#visual junkee | Explore Tumblr Posts and Blogs

turtlethon · 2 years

Text

“Muckman Messes Up”

Season 5, Episode 9 First US Airdate: September 28, 1991

Bebop and Rocksteady accidentally turn two garbage collectors into a pair of horrifying mutants.

Season five of Teenage Mutant Ninja Turtles continues with “Muckman Messes Up”. Francis Moss is credited as writer for today’s adventure alongside Ted Pedersen (whose surname is mis-spelt on screen.)

Outside Tropotron Labs, Shredder badgers Rocksteady and Bebop to activate a door-opening device that will provide them entry. When it fails, Shreds phones back to the Technodrome using a com-link, which he grabs onto with the metal protrusion poking out the side instead of the actual handle. Krang has dark purple eyes today, and I think you can see where things are going: today’s episode will be visually... unconventional, to put it mildly.

After Krang suggests that the other villains use their heads, Shredder has Rocksteady take the order literally and charge through the doors of the building. Dazed, the rhino declares that he hopes Shreds remembers this when his holiday bonus is due. Rocksteady is ordered to steal a supply of compound X7, an experimental mutagen that Krang believes will undo the mutations of the Turtles. (I’m not sure why Krang would need such a thing when the villains already had a retromutagen gun that did the same thing in season one, and a spray to accomplish the same task in “Michelangelo’s Birthday”; perhaps supplies are running low.)

The villains pull the lab apart, but can’t find the compound. Frustrated, Rocksteady and Bebop begin to take out their anger on the equipment, dropping a barrel full of a green substance out the side of a nearby window onto two garbage men hanging around outside the lab. The Turtles are alerted to the break-in in progress at the lab thanks to a tip-off from April, and quickly show up to confront their old enemies. Shredder uses a smoke bomb that allows the bad guys to escape into a nearby transport module parked outside.

A Channel 6 news van arrives on the scene, and from it emerges not April or even Vernon, but instead the Walter Cronkite-looking newsreader who we’ve seen make occasional appearances on the show over the years. Having missed the emergence of Shredder and his men completely, he has Stan the Cameraman capture footage of the Turtles stumbling out of the lab. Aware that they’ve been caught on tape, our heroes quickly retreat to the Turtle Van and return to the Lair.

Unbeknownst to any of our regular players, the two garbage men have now been mutated due to their exposure to the substance Rocksteady and Bebop poured out of the window. The larger of the two, Garson Grunge, becomes Muckman, a literal garbage man; the smaller one, Joe Junkee, is now a little green imp guy with eyes on stalks called Joe Eyeball.

Muckman and Joe Eyeball begin wandering the streets, to the understandable terror of passers-by. For the first time this season we return to one of the show’s favourite tropes, as the new mutants wander by a store with TVs in the window that have the volumes turned up, advancing the plot for anyone who happens to be nearby. They see Walter Cronk-like’s report on the news, framing the Turtles as being responsible for the break-in at the lab, and assuming the green teens were responsible for their transformations, head off in search of revenge.

In the Technodrome, Krang and The Gang see a subsequent report by April about the arrival of the two new mutants in the city. Krang’s systems determine that the compound which created them isn’t X7, but another, new variant of mutagen. Figuring that this chemical might be just what they need to get rid of the Turtles, Shredder vows to return to New York, steal it, and defeat his enemies once and for all. Rocksteady and Bebop quietly wonder how many episodes they’ve been in where he said much the same thing in the past.

April contacts our heroes via Turtlecom and informs them that they’re no longer considered suspect in relation to the break-in, with the police now convinced Shredder and his crew were behind it. With that out of the way, April announces her intention to begin trawling the streets in order to investigate the Muckman/Joe Eyeball story. Accompanying her will be Irma, who I can only assume is doing so out of friendship as whatever her current role is – some sort of nebulous stage manager-slash-assistant, I think – it doesn’t seem like it should involve wandering around town at night tracking a couple of unknown mutants.

Later, Donatello spots a mention of compound X-7 in the latest edition of Genius Quarterly – a nice little call-back here, as he mentioned being a reader of the same magazine two episodes earlier – and figures that must have been what Shredder was after. April checks in again, her investigations alongside Irma having led her to an alley containing an abandoned garbage truck. The Turtles hear both ladies scream as Muckman and Joe Eyeball corner them, wrapping up the first act.

Muckman identifies April as “that reporter who’s supposed to be friends with the Turtles”, and demands to know their location. While all this is unfolding, Joe Eyeball also decides he has a thing for Irma, who laments that the only man to show any interest in her for months would end up being “two feet tall, green, and has his eyes on stalks”. The two villains begin to glow wildly as they take the ladies captive.

The Turtles are about to launch a sneak attack on Muckman and Joe Eyeball, but upon getting close to the glowing mutants our heroes are severely weakened, collapsing onto the ground. As April and Irma are hauled away, they find themselves baffled as to the sudden ailment that’s come over their friends. Barely able to pull themselves together, the Turtles hobble to the nearest manhole, all having to work together to lift the cover in order to retreat to the sewers.

After some of the sloppiest editing I’ve ever seen in the show – the Turtles are seen stepping down into the manhole for about half a second – we find ourselves back in the Lair. Splinter provides soup to his exhausted students, all of whom are barely able to move. Michaelangelo posits that they must just have the flu, but Splinter believes their condition to be much more serious, adding that until they recover, they’ll be in no position to aid April or Irma.

Shredder is flanked by Rocksteady and Bebop as he arrives again in New York, using a handheld tracker to pursue Muckman and Joe Eyeball. Meanwhile the new mutants decide to set up shop in “WAREHOUSE”, the same location used by The Swatter in the previous episode. Both sets of villains eventually meet up, with Shredder convincing Muckman and Joe Eyeball that they should form an alliance by concocting a sob story about how the Turtles were responsible for Bebop and Rocksteady’s mutations. (Long-term viewers, of course, will know this is nowhere close to the truth.)

Donatello’s research leads to the discovery that the goo generated by Muckman adversely impacts the mutations of the Turtles, leading them to become weakened. In order to begin creating an antidote, he heads back to Tropotron Labs to locate a sample of the mutagen compound. Meanwhile the other Turtles focus their attention to rescuing their friends.

Leonardo uses the most poorly-drawn Turtlecom I’ve ever seen to detect April’s own communicator. The three Turtles – accompanied by Splinter – wind up back outside the lab, where they unwittingly end up scaring Donatello as he rifles through the trash. Shredder emerges, revealing his new alliance with Muckman and Joe Eyeball, the exposure to the rookie mutants again instantly weakening the Turtles.

Seeing the Turtles in danger, Splinter emerges from a nearby manhole. He makes short work of Rocksteady before Shredder – and I can believe I’m even writing this – whips out a gun and threatens to shoot the downed Turtles. I assume the writers intended for this to be a laser weapon of some sort, but nothing about the way the animators have handled it would give the viewers any indication of this being the case. Seeing no alternative, Splinter surrenders, immediately being tied up by Rocksteady and Bebop.

Shredder does some awkwardly-animated gloating at his victory, before announcing that they’re heading back to the Technodrome with Splinter in the transport module, leaving Muckman and Joe Eyeball to finish off the Turtles as per their prior agreement. Act three begins with Joe Eyeball urging his partner to “give ‘em the full glow treatment”, and the inference seems to be that sustained exposure to Muckman will eventually be enough to kill the Turtles.

