by a “suspicious man”. thousands of hate letters were send to the actress, ABC and Oprah Winfrey (who guest starred in the episode as Ellen’s shrink).

Prior to the broadcasting of the episode, Ellen made the cover of Time magazine on April 14 with the words “YEP, I’M GAY”, ending speculations about her real-life sexuality.

On April 30th, The Puppy Episode (see, it was important) became the highest-rated episode of Ellen with 42 million viewers. On the media and professional side, the episode received universal acclaim. It won the Primetime Emmy Award for Outstanding Writing for a Comedy Series, a Peabody Award and DeGeneres received a GLAAD Media Award the following year. It was described as “the most hyped, anticipated possibly influential gay moment on television”, paving the way for more LGBT-oriented programs such as Will & Grace (1998), The L Word (2004) or Ugly Betty (2006). The episode was itself ranked #35 on TV Guide’s list of “100 greatest episodes of all-time”.

Following the rating success of the episode, Ellen received full support from the network and the show was renewed for a fifth season.

Well, sort of.

BE GAY BUT NOT TOO GAY

Season five came on the air with a parental advisory warning at the beginning of of every episode. To that, DeGeneres said “It was like this voice like you’re entering some kind of radiation center. It was very offensive, and you don’t think that’s going to affect ratings ?”. Furthermore, the exploration of this new world by the character (learning more about the community, finding a partner) was strongly criticized by viewers, even queer celebrities like Chaz Bono. Ratings severely declined and ABC canceled it the end of the 1997–1998 season.

DeGeneres returned to stand-up and tried a TV comeback in 2001 with the short-lived sitcom The Ellen Show, in which her character is openly gay from the start. The show was cancelled after 13 episodes, with 5 left unaired.

Backlash followed the three women that took part of The Puppy Episode. While DeGeneres ended up without a sitcom within a year, Laura Dern (who played Morgan’s love interest) stated that she did not work for over a year because of her appearance on the show. We’re talking about a Oscar-nominated actress, second-generation Hollywood royalty. Still, Dern described her experience as extraordinary and was thrilled at the opportunity to take part of the episode. Oprah Winfrey received over 900 calls and letters from viewers the day following the Puppy Episode, calling her every racist term there is. It also restarted the rumor that she was involved in a gay relationship with best friend Gayle King (for those who don’t know who Gayle King is, just watch her R. Kelly interview of this year. She’s da boss).

Today, Winfrey is still the biggest medial mogul there is. Dern is still working actively, received an Emmy for Big Little Lies and was nominated for a second Oscar in 2014.

DeGeneres launched (on ABC) her own day-time talk show in 2003. To this day, the show has been on the air for 16 years and produced over 3000 episodes. It is officially renewed until 2022 and DeGeneres has won 30 Emmy Awards (mostly for the talk show).

LES-GAY-CY

You need to remember that in 1997, no one was talking publicly about his or her sexuality. It was something to keep to yourself and certainly not make a whole fuss about it. In this context, the fact that Ellen DeGeneres got approval to make her character the first openly gay protagonist on network television AND made the cover of Time Magazine with the greatest coming-out announcement of all-time is pretty incredible. She said “I had a lot of death threats, a lot. And there was a bomb scare when we shot. It was tough,” she said. “That’s why most people don’t come out, because you think you’re going to lose your career and so people choose a career over being truthful and I decided to feel that being truthful was more important than a career." She paved the way for so many celebrities to free themselves from heteronormative appearances in order to get jobs. Also, media representation is important. Where would we be today if she didn’t had the courage of be so open ? Would we have marriage and (some sort of) equality ? I think not. She helped accelerating the process by years and years. She was crucified for it and even if she’s now doing very, very, very well (77 million dollars in 2018) for herself, she could have ruined her career for good. Ellen DeGeneres did this for us. Also, a bit for herself as a coming out is normally not about anybody but you. But mostly for us. For that, I am thankful.

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shark-myths · 6 years

Text

Folie A Deux

I promised to write FAD meta like, forever ago. It took longer than I planned. Here it is, at last.

Folie is anthemic, artistic; it’s cynicism and heartbreak all layered up in failing hope. It’s Pete saying goodbye to his band and embarking on a new life as a husband and a father. It’s Patrick finding his confidence as a showman just in time for it to turn to ash on his tongue and prompt him to remake himself utterly. It’s Joe finally feeling like he has a role in FOB and creative ownership of his own band. It’s Andy, um, drumming. Super well. Without any particular emotional interpretation on my part because Andy’s, you know, pretty content to just play with his friends.

Without further blathering, allow me to present, at long last: a rambling, tear-filled, official Tryst Theory ™ interpretation of FOB’s fourth-and-almost-final studio album.

I am always struck most by the quality of obstruction in the albums produced during the Commercial Success/’Sell Out’ era. Pete begins obscuring himself for the first time during Infinity on High and especially Folie A Deux: the lyrics become increasingly senseless, more about cleverness and sound that saying things plainly. But he’s so honest during this era too. He tells us exactly what it feels like to be him, to be so pulled apart and scrutinized and sad, to be sick on his own hope. To be sick and fuzzy, made of stuffing, and far away on way-too-many anxiety meds. We get lines that don’t make much sense on the surface, like ‘I’m not a chance, put a heat wave in your pants,’ and we get the self-aware aggression of bops like I Don’t Care.

In the previous era, Pete didn’t really know what it meant, yet—being Pete Wentz. Being so public. Being the face of the band, being the bad guy and the heel. What it would cost. Now he understands that anything he touches, or looks at, or says at loud is going to change. Once he does it, says it, thinks it, feels it, it’s out of his control. It’s owned by someone else. Even his private body, his private phone. Even his decision to defend his friend from an aggressive bouncer onstage. The brand of phone he carries, the girls he texts, who he stands next to in photos, the cities where he plays shows and the cities he does not. Now he understands that his life is not his, but something the public will use to hurt him if we get bored. This is drugstore cowboy Pete. This is a Pete grown so heavy under the weight of his own misery and bullshit that he can barely go on. This is a Pete preparing to say goodbye.