Realising they need to act quickly, April and Irma quickly devise a plan. They use Joe’s attraction to Irma to get the attention of the villains, striking up a conversation and convincing the pair to follow them back inside the lab. Once there, they run into the security guard Seymour Gutz assumed the form of in “Enter: Mutagen Man”, who runs away in terror upon seeing the horrifying mutants. In his absence, April is able to view CCTV footage showing Bebop and Rocksteady dumping the contents of the barrel onto the two garbage men.

Furious at what he’s seeing, Muckman squashes a nearby monitor underneath his fist. (Don’t worry, it inexplicably regenerates in a subsequent shot.) Now convinced Shredder is no good, Muckman and Joe Eyeball turn babyface and agree to join April in the Lair to find a cure for both their mutations and the ailment that has been so harmful to the Turtles.

In his workshop, a heavily fatigued Donatello is seen working on a solution to their current predicament using his computer. Joe Eyeball steps in to provide a glob of goo that will be critical in developing a cure for the Turtles. Meanwhile in the Technodrome, Shredder has tied Splinter up above a vat of mutagen, threatening to drop him into the ooze. It’s rare that we get to see these two old rivals interact like this and the stakes now feel heightened as Splinter remarks that whatever happens to him, “evil can never conquer good”. Just to dial it back a little, Shredder yuks it up, responding that “of course it can – why else would I be in this line of work?”

Donatello’s research leads to the creation of a disgusting-tasting medicine that will make the Turtles immune to the harmful effects of Muckman’s mutation. They reluctantly chug the formula, which instantaneously has the team feeling like their old selves. Donnie wastes no time in devising a scheme to get the green teens and their two new allies to the Technodrome, using the portable portal generator (depicted in this episode as being a little metal box with a tube protruding out of it).

April and Irma say their goodbyes and are ready to head back to the surface, each speaking in each other’s voices because this is every bit that kind of episode. Joe Eyeball gives a disgusted Irma a present to remember him by. Some great voice work going on here as she questions what the glop is that was just placed in her hand, and Joe responds in the most deadpan manner possible: “I don’t know”.

We only have a couple of minutes of showtime remaining, and so the story forgoes the usual sight of the Turtles having to work their way through the Technodrome for a final showdown: instead, they materialise directly in front of Shredder and Krang, kicking off today’s climax. Krang deploys a wave of Foot Soldiers which the Turtles quickly defeat. Muckman and Joe help out by using their gloop to send Rocksteady and Bebop down a nearby chute.

Shredder and Krang receive much the same treatment as The Boys, but wind up in the room where Splinter is being held, with Shreds hitting a button to send his old enemy into the vat of mutagen. Using momentum, Splinter instead knocks over the vat, the mutagen carrying both Shredder and Krang out of the room. This will surely lead to the creation of some kind of Super Shredder and definitely not be forgotten about the next time we see ol’ Shreds.

This episode really has quality written all over it, as the Turtles arrive to find Splinter... hanging over a vat of mutagen once again. The team work to get him down, and later meet up with Muckman, who points out the portal is beginning to falter. The assembled group of mutants quickly leaps back through, arriving in the Lair moments before the portable portal generator... makes some bizarre creaking noises and explodes.

In a rare closing scene that doesn’t take place in the Lair, Irma has a pizza party in her apartment, attended by April, the Turtles and the two new mutants. Joe again attempts to woo Irma but she politely declines, as she prefers her men to be “a little taller”, before conceding that he does have “lovely eyes”. Donatello is convinced that he can revert both their new allies back to normal, but Muckman declares that he’s in no hurry: “Before, we were just garbage men, now we’re mutant heroes!” Michaelangelo is quietly disgusted by the expired contents of Irma’s fridge. This is music to the ears of Muckman and Joe, who both step in and begin chowing down.

I’m sure gross-out characters like Mutagen Man and today’s debuting mutants were highly appealing to a sub-section of the young boys TMNT was marketed to at the time, and shifted a lot of action figures, but it’s an aspect of the franchise that I’ve always been entirely indifferent to. With that in mind, I didn’t have great expectations going into this one. Storytelling-wise it surprised me, as Townsend Coleman and Rob Paulsen were able to make Muckman and Joe Eyeball respectively entertaining and engaging enough to carry the material they were given to work with. The other story elements intertwined here such as Splinter getting captured and taken to the Technodrome raise the stakes considerably, and the Turtles feeling fatigued and sick is as relatable here as it was back in “The Making of Metalhead”.

So far, so good, but none of this is enough to fully make up for the fact that this is one of the most ungainly, strange-looking episodes of Turtles in recent memory. There are errors, oddly-scaled characters and visual oddities throughout, so many that I could only highlight a few or this would end up being a double-length Turtlethon entry. Even the colour palette of the episode is nothing like what we’re used to in this era of the show, with the whole thing looking much darker and grimmer than your standard season five adventure: it almost has the vibe of the yet-to-come “Red Sky” era of the show, though the actual character designs are, if anything, sillier and more cartoony than usual. A real mismatch.

In contrast to the less toyetic season four of Turtles, season five has so far been something of an ongoing showcase for the various supporting characters that Playmates has added to their action figure range throughout 1990 and 1991. Some will appear in the series again - Chrome Dome, Groundchuck, Dirtbag and Mondo Gecko spring to mind - but others like Mutagen Man, Muckman and Joe Eyeball will only get the one go-around, and it feels as if these guest stars are here out of dutiful obligation more than anything else. We’ll never know if Donatello was successful in returning Muckman or Joe back to their original forms; instead, we press on, with the next adventure for the awesome foursome being "Napoleon Bonafrog: Colossus of the Swamps".

#Teenage Mutant Ninja Turtles #TMNT #TMNT 1987 #Ninja Turtles #1991 #Muckman #Joe Eyeball #Muckman and Joe Eyeball #Muckman Messes Up #Turtlethon

2 notes · View notes

buzz-london · 3 years

Link

#amazonia #tribe #brazil

1 note · View note

illegalastrology111 · 5 years

Photo

AQUARIUS ZODIAC SIGN

Element: Air

Quality: Fixed

Color: Blue, Blue-green, Grey, Black

Day: Saturday, Sunday

Ruler: Uranus

Greatest Overall Compatibility: Gemini, Libra

Best for Marriage and Partnerships: Leo

Lucky Numbers: 4, 8, 13, 17, 22, 26

Date range: January 20 - February 18

Strengths: Progressive, original, independent, humanitarian

Weaknesses: Runs from emotional expression, temperamental, uncompromising, aloof

Aquarius likes: Fun with friends, helping others, fighting for causes, intellectual conversation, a good listener

Aquarius dislikes: Limitations, broken promises, being lonely, dull or boring situations, people who disagree with them

Aquarius-born are shy and quiet , but on the other hand they can be eccentric and energetic. However, in both cases, they are deep thinkers and highly intellectual people who love helping others. They are able to see without prejudice, on both sides, which makes them people who can easily solve problems.

Although they can easily adapt to the energy that surrounds them, Aquarius-born have a deep need to be some time alone and away from everything, in order to restore power. People born under the Aquarius sign, look at the world as a place full of possibilities.

Aquarius is an air sign, and as such, uses his mind at every opportunity. If there is no mental stimulation, they are bored and lack a motivation to achieve the best result.

The ruling planet of Aquarius, Uranus has a timid, abrupt and sometimes aggressive nature, but it also gives Aquarius visionary quality. They are capable of perceiving the future and they know exactly what they want to be doing five or ten years from now.

Uranus also gave them the power of quick and easy transformation, so they are known as thinkers, progressives and humanists. They feel good in a group or a community, so they constantly strive to be surrounded by other people.