Which is a long way of saying: Folie A Deux fucks me up.

A little history (sourced heavily from Wikipedia):

The album was recorded from July-September 2008, beginning two months after Pete and Ashlee were married, and released in December 2008, shortly after Bronx was born. They started recording ahead of schedule, without telling the label, and deliberately limited their studio time. They wanted to recapture what they had felt during Grave, when they were racing against their drained back accounts to get the album set down. They wanted that simplicity and rawness, the feeling of being mixed-up kids half living out of a van and making music that felt vibrant and essential. Patrick told AP, “There was something really interesting about that creative process when we were starting out. The more time you have, the more potential you have for excess.” (He thought he dominated Infinity and wanted to pare himself back, reign himself in, for Folir.) They tried to emulate the process and feeling of Grave as much as possible: “first-thought, best-thought.” Joe pushed to be included more in collaboration and felt like he “owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band.” Pete made an effort (this is him making an effort, okay) to keep his personal life more sequestered from the writing and use more metaphor and the conceit characters speaking lines, more like a stage musical. And, perhaps true to the feeling of Grave, Pete and Patrick fought painfully and violently over the record. It was personal and artistic for everyone. They felt it was their best work.

Fans tore them apart, of course. Booing anytime they played anything off the new record. The album undersold and public reception did not match the glowing critical reviews. They tried to say something important, to talk about society and convey real messages in their music. They were publicly rebuffed. Joe told Rolling Stone, “Some of us were miserable on stage. Others were just drunk.” The reception, the struggle, cemented what Pete had already decided to do: leave the band.

(Let’s not talk about the last song of what he thought would be their last show ever during which, instead of playing Saturday with his best friends and his me-and-Pat, he had the man who named the band in the first place shave off his signature Pete Wentz hair in a symbolic ritual of fucking morning, let’s not let’s not)

(but in case you want to)

A little cover art:

I just want you to know that Pete Wentz has the original painting of that cover in his home. IN CASE YOU THINK THAT’S RELEVANT.

This image. With Pete’s furry history. With the costumes and feeling like a zoo animal and playing the role of the heel, with the way he said in the Folie Making Of video that being perceived in media is “like wearing a costume, you’re not who you are.” With his interest especially in bears, the talk of stitches and stuffing and seams, with the Lullabye track and ‘honey is for bees silly bear’ (and Black Cards’ ‘you’re my best friend, honeycomb head’) and the whole Winnie the Pooh vibe. With the devoted companionship and singular love exhibited by Winnie the Pooh and the way he turns back into inert, lifeless stuffing when you grow too old and you forget what he really is and see him as just a toy, empty and pliable, and the way only childhood wonder and innocence can return him to life. How the cover has not just one person on it, but a bear-boy plus one: a madness shared by two. A real bear, and someone who’s just pretending, or just trying to be. What a match, what a catch.

WHAT A PETERICK MASTERPIECE THIS FUCKING ALBUM IS

The liner notes are empty, by the way. For the physical CD. The liner notes are just pictures and names of band members, then production information and thanks to ‘fans, friends, and loves.’ Nothing else. No lyrics. No record. If that’s not foreshadowing—

And now said masterpiece itself:

1. Disloyal Order of the Water Buffaloes

Okay, so let’s take a step back and imagine for a second the decision-making process that went into writing a magnum fucking opus Peterick anthem to open the album with. Are we all on the same page here? WHAT THE FUCK, were they TRYING to kill me

This album is the fucking Holy Grail of the drug use = Patrick metaphor, and we dive right into it with this one. Boycott love. Detox just to retox. DRAW YOUR OWN HOLD ME TIGHT OR DON’T PARALLELS. #trysttheory

For all that Pete tried to move away from autobiographical lyrics on this album, his view of himself is plain in this song: ‘perfect boys with their perfect lives, no one wants to hear you sing about tragedy.’

The line ‘fell out of bed, butterfly bandage, but don’t worry’ brings up my theories about what dreams mean. Falling out of bed and getting hurt is a clear consequence of dreaming so hard you forgot it was just a dream (or trysting with your best friend and forgetting there could be consequences, real people you can hurt and yourself included). ‘You’ll never remember, your head is far too blurry’ ties into w.a.m.s as well as Cooperstown and the idea of being blurry-headed, impaired because you’re fucked up on love or some other drug, and making choices you’d regret, if you could remember them. Making mistakes you’ll have to live with whether you remember them or not.

(Romantically speaking, water buffaloes are disloyal: Google suggests a single male water buffalo can sire as many as 100 baby buffs in a single mating season. It seems pretty obvious throughout this album that issues of infidelity were large in Pete’s mind while writing these lyrics.)

2. I Don’t Care

This song makes me think of Wilson (Expensive Mistakes) so much. Starting over again in Mexico, friends who don’t care about you, the blues-pop bounce to it and repeating riff? Sonically, they have a lot in common.

Pete may be playing on his previous reference to Closer (‘he tastes like you only sweeter’) with the opening line here—‘say my name and his in the same breath, I dare you to say they taste the same’—which is the saddest and most painful movie about heterosexuals you will ever watch, but writing that line and putting it on Patrick’s tongue? That may be the gayest thing that happens to me all night, guys, and I’m a queer girl with a bottle of wine and a long, long Friday evening ahead of me.

This song is so much a conversation Pete is having with the world about his fame and notoriety, imo. He calls it a narcissist’s anthem but I don’t think that’s it, exactly. I think—and the music video backs me up on this—it’s a coy wink at their own reputation, all the shit people are slinging about them and Pete specifically. We get a drug reference here, too: ‘take a chance, let your body get a tolerance.’

Also, Patrick is a nun in the video. Pete put Patrick in a literal fucking habit. What more do you need to me to say to prove definitely that Pete is desperately in love with him? This. Kid. In. A. Nun’s. Habit.

3. She’s My Winona

IF THIS SONG ISN’T A DISCUSSION OF HOW PETE HAD TO REVISE HIS PETERICK AMBITIONS WHEN HE FOUND OUT ASHLEE WAS PREGNANT

(There are so many suicide references in this song I want to join Pete and the band’s manager in cheering and celebrating all over again that our boy lived to 28. You can physically feel him resigning himself to living a long life in these verses.)