The biggest problem for Aquarius-born is the feeling that they are limited or constrained. Because of the desire for freedom and equality for all, they will always strive to ensure freedom of speech and movement. Aquarius-born have a reputation for being cold and insensitive persons, but this is just their defence mechanism against premature intimacy. They need to learn to trust others and express their emotions in a healthy way.

photo layout: visual junkee.

#tom hiddleston #loki #avengers #thor #marvel #crimson peak #hollow crown #kong skull island #aquarius traits #aquarius #aquarius men #zodiac traits #celebrity zodiac #free horoscopes #astrobabble #cats #caturday

1K notes · View notes

tycoons-official · 5 years

Text

♛Ｔｙｃｏｏｎｓ♛

.•♫•♬•ＡｌｂｕｍＤｅｔａｉｌｓ•♫•♬•.

• Tycoons' self-titled debut album 'Tycoons The Album' was released on the 3rd of January, 2017, 07:00AM KST.

• JYP released two trailers for the music video a month prior to the release date, however they didn't attract too much attention as they were first advertised like regular ads that would appear on most YouTube videos, sometimes even other JYP idols' music videos to maybe draw a bit more interest, as the trailers uploaded on JYP Entertainment's YouTube channel did not do so well as expected, at first. Although this, once the album and official music video came out, people started realizing that 'Tycoons' was actually a group and began drawing in a huge crowd.

• The album focuses a lot on storytelling, through music and lyrics, telling the day-to-day life of two siblings taking over their family's money wagering, illegal weapon dealing empire within the vast Mafia and how they run operations as well as the drama that will commence throughout half of the album.

• The album starts with catchy hip hop beats and dance/house trap drops, giving a sort of Stray Kids vibe to it. As the album goes on though, the lyrics and mood start to take on a more emotional tone and meaning. Just as the mood changes, Tyke and Carmen's [the Characters] lives are changing along with it.

• A majority of the songs in the album are written by both members of Tycoons [and the music video is also partially directed by them since the CEO was curious as to how this duo plans to start off their careers after training for a good amount of time] and most of the music [in the album and the music video] was also made and produced by Tycoons themselves.

• 'Tycoons: The Album' was a success, initially selling a total of 1.7 million copies in Korea and 1.65 million internationally within the first week and a half of so. But when the album began gaining some traction, the numbers spiked to 3.18 million copies in Korea and over 4.19 million copies internationally by early February.

.•♫•♬•Ｔｒａｃｋｌｉｓｔ•♫•♬•.

▄︻̷̿┻̿═━一 25 minutes & 20 seconds

• MAFIA

• 우리는 (We Are)

• Hands Up

• GSW

• Heir

• 만족하니? (Are You Satisfied?)

• Losing It

• Fire With Fire

• Outro: The End

.•♫•♬•ＳｏｎｇＡｎａｌｙｓｉｓ•♫•♬•.

1. MAFIA - ⏱ 4:05 - Title track

'MAFIA' is the title track of the album as well as the first track in the lineup of Tycoons' debut album. It is also the only song in the album that got a whole music video dedicated to it. Being that the album was written and co-produced by Tycoons themselves, they wanted this album to tell a story; to be the first chapter of their characters' stories and build up on their development as they evolve and grow in the music industry. They promoted the album, the title track and it's B-side heavily, going on several interviews, TV and music shows for 3 weeks straight, all at once [though Tycoons themselves quote en quote 'didn't mind the busy schedule, as they have been preparing all their trainee lives for this moment', courtesy of Carmen].

'MAFIA' is a song about the 'dangers' of the Mafia world and how they rose to the top with sheer resilience and smarts, as well as available weaponry and other form of utility such as soldiers. Tyke and Carmen the characters describe a glimpse in their life in a line taken from Carmen's rap verse:

'in this dangerous place

where Alphas roam wild

one shot dead in the streets

echoing cries for miles and miles

with blood dripping on their face

as they lie cold there like a stone

truly a beautiful chaos

this is home; how we live our lives'

The song is hits hard with a hip hop style dance beat, an interesting use of common synths, a fresh twist on melodies that are often used, heard and reused, and carries an intense tone throughout the whole song. Added to that the ranging high and low notes that Tyke hits, especially in the bridge, and Carmen's consistent deep growls in the rap verses. Said factors when merged create this harmonious yet unpredictable title track that would be considered 'perfect to set the tone', as Tyke puts it. Fans often compare this song to the style of Stray Kids' and BAP's music, and although some people say that this is the 'least JYP' JYP song ever according to some fans, Tycoons have confessed to have let the company add their flair to this song, so it's safe to say that it was an even game when it came to producing.

There were also special effects to the song to amp up it's chilling vibe. For example, throughout the song, there would be gunshot fire sounds inserted, as expected from a group with a dark concept, however fans pointed out that as the song reached it's climax, the shot sounds start condescending to the point where it even tricks some people into believing that there was an actual gun fired next to them, and therefore have them either scared or even more in love with the song. This effect however was not the only sound [or even visual] effect inserted into the track; in the official music video, Tycoons are shown to present almost everything you'd want in a perfect music video; great clothing choices, beautiful sets and decor, a nice harmony of dark and bright colors throughout, flattering camera angles and lighting, makeup and filters galore, only to then show the Characters' reality, showing various ruined sets littered with blood, dead bodies, empty bullet cannisters and bloody knives on the floors, yelps of pain, stab sounds and the final groans after getting shot, make the atmosphere even more spine chilling.

Critics praised this title track for it's unique concept, style and visuals, however they added that there could've been a more clear trigger warning before the MV starts, as it could easily trigger a younger audience. So to appease them, the company temporarily took the video down to add an extra 10 second trigger warning clip accompanied with a subtle rain sound effect that goes well with the beginning of the MV where Tyke and Carmen are seen walking through the gloom streets while it's raining.

2. 우리는 (We Are) - ⏱ 3:46 - B-side

'우리는' or 'We Are' in English is the next song in the tracklist as well as the album's B-side track. 우리는 Is mostly written by Tyke, therefore it's fairly vocal heavy for the most part, however he does give his sister Carmen the bridge and the last verse of the song to rap, but the rest is Tyke. It's a more story telling song that has a much softer, but more mysterious vibe to it. This song doubles as a deeper look into Tycoons' Characters' backstory as well as a song that shows off Tyke's light and clear contratenor voice with the occasional sassy run as well as stable vibratos and falsettos.

The song carries a nostalgic feeling, as if you've heard this song before some other place or time in your life, but not exactly in the way one'd originally think. It has a sad-ish tone, despite having happy nostalgia inducing guitar, piano, a variety of classical instruments, hip-hoppy snare and slightly lighter trap drops, that is meant to symbolize Tycoons' not-so-happy childhood that is the consequence of their family joining the Mafia.

Overall, the song has a fairly light hearted tune with variety and a nicer, clearer beat compared to it's title track, however if you look at the lyrics and analyze them, they hold a much darker meaning:

'you can't run

you can't hide

hold your breath

close your eyes

turn your ear to the sky

you're not safe here anymore

this is who we are, now

who we are, now'

The unsettlingness of the lyrics combined with the strategic classical orchestration make for a song that's meant to feel like, quote en quote 'a false security blanket that shields you from the actual good reality, or even a blindfold that makes you see everything in life with a different filter', courtesy of Tyke.

This song isn't exactly a favorite of the people, therefore dubbing it 'under appreciated' or 'underrated' by Capos, however critics applaud this song as much as it's title track for the same factors, but they have less critiques for this song as there wasn't any music video, however for some critics, the sense of false security and lack of straightforwardness was not exactly their cup of tea.