‘Hell or glory, I don’t want anything in between.’ I take this line as pretty directly about him and Patrick: he doesn’t care if they go to hell and it ruins the band, he wants to take the risk, because he thinks together they could be—glory. He wants to roll the dice. (Take a chance—I’m not a chance.) And ‘then came a baby boy with long eyelashes, and daddy said “you gotta show the world the thunder.”’ In other words, he wanted hell or glory, ruination or Patrick, but then along came his son. And his priorities changed. Of course they did. True love is one thing; raising your child is another.

‘We had a good run, even I have to admit.’

(And—here’s the thing—people ask me sometimes, what I think about Pete marrying Ashlee. “Do you think he married her just because it was the right thing to do?” No. I think he believed in love and family and forever. I think Pete believed it would work. I think he wanted it to. I think that’s why the trysting, and eventually the band, stopped: because Pete tried his fucking best. I think he loved her and loved the idea of a future for himself—the first time he’s ever really imagined that. The idea of somewhere to belong, a real family, one that he felt part of. I think he wanted more than anything for it to work precisely because it was so different from what he, or anyone else, ever expected for him. He said ‘I want to marry this girl’ and he meant it. He really did intend to love her forever, as best he could, and not love anyone else if he could help it.

But those aren’t good reasons to build a whole relationship on, a marriage on. And he was a mess, and in love with Patrick too, and hated and famous and fucked. He had no privacy, limited emotional maturity, a burgeoning substance problem and no sense of himself that wasn’t dependent on what the culture and the media and his fans and his friends reflected back to him and said was true. There was no way they could be happy together under those circumstances, and he’d have stayed forever anyway, I think. His interviews about that time—when he stopped shaving, then stopped showering; when he was a drugstore cowboy stay-at-home dad, depressed and giving up—he doesn’t blame Ashlee for wanting to leave. He hated himself enough to be miserable forever, but she didn’t. So of course it fell apart.)

4. America’s Suitehearts

This commercial headfuck of a song. Jerry christ, guys, someone throw me an anchor so I can drown myself. This caricature, the monstrosity and performance of celebrity, the way the band is reduced to wrestling alter egos, painted and pretend. No one’s being subtle with this song, this video. They are showing us exactly what they mean.

‘I must confess, I’m in love with my own sins.’

DO YOU MEAN LIKE BEING IN GAY LOVE WITH YOUR BEST FRIEND

DO YOU MEAN THAT SIN?

And this verse, though ostensibly about the vagaries of fame, sounds so much like him falling in love with Patrick while Patrick is oblivious:

‘You can bow and pretend you don’t know you’re a legend. Time just hasn’t told anyone else yet. I’m sorry, I just let my love loose again.’

For so many years, Pete believed his love was something he had to apologize for. 😭 😭 😭 😭

5. Headfirst Slide Into Cooperstown On A Bad Bet

Okay, fuck this, I’m done

This fucking

This

UGH

Remember the paternity rumors at the time of Ashlee’s pregnancy? Look at this whole complicated, tangled-up song about infidelity and paternity and the idea of Ashlee cheating while Pete’s cheating too. ‘Keep a calendar, this way you will always know’ [who impregnated you]. ‘I will never end up like him. behind my back, I already am.’ I literally cannot

‘Does he know the way I worship our love’

6. The (Shipped) Gold Standard

do I even need to keep writing this or is the album now, itself, independently writing the tryst theory

my notes for this song just say ‘come the fuck on’

This song is about: living in LA and missing Chicago (and what it felt like in Chicago, who you were and who you were with); taking accountability for your own actions even when it does not satisfy your hedonistic urges (e.g., marrying your pregnant girlfriend and breaking off your illicit love affair with Patrick Stump), trying to remake your identity and change yourself like those are the same thing and you can get a new heart as easily as a new name; losing your luck and breaking up (‘tell that boy I’ll leave you alone now, like a stove, I’ll turn my love down); horseshoe crabs; and of course, that good ol’ famous-in-the-closet feel:

‘I wanna scream I love you from the top of my lungs, but I’m afraid that someone else will hear me.’

7. Coffee’s For Closers

I’m just crying by now I can’t type anymore

He’s using this whole album to break up with Patrick, to explain, to say goodbye

‘I want everything to change and stay the same. Time doesn’t care about anyone or anything. Come together, come apart.’

‘We will never believe again’

And: ‘kick drum beating in my chest again’ and that feeling, the one we’ve all felt in the pit at any show, any good one with that golden-vibe in the air, the one that makes your heart feel connected to the hearts of everyone around you, like you could be lifted on light and floating around the room, like the love is pouring out of you and rising like heat and linking up to the network of love flowing into and out of everyone else, when you feel it and know they do too and your whole body vibrates with the impossible imperceptible hum of your very atoms, your constituent fucking molecules lit up and stitched together by this, this, this. The feeling like you don’t need lungs because singing in breath and bellows enough, the feeling like the only reason you ever had a heart was so the drummer could pump it with their sticks. ‘Preach electric to the microphone stand,’ Patrick the conductor, Patrick the evangelist, Patrick the gospel of his fucking love. Pete’s saying goodbye to that feeling. Pete knows, he knows already, what he is planning to do.

Pete’s lying. Pete’s saying ‘I love the mayhem more than the love’ like all he’s really been out to do is make a mess, break hearts, take names. Like he is no more and no less than what all the tabloids say about him. (Never watch the Fresh Only Bakery videos on youtube. They are boring, for one, and also the saddest fucking Pete you will ever see.) Pete’s saying ‘I will never believe in anything again’ and he’s making Patrick say it too, because true-blue love was supposed to last forever, and then Pete got married to someone else.

‘Oh, change will come.’