3. Hands Up - ⏱ 3:25 - Inizio

The third track in the album is titled 'Hands Up' and is the introduction to Carmen's [the character] personality and role in her and her brother's business. This track is mostly written by Carmen and contains mostly rap verses, with Tyke included briefly in the chorus, the bridge and as backing vocals to go with Carmen's raps. 'Hands Up' is has traces of inspiration from hip-hop songs, with it's more uppity, 'in your face' beats.

The story, or message, this song is trying to convey is to never disrespect those whom have helped you and built you up and explain the diligence and perseverance you are going to need in order to survive in the Mafia industry, and that once you think you got there, that means you still have ways to go, or to put it in Carmen's words; 'Don't get too comfortable, life can take 10 steps ahead of you just like that.'

The bold beats and sassy lyrics can be quite jarring to some, but the song overall is very well received by Capos and music critics alike. Although a minority of Capos did make an argument about 'Hands Up' being a better B-side track for 'Tycoons the Album' than '우리는', however this dispute is easily dismissed by favor over the idea of "'우리는' and 'Hands Up' being equally great overall, but '우리는' is a B-side for a reason that we don't know yet/we will have to speculate more on to know why", given by K-pop commentary channels such as KPOP Junkee and Korea Scouter TV.

The topic of respect and being respectful is heavily mentioned in the song and due to this, some Capos said that 'it almost seemed like they were demanding respect' and this ideology was shared around with a portion of the fandom, however Tycoons responded to this issue by saying that they only wanted to portray their characters, not the actual people themselves.

4. GSW - ⏱ 3:02 - Continuazione

'GSW', short for 'Gun shot wound' is the next song in the tracklist and another hip hop dance song in the whole album. 'GSW' is co-written by Tycoons and this song carries a more JYP style of music for the group, but with that said, the JYP 'signature style' was definitely beneficial for Tycoons' versatility in music styles. What makes this track different is the lack of lyrics and the main focus on the dance aspect that goes with the track.

The music was intense like the title track and had a variety of different musical tones incorporated, like at some points of the song there could be a more deep atmosphere and in others it could be softer, or faster, or sad. Though the song may be lacking in lyrics, it compensates for a complicated, but amazing choreography. The only verses in the song are the first pre-chorus, chorus and bridge, and these verses are fairly brief;

'just when you think there's a settled score

the battle has just reborn

comes swift like an avalanche

come to steal what you just got back

at your back like a loaded gun

and the night has just begun

steady now breathe, breathe'

This song took the longest to practice in terms of dance. According to Tyke, he stated that they've had to practice this dance longer than any of the other song's dances combined. The choreography is much harder and more technically challenging, and it also involves the usage of various props as well as stage actors to accompany Tycoons in their action sequences throughout the dance. The CEO even opted to postpone the actual date of their debut because of how challenging this dance was, as he had doubts that the group could actually meet the deadline. But hard work and dedication pulled through and the duo clearly succeeded through all the hours of work.

5. Heir - ⏱ 4:45 - Conflitto

The song 'Heir' is sort of like the climax of the album. This is when the tone of the song shifts to a more calmer, simpler tunes and faster timing with more room to add story telling lyrics and catchy raps. Tyke and Carmen worked on this song together and therefore rapping-to-singing ratio is pretty equal, and their inspiration for this album can really be sensed here, or at least that's what they think anyway. At the beginning, this song sounds quite to 'MAFIA' because of how Tycoons' characters are connected to the person next in line to their 'throne' but they found out something was wrong and they go searching for her. Shown briefly in the music video, this 'heir' is a baby, almost a toddler, who's sleeping in a crib inside a dark nursery but the scene is shown to flicker to a clip of people in full black outfits taking them away, resembling a kidnapping.

In the music video for 'MAFIA' we briefly get video shots of Carmen turning around to face the camera angle with a distraught expression before running towards a hallway as if rushing to get something, and Capos think that this is Carmen running to save her 'heir.' Tycoons soon confirm the rumors surrounding this mysterious heir however didn't drop every detail, but did mention said heir's name; Chloe.

The song itself is intense just like it's title track, but with added drama and theatrics by an orchestral pre-chorus and followed by another dirty dubstep/trap drop and bridge. The classic parts meant to symbolize going back to the classics, where king and queen take care of their heirs as they rule their kingdom, but by the end of the song the orchestra melody doesn't complete itself and loop, instead for the last 5 seconds of the song, it's heard glitching and skipping certain beats before eventually quieting down.

This strategic, but harmonious symphony of classical and trap genres seems to be the critics' favorite and it definitely made sense for Capos to enjoy it just as much. However some added that the drop sounded too much like 'MAFIA' and when put side by side, they almost have the exact same notes. Tycoons took to answer this predicament right away, explaining that, though taking care of children aren't the characters, Tyke or Carmen's, front suit, their heir still plays a role in their journey to the top, by being more careful, thought out and responsive to anything, and eventually the crowd died down.

6. 만족하니? (Are You Satisfied?) - ⏱ 4:30 - Calore de momento

'만족하니?' or 'Are You Satisfied?' in English is the 6th song in the tracklist and right off the bat is a rap-heavy trap style song, going back to harsh, dirty beats and Carmen's growly voice. This song is meant to represent the heat of the moment and a continuation of the previous song 'Heir', after they realize that the next generation of their 'royal family' was taken from them. Carmen wrote this song feeling her own anger to the horrible people present in her life as a child, and after some fine tuning from Tyke so it doesn't sound too much like a diss track [though according to some fans, it still does], the lyrics to the song can really convey how angry and angry [and rather sadistic] their characters were over loosing their 'heir':

'you think this is fun?

that this is all just a game?

well I'll tell you this now, you pricks

that you'll regret this mess you made (yuh)

you've dug yourself deep in a hole

where we will throw you a rope

and drag your body to your neighborhood

and cut you open wide!

does that sound good?

are you satisfied now?'

The rather horrifying lyrics of this song and the glitchy sound effects added makes it one of the least favorite songs in the album to fans, along with 'Losing It', but as the internet is known for divided opinions and constant fighting over the slightest things, Capos were no different. One side said that this song was okay and 'the others who can't stand the lyrics are actual babies', quoted from one Capo, and 'the other' side of the fandom just did not appreciate the gory lyrics and 'would just listen to the album without this song overall', quoted from another Capo.

Critics also agreed that this track and 'Losing It' in particular could've been less gory, however they did understand why Tycoons wanted to make it so that it would sound sadistic and scary and all that, even if it was their least favorite song concept. Tyke quickly defended himself and his sister by stating that they wanted the album to be raw and true to their characters' personalities and the storyline, and at the end of the day it was just some lyrics in a song that shouldn't be taken too seriously. Some people saw this as Tycoons' over-involvement with their fanbase and turned them away from the group but a couple of them have since returned to being a Capo after realizing that the reason why Tycoons called them their 'Capos' is because of their wish to be engaging with their fandom and that they were forgetful to the meaning of the name in the first place.

7. Losing It - ⏱ 2:04 - Climax

'Losing It' is the very next song and yet again, a continuation of the previous song '만족하니?' but unlike the last one, 'Losing It' is much calmer but at the same time, was just sinister and a little vocal heavy. The song was one of the quieter songs in the album but kept that deep and mysterious aspect about it, which made fans appreciate this track more than the previous one. In this song, Tyke really showed that he can rock to a quicker paced song as well as a slower one, as 'Losing It's melody incorporated a few transitions from a fast paced beat to a slower beat.

The electro synths and more vocally challenging melody and high notes made this song one of the hardest songs to sing in the album, if not the hardest song to sing in the album. It was more of a ballad with the occasional trap build up leading to a softer EDM drop as per usual. The song's varying speeds also made it a challenge to sing as you first go up high, then low, then mid-range before climbing back up again and several different variations of this pattern were incorporated so no verse sounded the same, nor did it have the same lyrics. Speaking of, the lyrics to the song describe the disappointment and shame the characters had to go through when they found out their family member had been kidnapped and it includes a few hints pointing towards Tyke's depression really helping out during this song [even though it was actually written by Carmen since Tyke was depressed when the song was written, so his low mood helped this song convey the sadness and frustration properly]

8. Fire With Fire - ⏱ 2:50 - Vendetta

'Fire With Fire' is the finale of the album, and though it may be only less than 3 minutes, the song holds a deep passionate beat and had probably the most memorable ending drops throughout the whole album. Mirroring 'GSW', 'Fire With Fire' was dance dominated with a few lyrics, but due to its short length, the choreography was more complicated and faster paced, 'ending with a bang' as Tyke would say. And though the choreography wasn't as complicated as 'GSW', and did not need any props, it was definitely just as tiring, according to Carmen.

Capos compare the drop to that of Stray Kids' 'Miroh' for it's electro house instruments but broken down, it doesn't sound too similar, though people managed to merge the two songs together to create a song that even Tycoons listen to and they gave the person that made the first remix a very well deserved shout-out.

9. Outro: The End - ⏱ 1:14 - La fine (per ora)

The outro song wasn't originally needed in the album but Tycoons added it in there to add some hype on the next album coming up as well as a quick sneak peak and Capos and the rest of the world were definitely excited for what's to come

.•♫•♬•Ａｃｃｏｍｐｌｉｓｈｍｅｎｔｓ•♫•♬•.

• 'Tycoons The Album' was nominated for album of the year at the MAMAs 2017 however did not win.

• Tycoons themselves won Best New Artist of the Year at the same event as well as 3 other music show awards; from the MGMAs, AAAs and Soribada;

• 'MAFIA' won Song of the Year at the MGMAs and Tycoons won Rookie of the Year at the AAAs and New Artist of the Year at Soribada.

• 'MAFIA' peaked at #5 place on the MelOn chart, #6 place on the Gaon chart, #8 place on both Soribada and iTunes Top 10 and #39 on the Billboard hot 100.

• '우리는' made it to #18 on the MelOn chart and dropped to #20, #17 on Gaon, and #16 on iTunes Top 20

• 'Hands Up', 'GSW' and 'Heir' made it to #49, #50, and #52 on the Billboard hot 100 charts. But jumped to #35, #38, [surpassing their title track] and #40 and stayed there.

• 'GSW' was actually nominated for Best M/F Dance Performance at MAMAs but unfortunately did not place.

.•♫•♬•Ｅｘｔｒａｓ•♫•♬•.

• Carmen has a painting that eventually became the official cover of the physical album and the company's design team thought 'why not put that design to good use', since Carmen already did the work for them, and she didn't mind them using her design, as she was credited in the back of the album as well as inside the photo book. Where there were photos taken of her actually recreating the cover painting on canvas while wearing her *ⁱᶜᵒⁿⁱᶜ* elbow-length-sleeved shin-length black skintight dress, long cherry red satin gloves, matching-color kitten heels and beret in the 'boudoir' set [also featured in the music video].

#tycoons #tyc.#pinkocnet #tokyokocnet #lofi #lofikocnet #kumokcn #kumokocnet #woopkocnet #kocsociety

25 notes · View notes

astrid-aesthetic · 5 years

Photo

2 days into the new semester & I’m still feeling good about everything?! Like, don’t get me wrong, I have a lot of responsibilities to handle, but I’m actually really excited about doing everything! Is this what optimism feels like? 😅 💛Brows: Milani Stay Put Brow Liner in Natural Taupe 💚Eyes: ELF Mad for Matte Eyeshadow Palette in Jewel Pop + Expert Liquid Liner in Jet Black, Korpse Kosmetics Eyeshadows in Mimikyu, Visual Kei & Pluto & Urban Decay 24/7 Liner in Perversion 💛Cheeks: Korpse Kosmetics Eyeshadow in Mimikyu 💚Lips: Ciate London Liquid Velvet Lipcolor in Pin Up & Tattoo Junkees Lipgloss in Bankroll 💛Hair: Arctic Fox Cosmic Sunshine + Neon Moon 💚Collar: Pawstar

1 note · View note

digitaltowns · 6 years

Text

But First, Let Me Take a Selfie.

Capturing a photo used to be a precious thing, something finite to be saved for particular occasions. Since the introduction of digital cameras followed by mobile phones with built-in cameras and ever increasing affordable storage capacities, there is virtually no cost to capturing photo. This has lead to people capturing more images than ever and sharing them online in order to garner likes. Social media has given us the ability to share these photos in a way that allows us to carefully craft an image of ourselves that we would like to portray to the world.

(Image via Awol Junkee)

One important form of image in the age of visual communities and social imaging is the selfie. Now a commonplace term in the technological world, a selfie is defined as a photograph that one has captured of oneself in most cases using a smartphone or webcam that is then shared via social media (Wickel 2015, p.1). There have been many projects attempting to understand the phenomenon of selfies such as the large scale and slightly controversial "Selfie City", see http://selfiecity.net. However, let us a discuss a different question that is often asked, do you believe that the act of taking a selfie and/ or posting it online is an act of narcissism?

youtube

(Selfies are so popular that they even go their own song!)

Wickel (2015, p. 3) wrote that there is a high correlation between selfie culture and narcissism noting that the top three reasons that millennials gave for regularly posting selfies were indicators of narcissistic behaviour. Conversely, a study conducted by Barry et al. (2017) found that there was a lack of association between self-reported narcissism and the posting of selfies, suggesting that posting selfies may just be a normal method of online communication. Unfortunately some have noted that taking constantly taking exuberant selfie can take a negative toll on a persons' self-esteem (Moses 2018). Meanwhile, Lange (2009, p. 72) wrote that "securing someone's attention in person is an ongoing, managed process that easily and frequently breaks down". Perhaps one of the main motivations for someone to frequently share selfies is to ensure that they can continue to captivate an audience and remain relevant in the online world.

Personally, I align with Vivienne & Burgess' (2013) view that personal photographs are a communication tool that enable us to tell our narrative. I do not believe that the act of taking a selfie and sharing it is inherently narcissistic as people often share these photos in an effort to provide a life update to their family and friends. Besides, people were getting self-portraits painted to hang on their own wall long before selfies existed.

References

Barry, C, Doucette, H, Loflin, D.C, Rivera-Hudson, N & Herrington, L.L 2017, '"Let me take a selfie": Associations between self-photography, narcissism and self-esteem", Psychology of Popular Media Culture, vol. 6, no. 1, pp. 48 - 60.

Lange, P.G 2009, ‘Videos of Affinity on YouTube’, in P, Snickars & P, Vonderau (eds), The YouTube Reader, National Library of Sweden, Stockholm, pp. 70-88.

Moses, M 2018, 'The Truth About Selfie Culture', The New Yorker, 20 April, viewed 28 May 2018, <https://www.newyorker.com/culture/culture-desk/the-truth-about-selfie-culture>.

Vivienne, S & Burgess, J 2013, ‘The Remediation of the Personal Photograph’, Journal of Material Culture, vol. 18, no. 3, pp. 279 - 298.

Wickel, T.M 2015, 'Narcissism and Social Networking Sites: The Act of Taking Selfies', Elon Journal of Undergraduate Research in Communications, vol. 6, no. 1, pp. 1 - 22.