8. What A Catch, Donnie

NO. NO

how the fuck dare this song even exist

So this is it. This is the goodbye. Pete has talked about how he wrote this song from Patrick’s perspective, and he recruited some of Patrick’s favorite artists and friends of the band to sing different lines in a medley of the band’s hits up to this point. This is like, the FOB song equivalent of a suicide note. (To follow this with a greatest hits album—! G O D)

The reference to Roberta Flack and Donny Hathaway—their collaboration, his ultimate suicide, and the way Miss Flack looked on all his destruction and said ‘I still want you back’ is absolutely a testament to the way Patrick, and the rest of the band, forgave him and took him back in after the notorious Best Buy Incident. The gratitude for the whole band and what the band has done for Pete is tied up in this song. ‘You’ll never catch us’ smacks of trysting, and there’s something to the line ‘I’m the one who charmed the one who gave up on you,’ as the speaker in the sentence in meant to be Patrick and the ‘you’ is presumed to be Pete.

‘They say the captain goes down with the ship, so when the world ends, will God go down with it?’ is both Pete’s intention to go down with the band (which he’s planning to sink, or sees unraveling already in the painful writing process—we don’t know at what point he made his decision to destroy yet another thing he loved in penance for some deep, unknowable conviction of sin) and his gesture of setting them free. The Video of Which We Will Not Speak shows this pretty clearly. Pete saves everyone and everything he’s ever loved at the bargain price of drowning himself. He does it without ever even appearing in the aired version of the video. *broken sobbing*

(The links for the full version are not currently on Youtube, but you can read about it here: http://www.mtv.com/news/1618609/fall-out-boy-release-wrong-version-of-what-a-catch-donnie-video/)

What a match, what a catch. If I say anything else about this song, and how basically everyone who heard it knew it meant the band was going to break up, I will absolutely fall apart

9. 27

OH GOOD A SONG I CAN MAKE IT THROUGH WITHOUT CHOKING ON MY OWN TEARS

NOT

So here’s a lovely little ditty about how Pete Wentz did not kill himself and die at age 27 as he always thought he would! Hahahahahaha I’m fine it’s fine I’m so glad this album exists I’m so glad I’m TALKING ABOUT IT

‘If home is where the heart is, then we’re all just fucked.’ All three of them: Pete, Patrick, and Ashlee. And every FOB fan out there. Ahahaha. GUYS I’M NOT OKAY

We’ve got Peterick drug metaphors to rival the punch of Hold Me Tight Or Don’t: ‘I want it so bad, I’d shoot the sunshine into my veins… Doing lines of dust and sweat off of last’s night stage just to feel like you. Milligrams in my head, burning tobacco in my wind, chasing the direction you went.’

We’ve got desperation about growing and changing and losing that which they so valued in their sound and collaboration on Grave: ‘I can’t remember the good old days. Are all the good times getting gone? They come and go and come and go.’

We’ve got the pressure of keeping your love affair with your lead singer a secret lest you risk your fame, label representation, and fortune: ‘My mind is a safe, and if I keep it in we all get rich’ right next to the dirty, hollow feeling of having images of your body stolen and used to drag your name and reputation like you had no more heart than any other empty doll and losing the value of yourself in that process: ‘My body is an orphanage, we take everyone in.’

We’ve got the romantic comparison to cosmic entities, just like in Real Ones: ‘you’re a bottled star, the planets align. You’re just like Mars, you shine in the sky.’ And that tinge of disparagement and lonesomeness: ‘I’ve got a lot of friends who are stars but some are just black holes.’

10. Tiffany Blews

This song plays with a lot of fun moth/flame metaphors that I really enjoy, while also really amplifying the isolation and quick-burning nature of fame. I think that Pete gets a sick satisfaction from having Patrick sing out the worst things he thinks about himself, that he thinks everyone else thinks about him. (Pete, I think, is the little black dress that will be faded soon.)

Interestingly, we have ‘a roman candle heart keeps us far apart,’ which is a pretty direct link to the later Fourth of July. A heart that flares, explodes, and then burns out quickly certainly would be an obstacle to building a lasting relationship, no matter how much you loved someone…

‘Hate me, baby. Maybe I’m a piece of art.’

‘Dear gravity, you held me down in this starless city’ makes me think of the Moonrise Kingdom quote in Wilson (Expensive Mistakes): ‘I hope the roof flies off and we all get sucked into space.’ It’s the opposite, basically. Hoping to fall in love and get thrown up among the glittering cosmos rather than anchored someplace dark and starless. (Aside: I love how susceptible Pete is to grand, cheesy quotes? Like when, a few days after the release of The Last Jedi, he tweeted the heavy-handed noir line ‘I want to put my fist through this whole lousy, beautiful town.’ Like, look for that in a FOB song someday.)

11. w.a.m.s.

For the curious, Andy confirmed on Twitter that the title stands for waitress/actress/model/singer, a reference to the stereotype of people who run away to Hollywood to make it big but end up washing out and struggling as the starving artist/waitstaff type. If this idea of our boys citing bankrupt ambition does not make you emotional, you may not have a heart.

This song is incredibly relevant to the dreams meta linked earlier—‘when all the others were just stirring awake, I’m trying to trick myself to fall asleep again’ is very evocative of being in denial over the jarring reality of the end of the tryst. I think this song is about one of the last times Pete and Patrick slept together before breaking up.

‘My head’s in heaven, my soles are in hell’ again highlights that Pete’s wildest Patrick dreams are very different than where he actually finds himself; ‘let’s meet in the purgatory of my hips and get well’ is a pretty transparent request, isn’t it? Especially since pre-hiatus Pete really loved to use ‘hips’ as a signifier for sexual desire/activity. Let’s just fuck and pretend it’s all okay. Let’s lose ourselves in each other and pretend we can have it. Tell me I’m the only one, even if it’s not true. Let me get high on this memory one last time.

‘Hurry, hurry. You put my head in such a flurry, flurry’ is the urgency and compromised judgment of the tryst. ‘Oh freckle freckle’ can be read as Patrick’s forehead mole. ‘What makes you so special? I’m gonna leave you’ tells us what makes the last time so good: Pete knows it’s the last time. Pete knows he has to end it. But he’s so addicted-sick, ((stray-dog sick,)) he can’t stop. ‘I’m gonna teach you how we’re all alone’ doesn’t really sound like something a newlywed and soon-to-be-dad should be saying, does it? But there it is. How can he let go when he knows ‘how heartwarming it is inside your skin’?

The final nail in my coffin: ‘I’m a sunshine machine. I want to get stuck and be golden in your memory.’

We’ve talked about how Patrick = sunshine = gold, right. r i g h t

12. 20 Dollar Nose Bleed

Fun fact: this song is basically erotica to me ever since I wrote that recording booth smut about it! I can’t even listen to it without blushing and becoming uncomfortable. So there’s something you didn’t need to know about me that you… now know about me.

‘Permanent jet lag, please take me back. I’m stray dog sick, please let me in. The mad key’s tripping, singing vows before we exchange smoke rings.’ It is OBVIOUSLY my prerogative to interpret this as slightly depraved sexual longing, but I especially like the bit about singing vows without ever exchanging anything lasting or visible that implies commitment—this can be heard as a comment on the fickleness of commitment, or it can be heard as a comment about how deeply he is/was committed to Patrick even though they never had anything to show for it. Anything they could show for it. Even to each other.

Benzedrine is, of course, the very first pharmaceutical amphetamine (read about it here!). Many great artists and thinkers were influenced by the impossible energy it gives you, which is obviously relatable to someone who experiences natural mania, peddling his own prescription like a ‘medicine man’ (Wilson lyrics). I think the verse about Benzedrine and not letting the doctor in not-so-obliquely references the issue with medication compliance that Pete experienced and many people diagnosed with Bipolar Disorder also do: the meds for this disorder are really unpleasant. They dull you out, they give you tremors, they have really strong side effects, and they take away that amazing manic spark that so many artists credit with their success. Don’t let the doctor in. They’ll take away the only thing he really likes about being himself.

‘Have you ever wanted to disappear?’ is, I think, a glimpse of the unadorned real.

The spoken word bit at the end of this song really hammers together a lot of the themes of the whole album, the whole band, personal and political both. ‘You said you’re not listening and I said I’m wishing…’, only we don’t ever find out what’s really being said.

13. West Coast Smoker

I love the hell out of this song because there are few things in life that are hotter than Patrick singing the chorus. And fuck. Patrick saying curse words. I die every time. I think this is a kink I share with Pete Wentz. I think one day Pete Wentz and I will share a circle of hell. It will be called the ‘Underage Stump Mouth Rotunda,’ and we will all be very ashamed.

We’ve got a lot of the same themes: the ease of suicide and the conviction to live, the way shows feel and how it was when they were kids, drug use and overmedicated ennui. Pete was once the son, is becoming the father, is resolving not to become the holy ghost.

‘I’m the last of my kind’ and ‘when they made me they broke the mold’ and the finality of it all. (Contrasted with the modern era: ‘you’re the last of a dying breed.’ Pete has grown up and away from his recursive self-obsession, from his own myth. Pete learning to look inside others and stop dismissing himself, and everyone else, as fool’s gold.)

‘Your eyes are blocking my starlight’ to me really speaks to the person who is keeping him from Patrick, or the people—the fans, the Public, with their eyes on his every action.

14. Pavlove

I LOVE THIS SONG

Once again, we have a drug use metaphor: ‘she’s back to the bathroom for one more,’ ‘get addicted to this,’ and of course, the endless seeking for something to make ‘my chest stir/my head blur.’ And: ‘I’m not ready for a handshake with death, I’m just such a happy mess’ shows us, for once, what Pete has to live for—not just that he’s resigned to life, but the reason for it. This song is all tied up with the heady swell of live music and self-medication, and there’s no line more representative of my experience as a bisexual person than ‘I’m the invisible man who can’t stop staring at the mirror.’

‘I want to make you as lonely as me so you can get addicted to this’ seems very directed at Patrick, doesn’t it? Because this is a Pete who needs Patrick too much, thinks Patrick doesn’t need him back, is terrified. Doesn’t know how to solve his problems except to flee them. So: he flees them.

I MADE IT. I BARELY FUCKING MADE IT BUT I DID.

To sum up: Folie is an incredible, sweeping, beautiful album about the glory of Peterick and the band’s impending end, and it will break your heart. Hit me up with questions and requests, and as always, thank you for reading!

shark-myths out *mic drop*

#tryst theory #peterick #fall out boy #fob #pete wentz #patrick stump #pete wentz x patrick stump #lyrics meta #folie #america's suitehearts #prehiatus #small out boy #folie a deux #fad

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aion-rsa · 3 years

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Avatar: The Last Airbender – What Can We Expect From the New Avatar Studios?

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If you’re an Avatar: The Last Airbender and The Legend of Korra fan, the long wait is over. Ever since Korra went off the air in 2014 there hasn’t been a new Avatar series on our screens. We’ve gotten comics and books (which have been fantastic) but a return to the screen was always hoped for. The live-action Netflix series is still in the works but after the departure of original ATLA creators Michael DiMartino and Bryan Konietzko fans haven’t been as excited for it.

Now that excitement has somewhere to go. It has been announced that the newly formed Avatar Studios will “create original content spanning animated series and movies based on the beloved world of Avatar: The Last Airbender and The Legend of Korra.” Not only that, but we may also be getting short-form content and spin-offs!

The first project set to go into production this year is “an animated theatrical film” and it seems like the primary distribution for these projects will be Paramount+ (though they may also run on other Viacom channels) and even theaters.

This is a lot to take in. Obviously not all of these might come to fruition but with Paramount needing shows/movies and ATLA/Korra proving to be very popular on Netflix, fans can have high hopes we’ll get to see a lot more from the ATLA world.

So what could we be getting? All we know for sure is that a movie will be going into production but we don’t know what it’ll be about, nor do we know what any of these other possible series could cover. However, there are some areas of the ATLA world that are ready to be explored so we’re going to go over the ones that would be perfect for the new Avatar Studios.

Adapting the Comics

In 2012 Dark Horse Comics began publishing Avatar: The Last Airbender comics which continued where the original series left off. They not only filled in the gaps between ATLA and Korra but delved deeper into the world, filled out backstories, and even answered the biggest question left dangling at the end of the series: What happened to Zuko’s mom?