#MDA20009 #Selfie #Online Portrayal

3 notes · View notes

amcnh · 6 years

Text

Cub Sport

If their story was a film, it would forever be my favorite. It has all my ideal elements: slow burn romance, music, travel and gay leads. Tim Nelson and Sam “Bolan” Netterfield met at school. Bolan’s mother recalls her son coming home one day and telling her he met a boy who played the piano really well and that he wanted to learn to play like him. Tim and Bolan became fast friends. They started spending more and more time together and eventually playing music together. The group – since 2013, called Cub Sport – took off. Buzzy EPs turned into hit singles turned into a highly anticipated debut album. Cub Sport, made up of, yes, Tim and Bolan but also bassist Zoe Davis and drummer Dan Puusaari, was officially a successful project. The band was together a lot, recording and touring and promoting, and Tim and Bolan were spending pretty much all their time together. Both admit now that, at the level they could have clocked or allowed it, they realized quite early on in their friendship that they were in love with each other, but, both raised in super religious environments, were not willing or ready to address that let alone their gayness. While on tour in America during 2016, however, things unsaid finally were spoken. They describe it all much better, and it makes me swoon, so here are some quotes:

Tim to OUT Magazine:

“I went on a writing trip in the middle of 2015 for about a month and I missed Bolan (Sam) so much. I started to recognise that I was in love with him, but I had a lot of fear and denial to work through. In the middle of 2016, we went on a two-month overseas tour. Being away from the reminders and restrictions of normal life back home was really instrumental in us feeling like we had the freedom to explore and pursue what had been building between us.

The Orlando attack happened while we were on tour in the U.S. and it was not only a reminder of how fleeting our time on earth can be, but a big wakeup call that if we just embraced who we really were we could also try to help inspire and encourage young queer people facing the same internal battles we were both experiencing. We went to Pride festival in Denver around the same time and the atmosphere was really supportive and beautiful.”

Bolan to The Guardian, discussing the impact Hanya Yanagihara’s A Little Life had on his relationship with Tim:

“I think I had buried so deeply within me what I really wanted that it took me seeing it play out in fiction to actually have the clarity and perspective to look at my own situation and give me strength to realise that life is too short not to follow… I think I realised early in the book I was drawing direct correlation with those characters and with myself, then seeing one character die really shook me. I was suddenly hit with the notion that if Tim was to die, how could I have not said something. I realised I had to put everything on the line and I was willing to potentially jeopardise and lose our friendship to get everything that I suddenly realised I wanted and needed.”

On the final night of their American tour in that summer of 2016, after a long night of partying and celebrating, Bolan, as told to The Guardian, finally addressed his feelings to Tim. He recalled saying, “’I don’t want this to ruin our friendship but I want to be with you, I love you and I want to be with you forever,’ and then Tim started to cry and said, ‘So do I.’” It’s adorable and happy and lovely. Bolan, in an interview with triple j about their relationship, said, “We fell in love over the course of about eight years.” That’s some fucking cinematic shit.

They’ve been so generous in sharing the personal details of their story. It influences their sophomore record BATS that they self-released this year (we’re getting to that), but it also is a generous, helpful decision to be so open. This year in Australia’s clusterfuck of a marriage equality “debate,” a lot of queer kids were left confused and isolated and scared. To see Bolan and Tim happy and proud, as they’ve said, meant a lot to their young fans. Beyond the adorable story of it all, it’s been for good.

Now, the record. BATS, sonically, is a shift from Cub Sport’s previous work. Tim, the lyricist and vocalist for the group, cites A Seat At The Table and Blonde as huge inspiration for the project. Content wise, the record documents their romance. To Notion, Tim said, “It more-or-less follows my personal journey from the moment I admitted to myself that I was gay, to coming to terms with being in love with my best friend/bandmate Bolan (Sam), finally acknowledging the situation a year later and to then coming out and getting together.” He further told Music-News, “Bolan’s and my story rolls out over this list of songs, more-or-less in this order – ‘Chasin’,’ ‘Look After Me’, ‘Crush,’ ‘Solo III,’ ‘Bats,’ ‘Give It To Me (Like You Mean It),’ ‘O Lord’ and ‘Banyo Blue.’” And if you read the lyrics to those tracks, the details – starkly honest and evocative – are all there.

“Chasin’” was the song Tim wrote after returning from his trips to Los Angeles and London to write, when he realized his feelings for Bolan. He said he wrote it without fully understanding what it was saying at the time. Now, it’s clear. It’s a song about fear and confusion. “I’m trying to be honest and live deliberately. Is it delusional to think that I can do this? Time always makes me doubt what’s coming out me.” To Notion, Tim said, “Sam had heard ‘Chasin’’ in its original demo form for about nine months before we actually had the conversation. He said he already knew what it was about so I guess that helped inform him that what he was feeling was reciprocated, even though I hadn’t had the courage to say it out loud in words.”

On “Look After Me,” Tim is sensing something. “There’s something in the way you look at me like I’ve never done wrong.” It’s visceral – that, “I think maybe he feels this way because I see this look in his eyes, but am I just seeing things because I want to see things or am I seeing the truth?” It’s a rhythmic, interior processing.

“Crush” sees that post-tour, mid-celebration conversation when they first opened up to each other. “And you whisper to me 'Why are you crying?’ I think it's from the years of trying to try and push you from me. I didn't know who I was meant to be. Did I crush you with the things I wouldn't say? Did I hurt you on the way? How am I so lucky that you waited for me.” We’re there, hearing and seeing this moment. It’s a lot.

“Solo III” is, indeed, inspired by Frank Ocean’s songs on Blonde. “We keep blazin', playing ‘Solo,’ and now we've got our song. And I believe in me and you. We make each other strong. And here it is, my first love song. It didn't even take that long. Now I'm not laying solo.” This marks a first – them, honest and together, celebrating their love and its newness. To Junkee, Tim shared the importance Blonde and “Solo” played in their relationship: “That album came out pretty soon after [we got together] and for the first few times, every time we got to ‘Solo’ I would cry. I was like, ‘I can’t believe I get to have what we’ve got.’ It immediately became our song, but the lyrics didn’t match up with our situation at all, and so I wanted to take from that and make it out own. And I think the melody’s just different enough that we could get away with using it.” Tim asks, “Oh, what did I do, do I deserve you?” This line’s a reminder that, yeah, we’re getting the timeline of their relationship, but Tim is writing these songs. We’re getting his feelings on what’s going on here – the disbelief, the joy.

“Bats,” if you’re a fan of the pair’s Snapchats, makes total sense. For the unacquainted, Tim clarified to Music-News: “The house we were living in when I recorded BATS was just up the hill from a creek that had a huge colony of bats living along its banks. Bolan and I would walk our dogs down there each evening and watch the bats fill the sky (usually soundtracked by Frank Ocean – ‘White Ferrari’ playing off my phone). I’d often put it on my Snapchat story and one day someone from Texas replied and said that they’d see the same thing there. It inspired the opening lyrics of the song ‘Bats.’ ‘Bats in the sky, it looks like Texas. I like this time because it reminds us we can be anywhere, that doesn’t change us, nothing can change us now.’ ‘Bats’ the song felt like it really represented the vibe/story of the album which is why we decided to make it the title track. There was always something exciting and emotive about seeing thousands of bats fill the sky and I wanted that visual to represent the collection of songs.” The lyrics refer to “Solo” and Tim’s overseas writing trips again, saying, “I've been on flights. I've seen some sights, but I didn't feel it. Just there to write. If I fly again, it won't be solo 'cause that got me so low.” “Bats” is a quiet, peaceful celebration of their togetherness and inseparability. He says, “You’re the reason that I keep on tryin.”