Any of these stories would make fine films or miniseries, but the most obvious one to adapt would be the arc about Zuko’s mom. Many new viewers of the series aren’t aware of the comic and it would be a great chance to tell such a critical part of ATLA’s story on screen.

Koh the Face Stealer

Without question the absolute scariest part of the ATLA universe, Koh is an ancient spirit who has the ability to steal any face of any being who shows any emotion to him. Aang memorably faced him down and barely escaped with his face, and he’s been mentioned in various other ATLA stories since then. Still, this creature is largely a mystery and a film delving more into him would provide an excellent big screen villain. After all, he did tell Aang they’d meet again. (This technically did happen in an online game but much of Koh’s appearance in that game has been lost to the sands of Internet time.)

We don’t have to learn or even see his entire backstory (some mystery is good) but getting the opportunity to see more of him is one that’s too good to pass up. Aang doesn’t even have to be the one who faces him! Koh’s line of “we’ll meet again” could apply to any Avatar. Korra could encounter him or even a future Avatar!

The Furthur (Queer) Adventures of Korra and Asami

The Legend of Korra famously ended with Korra and Asami walking into the spirit portal holding hands and it was later confirmed that they were a couple. We’ve gotten a chance to see some of this in the Korra comics (which if adapted would make great movies or miniseries’) but getting a full series that lets Korra and Asam explore the Avatar world and take on new challenges? That would not only just be a great show on its own (especially after those last two INCREDIBLE seasons we got on TV) but it’d be a chance to let Korra and Asami’s queerness be seen on screen.

Queer representation is still far too low, especially in animation, and getting to see queer characters in such a high profile franchise would do a world of good. We don’t even need them to be around the same age as they were in the show. Let’s get the 40-year-old queer and married adventures of these two!

A Whole New Avatar

While of course the easy options for any new Avatar media is just to tell more stories about characters we already know, Avatar Studios has the chance to continue the story well beyond what we saw in ATLA or Korra. Remember how The Legend of Korra jumped 70 years into the future after ATLA and the technology of the world was comparable to the 1920’s? Imagine if we jumped to a world that more or less matches the 1970’s? Or hell, go further! Imagine if it’s more of a sci-fi fantasy mix and we get SPACE AVATAR. Yeah, bending asteroids and using air bubbles to breathe in space.

It’d be a gamble but new Avatar mediums shouldn’t just be banking on nostalgia. It needs to move forward to ensure it’s future and a new generation of kids (or teens, whoever the show is marketed to) deserves an Avatar series to call their own.

Older ATLA Crew

Nostalgia is still powerful though and a no brainer would be getting the adult adventures of Aang, Katara, Sokka, Toph, Suki, Zuko, and the rest. We briefly saw flashbacks of them as adults in Korra and there’s that famous photo of them all grown up that was released when Korra was airing so why not do an adventure set during that time?

Avatar: The Last Airbender and Structural Perfection on TV

By Alec Bojalad

What Avatar: The Last Airbender Season 4 Would Have Been

By Shamus Kelley

See how the changing world impacted their friendships, what it was like as technology so quickly advanced. Aang trying to be a father and not being all that successful (which we wrote about here and how it enriched his character.) His attempts to preserve air nomad culture. Toph’s lack of a relationship with the father of her children and the further formation of the metal benders. There’s just so much room to explore!

The Rise of Kyoshi Adaption

Released in 2019, The Rise of Kyoshi (and it’s sequel novel, The Shadow of Kyoshi) chronicled the life of, who else, Avatar Kyoshi. It’s a gripping tale that follows her training as the Avatar while on the run and attempting to get revenge for the death of a loved one. Its story would be perfect for two or three films and also, like the further adventures of Korra, would be an excellent chance to see another queer character in the ATLA universe. Kyoshi was established as being attracted to men and women in the Korra graphic novels and the Kyoshi novels ran with it.

Adapting books into movies is still a common practice in Hollywood so this isn’t a huge stretch. The story is already there, let’s just get it on screen!

Past/Future Avatars (Anthology)

Multiple times throughout ATLA and Korra we got to see the long line of Avatars that stretched back before Aang. Some we got to learn about but most were nameless… but what if we got to learn more? Any of these past Avatars could sustain a movie, mini-series, or show on their own but that’s a tall order for such a long line of characters. Instead, imagine an anthology series where every half hour episode could focus on one of those past Avatars. We’d learn a little about their life, see them in action, and get more pieces of the overall Avatar world. This doesn’t even have to be limited to past Avatars. You could jump forward in the future. See the Avatars after Korra, the start of a whole new line!

While these could all be done in the trademark Avatar art style and handled by the original creators, imagine if this took a more Heavy Metal or Animatrix approach? Each episode could be helmed by a different creator and animation team, all contributing their unique takes on the Avatar world in different visual styles. You could of course get famous directors, writers, actors, etc. if you wanted but more worthwhile would be making this a launching pad for new talent. Get people who are just starting out in the industry (especially diverse talent, since Avatar and Korra drew so much from different cultures) and use this as a platform to launch them to fame. With that you also get a new pool of experience to draw from and that diversity would allow all kinds of different and unique stories to be created in the ATLA universe by the people the show has depicted.

The series could even be used as a testing ground for new series, movies, etc. If one episode really hits it out of the park with fans and critics, it could be spun off into its own longer story. With such a rich history and devoted fan following, Avatar Studios could leverage the brand to do something really special that would not only give us more of the ATLA world but develop new underrepresented voices in the business.

The Return of the Super Deformed Shorts

The moment I read that one of the options on the table for Avatar Studios was “short-form content” my mind instantly remembered the adorable shorts featuring the ATLA characters that were included on the DVD’s. These were short parodies of the series featuring chibi style versions of the cast. They were hilarious, zany, and we need more of them! Give us Korra shorts too!

Things We Can’t Even Think Of

The possibilities of stories in the ATLA universe are limitless. The ideas above are only the most obvious. The stories Avatar Studios make don’t all have to involve the Avatar or even benders. They don’t have to all follow the format of the TV series’. We could get action shows, sure, but what about a soap opera? A legal drama? A space opera! Something totally off the wall that defies genre.

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Anything is possible and we hope Avatar Studios will let their imaginations run wild. Whatever is made, we’re excited.

The post Avatar: The Last Airbender – What Can We Expect From the New Avatar Studios? appeared first on Den of Geek.

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tgtahr · 6 years

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Hey! I just found your comic on Webtoon, and I was wondering where you got the inspiration for it? It seems super intricately planned, I really like it!!

Aw thank you, anon! I’m glad you liking what I’m putting out so far!The answer for this is going to be a bit long. Bear with me, I really like babbling about my comic.It’s a weird source but the inspiration for my comic are topics that stood out too me in media I’ve consumed over the years. When coming up with TGtaHR I wanted to sort of analyze or subvert a few tropes I always had a some beef with. Mainly dealing with the gender/sex roles that are usually queer/LGBT+ characters in romantic fiction, the depiction of mental and physical illness, lastly relationships and abuse.Sorry about my grammar and spelling!Gender/Sex Roles - This one goes back when my character Julian was first created back in 2010, as the main character in a different comic called ‘WYIHN!’, who was meant to be in a romantic role with another character named Matthew. (Once getting the story down on paper the story was changed to something platonic because I’m not very good at working with romance) This was going to be my depiction of sexuality and companionship from a more dreary standpoint given my recent criticisms with BL/Yaoi and the romance genre as a whole.I used to be a huuuunge, gross, fujoshi funny enough... until I realized how I fetishizing real people in the queer community, and how toxic most romance is. WYIHN was going to be a romance with a much more melancholy ending with Matthew losing his home because of his sexuality, leading to him and Julian living in a small studio apartment, barely making ends meet as they’re both still kids. (Julian being just becoming old enough to leave the orphanage, and still figuring out how to live on their own)Of course the whole thing sorta flopped, losing direction after realizing their relationship was still toxic, and I didn’t have the experience or knowledge at the time to know how to fix it. Ultimately Julian, a fight or flight type of character with an interest in science was extremely incompatible with Matthew, an entitled religious fanatic who is fine with using force to push their beliefs on others.Why am I bringing up all this? Well, Julian was meant to be a subversion of the heteronormative ‘uke’ stereotype. Julian was original created as a cis-gendered, gay male, who was comfortable enjoying feminine things while still being more masculine. Of course as I developed them as a person, and I myself grew mentally, they evolved from cis and gay to non-binary and pansexual. Which fits much better with the extremely fluid or vague ideas they’ve had of gender to begin with. (being a child not raised by conventional means, Julian has no solid concept of gender, so it makes sense that their view on sexual attraction and their own gender identity would be just as vague)In turn when creating Apollo, who was literally just made so Julian can have a friend of some kind, he was also made to challenge stereotypical masculinity of a ‘seme’ type. While he does display toxic masculine views, Apollo is not a masculine person himself, having some feminine mannerisms, finding himself in situations being lead or dominated by others, and later in TGtaHR enjoying a more subservient or domesticated role. In a way Apollo himself is struggling with finding himself, sticking with a certain set of beliefs because he was raised to think that’s how things should be, and due to the pressure of his peers.In sort, I wanted to take the masculine vs. feminine gender roles, and pick them apart while observing how these characters with their very specific personalities work these social standards. Especially as people in the queer/LGBT+ community.Mental and Physical Illness - This one has more of a personal spin with it, but I’ll bring that stuff up last.If you’ve watched a movie ever, read a book or comic, or played a video game, chances are you’ve seen some unnamed illness or something along the lines of cancer being used as a way to make the audience feel sympathy for a character. Most of the time this is used as a lazy means to bring emotion to a character with little to no personality, and the illness is rather... romanticized, normally being magically cured or the person showing little to no physical signs of the illness outside of a bad cough and looking tired.On the subject of mental illness. Growing up with the horror genre, and the occasional thrillers and dramas, I’ve seen a lot of negativity surrounding this topic. In a way it’s very similar to how physical illness is used, but rather than being a tool for sympathy it’s normally used to villainize a character, sometimes using a mental illness as a reason why they murdered their family or something along those lines. This particular trope is used A LOOOOOT in indie horror games, as well as a good number of horror movies and such. It’s an easy way to make a character do something bad.To me both of these subjects are very misused and very misunderstood, so I wanted to make a story that focused on them. Mainly centering around how to deal with these issues, how to live with them, and the importance of having help. Many people live normal lives with chronic mental and physical illness, it’s not something that should be glamorized or demonized. So I wanted make a story focused on characters fighting through this stuff, depicting these subjects in a very down-to-earth light. Showing it’s just something that happens, and it doesn’t make you a victim or a monster.On the personal side I myself have always been a cynical person, dealing with a lot of mental turmoil. Especially in the past 2-3 year. Not gonna lie, I think about the benefits of death a lot, and see myself and everything I touch as the most worthless garbage to ever be dumped on the planet. I’ve had this mindset for so long that it feels normal, I don’t know how to feel and act a different way. Working on TGtaHR has been a way for me to put all this into perspective. Dumping all my mental problems in a character or characters, reading up on these issues from a scholastic standpoint, then figuring out how they tackle the issues with their given personalities helps me recognize my own mental illness(es).If you’ve ever seen me talk about how I work TGtaHR 100% for myself, aside from the escapism that drawing gives me, this is the main reason. In a way I’m doing a bit of “self help” with a comic. (But hey! There’s nothing wrong with that, everyone has their own way of working through things)Relationships and Abuse - This is also in relation to the romance genre. For the longest time I thought that rape/abuse = love thing was normal. It really messed up my views on my body autonomy and what abuse is, leading me into a relationship where I was guilted and scared into using my body for my partner’s benefit.When this sort of stuff is showed in movies and such it get’s a similar treatment as mental/physical illness. It’s overly simplified, and used as a way to squeeze out sympathy for the victim while turning the abuser into some cardboard cutout villain. While abusers are awful people, due to how little is know about emotional, verbal, and mental abuse an abuser could just as easily be someone totally uneducated on the subject. Surprisingly enough I’ve spoken with a lot of people who think abuse is just all physical stuff, even my mom didn’t know that she was being abused when her ex would manipulate her emotionally with abusive language. I wanted to play around with these subjects, give them a little more depth, along with playing around with what a relationship is in a general sense, and how do you make one healthy. (hence the title)Lol in a way my comic is an experiment playing with how different people handle difficult situations. If Apollo were in Julian’s shoes he’d handle everything waaay differently, same with Julian in Apollo’s shoes.TL:DR: I guess my inspiration is my own experiences, and misused/misunderstood subjects that interest me.