The next song on their timeline is the record’s most chilled track. Co-written and featuring vocals from Sarah Blasko (an eternal favorite of mine), “Give It To Me (Like You Mean It)” is a flat-out love song. An adoration song, even. “I like that light on your face. You are my favourite place.” “I could just watch you move. Everything you do just makes me…” It could be cringe, but, fuck, it isn’t. It’s really rather beautiful.

“O Lord” is the first single they chose to bring out ahead of BATS. It was a brave choice seeing as the first thirty-seven seconds are Tim and Bolan harmonizing without any instruments, but it was also a way of announcing, “Hey, things are a bit different now.” The visuals for the track are as stunning as the song, showing Tim and Bolan embracing in some muted neony, pastelish colors. This is their “radical softness.” This is the Solange influence. Tim told The FADER, “This video challenges everything I grew up believing about masculinity, beauty and homosexuality — it's super liberating to create this video and feel free from judgment, both internally and externally.” Lyrically, this marks a step away from the portrayal of the new, intense love. Tim says, “I was free to be my true self, I was finally in a relationship with the love of my life and I had full love and support from my friends and family, but what I didn’t expect was the realisation that when you get everything you’ve ever wanted you suddenly have everything to lose. This song ended up being my way of grappling with those feelings.” To the world, as a return, as an inviting in, as a reinvention of sound and style, “O Lord” really fucking works.

“Banyo Blue,” the final track on the standard version of BATS, leaves us with the most updated glimpse into their relationship. This is them settled. This is, “Yeah, the world is really intense and not wonderful, but, here, with each other and choosing each other, we’re gonna be good.” Tim asks, “Can we be a story throughout the ages?” He says, “I write about you. I could go on for pages,” and “I just kind of feel like I have found my light. The rest’s not perfect, but it’s fine when you’re tight.” Here, this love that they have so damn graciously shared with us and painstakingly and beautifully documented for us, is good. It’s ongoing and it’s committed. The confusion and shame of the past is gone, and shit’s still bad elsewhere, but in this honesty and in this sharing, they’re gonna be okay. (Since the recording of BATS, Tim and Bolan got engaged and are getting married next year, a thing they can now legally do because Australia just legalized marriage equality [s/o to queer Australians dragged through that dehumanizing process, btw]) I’m emotional.

Now, I gush. The details of Tim and Bolan’s story make the record a living, immersive, gripping experience. It’s truly the shit great films and novels are made of. If you don’t know what every song’s about, it’s still a moving work. In an essay he penned for The Line Of Best Fit, Tim said, “For me, getting to a place where I could really connect with myself and write, unguarded, from the heart has been a journey that has taken me over a decade.” I truly love their past material. Their first full-length album This Is Our Vice is a record I still listen to every week, without skipping a song. The songwriting is clever and the lyrics are insightful. But, here with BATS and (again) the brave decision to share their story and illuminate the details of each song, there’s something else happening. It’s, as they dubbed, truly some “radical softness.” Tim said, “BATS is a product of queer love and I hope it can be a comfort and encouragement for the LGBTQI community and our allies during this time.” It is.

youtube

@anaserhall

73 notes · View notes

horseman-bojack · 7 years

Photo

Three Of BoJack Horseman’s Best Gags, Explained By The Show’s Creator

Aside from being one of the most quietly devastating shows on TV, Netflix’s awesome animated series BoJack Horseman happens to have some of the weirdest and most meticulous gags of any other comedy series on the box.

So when Junkee sat down with creator Raphael Bob-Waksberg, in advance of his appearance at Video Junkee 2017, we had to ask him about some of our favourite puns and visual gags from BoJack‘s spectacular third season.

Bob-Waksberg, who is as enthusiastic about the show’s surreal jokes as the fans are, was only to happy to explain how BoJack went underwater for an episode, how the show’s writers constructed a meticulous catalogue of 2007-specific jokes, and why exactly “Character Actress Margo Martindale” has turned into a super assassin in just three short seasons.

Full interview

#bojack horseman #bojack #raphael bob waksberg #junkee #article

109 notes · View notes

gigsoupmusic · 4 years

Text

PANTHER MODERN: Sextile's Brady Keehn shares new single and video "Ask Yourself"

EU & UK tour dates supporting Black Marble in January. Today Brady Keehn AKA Panther Modern reveals a new single / video called “Ask Yourself” and has announced debut UK and European tour dates for early next year, supporting Black Marble. Panther Modern is a new audio/visual project by Brady Keehn (of LA outfit Sextile). Following the self-release of his debut EP 'LOS ANGELES 2020' in May, he presents the video for “Ask Yourself”. The track finds him delving into an aesthetic-fuelled augmentation of the mind, distorting reality by fusing contemporary AR video techniques & creative pulsations that only a crew of neo-noir personas could produce - an escapist techno-colour dreamscape. The audio/visual concept presented in the new video is a neon-laced look into the future-past from the fragmented minds of directors Nedda Afsari & Brady Keehn, starring Reggie Watts, Brandon Pierce (Glaare) & Gabby (Girlpusher) along with the directors themselves. The track was written, recorded and produced by Brady Keehn and mastered by Maurizio Baggio (The Soft Moon, Boy Harsher, Ninos Du Brasil, Merchandise) during Summer 2019. https://youtu.be/8oTF1jML720 Panther Modern live dates: 13th Dec - San Diego, CA – The Casbah 14th Dec - Los Angeles, CA – L.A.U.R.A. 002: Exteions 29th Jan - Paris, FR - Petit Bain^ 30th Jan - Poitiers, FR - Comfort Moderne^ 31st Jan - Angers, FR - Jocker´s Pub^ 01st Feb - Lille, FR - Aéronef^ 02nd Feb - Bristol, UK - The Crofter's Rights^ 03rd Feb - Manchester, UK - Soup Kitchen^ 04th Feb - Glasgow, UK - Broadcast^ 05th Feb - Sheffield, UK - Record Junkee^ 06th Feb - London, UK - Studio 9294^ 07th Feb - Bruxelles, BE - Tour à Plomb^ 09th Feb - Hamburg, DE - Hafenklang^ 11th Feb - Gothenborg, SE - Musikens Hus^ 12th Feb - Stockholm, SE - HUS7^ 13th Feb - Copenhagen, DK - Vega^ 14th Feb - Berlin, DE – Bi Nuu^ 15th Feb - Leipzig, DE - IfZ^ 16th Feb - Poznan Pod Minogą^ 17th Feb - Warsaw, PL - Hydrozagadka^ 18th Feb - Wroclaw, PL - DK Luksus^ 19th Feb - Prague, CZ - Kasarna Karlin^ 20th Feb - Munich, DE Rote Sonne^ 21st Feb - Jena, DE - Cafe Wagner^ 22nd Feb - Offenbach, DE - Hafen2^ 23rd Feb - Luxembourg, LU – Rotondes^ ^ supporting BLACK MARBLE "Ask Yourself" artwork:

Read the full article

#PANTHERMODERN #sextile

0 notes

geek-gem · 7 years

Text

FNAF Movie News I Seriously Missed

12:12 am weird shit to say went to photo by mistake one time and time out and in of submit thing. Yet just saying I was looking for a link and I'm typing on my phone. I actually missed this and found out on the Wikipedia page for the FNAF franchise after watching Dawko's audio reading of chapter 1 of FNAF The Silver Eyes. Their was littertly a sad quiet just I gas just now or some shit. But in the words of Lori Loud littertly I actually littertly went oh my God in a sad toned voice. The news of Gil Kenan the man who was the original director for the film was not the director anymore when the FNAF movie rights went to Blumhouse Productions. I even looked at his Twitter and this one Tweet. So I looked online and here's a post talking not just about that yet even more. https://www.google.com/amp/www.player.one/five-nights-freddys-movie-director-confirm-five-nights-freddys-4-94977%3famp=1 Let me tell you this and I'm gonna sit down again and turn off my light in case think my dad is showering so okay got that shit done. I wanna talk about the part with Gil and think I've got his name wrong just wait. Looked on Google screen no I got his last name right. Looked at last time I spelt his name yeah the a is there. Honestly this news saddened me a bit. Because I didn't know about this and I talked about it in my live action fan casting for the franchise. Including what is sad during the day which was yesterday it's Tuesday now. My mom, her sister, my cousin T's baby girl, forgot if bro was there. Monster House was on and Gil directed that. It was honestly my biggest hope and well reasons to get hype well it was one of them. Along with Scott being on board. Had to fix the bro thing but okay just..... Really I was quite sad I didn't know about this said in my head it sucks and oh random shit. Because I remember when I first heard about the news he would direct he was teasing the inspirations for the animatronics and other stuff. Okay I don't wanna sound rude yet I wanna be honest. I was also worried because after Monster House okay not Loud House oh head his films seems like they were getting worse. I don't wanna sound stupid. Mainly it's the Rotten Tomatos score for the other films he's made. Such as City Of Amber and the Poltergeist remake with rotten scores. Honestly I make my own opinions these days I do think Rotten Tomatos is a okay site. I just disagree with certain stuff it's just the power all of a sudden it has now on films. Including it's just a site where they collect scores I'm not gonna explain it. Rotten Tomatos is a different site. Seriously I liked how he seemed to have passion for the project and wanting to work with Scott. But it's nice he still likes FNAF and he hopes for a great movie. Also honestly I was thinking when I saw this news. I'm gonna sound stupid. I do feel no not out of the way Gil I really liked Monster House sorry your not part of it anymore. But to be honest I'm kind of glad we will get another director. Including with my mindset on some FNAF stuff. I do feel it's also a nice thing to search for a director with some more experience and their reception in Hollywood. Really a pick I thought of is James Wan. The only film I've seen from him is Furious 7 and I liked that film. Also it's mainly his work on The Conjuring franchise. I'll be honest and only told someone on here. Ever since seeing Annabelle Creation and how I was honestly impressed and my first real exposure to the franchise. But James Wan didn't direct that I think he produced it. Gonna look it up. So yeah he produced it. Still liked what the director did with that movie. Even at times from what I hear producers at times have a big or little impact on films. From what I've heard and seen what people think of the main films The Conjuring 1 and 2 and right now rewrote and typed the latest film in the franchise name itself. Yet I've even looked on Tumblr just random shit I'm mentioning. Including James Wan loves practical effects a lot. Almost put including again sorry but Gil was talking about of making the animatronics real and teasing inspiration for them. That's a good thing. Also he seems to be a very good director. He's mainly my top pick and I hope he understands the franchise. No offense I kind of want someone who has had more experience with horror mainly in modern times right now. Including if he was chosen hope he would work with Scott well. Seriously The Conjuring franchise I'm very interested in it. Thinking this Halloween might just watch some stuff just...I'm thinking okay. Yet as of now James Wan is filming Aquaman. Including he seems to be heavily involved with The Conjuring franchise. Along with The Conjuring 3 might be in production soon when ready because they've talked about it. Also the other cool things he's involved with the Mortal Kombat reboot mainly producer if I'm right and a reboot to the Resident Evil franchise. I'll just link you to Wikipedia despite it's not the best source for stuff. Because I wanna check it out a bit. https://en.m.wikipedia.org/wiki/James_Wan So I looked at mainly filmography, career, and future projects. Seriously he has a lot of experience with horror. Yeah it's decided he's my top choice and I need to see the first two Conjuring films. Another director that I honestly like it a fan choice. Including just over time mainly this year I'm a fan of his work you might hate me Zack Snyder. He made the Dawn Of The Dead remake which was good said awesome in my head. Okay I'm not the biggest fan but it was brutal and it was good kick ass said in my head stop. Including have seen lots or bits almost left buts and but ha sorry. Yet seen lots and bits of films like 300, Watchmen, and I've talked about these films Man Of Steel, Batman V Superman Dawn Of Justice the ultimate edition I like those films. I can't wait for Justice League this year. Yes the jokes symbolism and the visuals are beautiful. If it almost left toes just if it goes like that. Really honestly with the right script we could be pretty okay and I think he might be okay with working with Scott. Yet with the shit that happened this year and the DCEU. Really I don't wanna stress him out. Also I love James Wan just I like that choice much more. No offense Zack and hey their both in the DCEU too. I just also wanna talk about the other stuff such let me look. Went to the link and forgot to link to James Wan's Wikipedia page. But Jason Blum has talked in here. Also random shit Gil likes the FNAF community which is nice farewell just oh head. Yet Jason Blum talks about the series has a rabid fanbase and without Scott it wouldn't be a good movie. Also just exit out other tab that was James Wan's Wikipedia page. But Jason Blum says Scott has a clear idea of what he wants the movie to be and I like that a shit ton. Including Jason says and I looked and just looked again using the same creator of the game he thinks it will be a great movie. That's really cool and this year with Get Out doing very well and seeming like a great movie. Also Split doing well not just in box office like Get Out yet also critical even in the 70's percentage on Rotten Tomatos. Yet seriously I feel even as a Autistic person I didn't go see the film and haven't seen it yet due to people not liking it because of how the movie portrays split personalities. Yet it's nice it got some fresh score and M Night making better movies now which is also great. From what I remember think it was let me look so checked yes The Visit. So M Night is making better films again. Yeah I got off the link screw it I'll check it just on Midnight's Edge's channel like usual. So checked it it also says Jason Blum feels secure about the film. Checked again and says Scott will be heavily involved since day one. That is really sweet and for some reason hearing Jaeroar's voice. Also I'm gonna be honest about me talking about directors. These were my choices and I really like James Wan to be involved. Because just I feel it fits. Including just I'm feeling and thinking good things of The Conjuring franchise. Yet it's Scott choice and I keep thinking. Because I think he personally chose Gil when looking for a director. Including since Scott being heavily involved in day one. I feel like Jason Blum and anyone with Scott will want to understand and listen what Scott thinks which director and who else fits to direct the film. It's what I said in the post about the live action fan casting and other stuff mentioned in that. I will respect if Scott wants to chose another director I don't know if they are doing that right now. Even if I think James Wan and Scott Cawthon would work perfectly for a great FNAF movie. If Scott wants someone else I'll respect that even the other idea Zack Snyder and Scott Cawthon weird combination of talent yet it was on my mind. Because really I'm gonna say FNAF is not perfect and Scott isn't perfect. Yet the respect I have for Scott as a person and someone who makes games including when I was more obsessed with the franchise. Such as understanding his reasons to make the novels sperate from the games. Really I thought of a funny thing. It's like the In Snyder We Trust quote but here's this quote. In Cawthon We Trust. Now just thinking of David The Film Junkee love his videos of the easter egg video spoiler of him praying to a pic of Zack Snyder.....I put Scott and I was gonna put Snyder holy shit. Sorry about this yet I wanted to share this. So I hoped your not bothered by this. Including looked below comments below Dawko's videos of him talking about FNAF The Twisted Ones and the comments below reading the first chapter of that novel. Read some spoilers a bit hoping it's not much I've only heard one main opinion from someone I know I mentioned her in the last FNAF post fine. @vanessa-the-traditional-artist sorry. Got tags done and sorry to disturb wanted to share 1:13 am

#five nights at freddy's #fnaf #fnaf movie

1 note · View note