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sinceileftyoublog · 4 years

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Live Picks: 2/4-2/7

Michael Kiwanuka

BY JORDAN MAINZER

Three artists who released underrated 2019 records highlight our recs this week.

2/4: Michael Kiwanuka, House of Blues

On his previous record Love & Hate, Michael Kiwanuka sang, “I’m a black man in a white world,” echoing the statement further during his live performances. Independent from how he feels, it’s also externally undeniable: After all, the song he’s most famous for grew in popularity due to its use as the theme song for HBO’s extremely white Big Little Lies. Last November’s excellent Kiwanuka, his third studio album, continues these sentiments, as well as Kiwanuka’s Bill Withers-esque vocal delivery, retro production from Danger Mouse and Inflo, and the instrumentation. But its themes center more around Kiwanuka’s self-acceptance due to the love he feels. You can read it in the lyrics--“Shine your light all over me / All my fears are gone,” goes the chorus of closer “Light”--but it’s more apparent, and impressively so, in the aesthetic. Listen to how upfront his vocals are on the self-assured “Rolling” and on opening soul jam “You Ain’t The Problem”. “Another Human Being” juxtaposes a gorgeous harp instrumental with samples of dialog from a Civil Rights sit-in, celebrating the proclamation of black bodies existing next to white ones. Sure, there are still solemn parts on Kiwanuka, like the downtrodden “Hero (Intro)” and piano-soaked “Final Days”. And even when the lyrics express well-worn ideas lamenting the state of the world, like on “Hero”, the scratchy, weeping guitar and genuine nature of Kiwanuka’s voice is affecting. Ultimately, though, Kiwanuka’s presentation of world weariness makes others’ devotion even stronger and more important. “All I know is my, oh my, this kind of love has taken me from my enemies,” he sings on “Piano Joint (This Kind of Love)”, an ode to the most powerful weapon of all.

Utah singer-songwriter Sammy Brue opens.

2/5: King Princess, Riviera

With her debut album Cheap Queen, queer pop artist Mikaela Straus, known by her moniker King Princess, ditched the bombastic nature of her early singles for introspective balladry. Don’t get me wrong: Straus is certainly still singing about queer subject matter. “Hit the Back” is a self-described anthem for bottoms, while “You Destroyed My Heart”, in all its slur reclamation glory (“But I’m a better fag / And you’re an amateur”), is one of many songs about Straus’ ex, actress Amandla Stenberg. (She’s now dating Lizzo creative director Quinn Whitney Wilson.) And the heartbreaking, raw “Homegirl” illustrates the hiding of gay love with sheer simplicity. (“We’re friends at the party, I’ll give you my body at home.”) But the tone with which Straus explores her own stories is one of reflection just as much as one of pride, a mix that makes Cheap Queen so effective and universal. After all, it’s also an album about love in general, including accepting when it’s no longer there. On “Watching My Phone”, over crying strings and a pointed drum beat, Straus sings, “And I know I can’t be the million girls you’re gonna meet / And I think that’s alright.” Coming towards the end of the record, it’s a stunning conclusion rarely communicated in the forlorn annals of pop music, an inherent expression of self-love.

Irregular Girl and rapper, singer-songwriter, and visual artist Kilo Kish opens.

2/5: YBN Cordae, Avondale Music Hall

Raleigh rapper YBN Cordae isn’t the most skilled lyricist, but he sells you with his flow and his honesty. After a few years of releasing music under the name Entendre, Cordae Amari Dunston joined the YBN collective in 2018 and quickly became its star, releasing his Grammy-nominated debut The Lost Boy last summer. Listening to it, you quickly get a distillation of who he is: a thoughtful person who’s constantly thinking about where he came from more than where he’ll go. He’s immediately self-aware about his attitude towards legal and moral transgressions on the flute-laden “Have Mercy”: “I know I used up my three favors,” he quips, “Back to sinnin’ like a week later.” The Anderson .Paak-featuring “RNP” stands for “rich n***a problems,” a term coined by Cordae’s father after Cordae complained too much about his current lucrative career. His stories add up to become a self-deprecating biography, from the tale of bringing an unlikable girl home for the holidays on “Thanksgiving” to lamenting about social media not reflecting reality on the dreamy “Thousand Words”. (It’s through social media that he connected with the YBN collective in the first place.)

But as much as Cordae looks at his past with a critical eye, he takes the too-common trope of chronicling his rise to stardom and meshes it with a tremendous sense of perspective, thanking the people he met along the way. On “Been Around,” he raps, “Sometimes life’s about the people you know / Watchin’ a flower bloom as its features will grow.” Specific individuals are featured; he mentions his late grandmother on “Family Matters” and banger “Broke As Fuck” and actually sings Luther Barnes’ gospel track “Trouble In My Way” with her on the skit “Grandma’s House”. And the murder of his cousin serves as inspiration to live life to the fullest on “Broke As Fuck”. Ultimately, the title of his record is simply explained on closer “Lost & Found”: “I was a lost boy, but now I’m found.” Who or what found him matters, but not as much as the fact that he got there.

2/6: Béla Fleck & Abigail Washburn, Elgin Community College

We previewed Béla Fleck & Abigail Washburn’s show at SPACE two years ago:

“Béla Fleck and Abigail Washburn are both prominent musicians in their own name, two of the most proficient banjo players ever, Washburn’s clawhammer composition skills unrivaled, just like Fleck’s technical prowess. Together, the two are more than just husband and wife–they’re natural musical collaborators, having released two albums and an EP of both traditional and original material.”

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