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thisselflovecamebacktome · 7 months

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Update time:

As per usual I'll put the tldr before the cut and longer rant surrounding my feelings under.

I'm going to have very limited internet from October 13th to 27th, like to the point of probably only having internet for 2 of those days maximum (likely the 16th and 25th but we'll see). With that in mind, please feel free to continue to send messages but just note that I may not answer until the 27th.

There's a good chance that I am going to start blogging again around November 4th.

If I do come back, it won't be as actively as before (but more than now) and there's a good chance that I will veer towards being more of a multifandom blog than mostly a Taylor one.

Okay so longer thoughts around this all... So when I took my break, I wasn't sure how long I planned it to be or even if I could do it at all. Like I had been wanting to for so long that I expected to fall back into old habits within a week. So the fact that I have made it this far, and like with ease, has been incredible. But the truth is that this break had three major goals and I feel like only one of them has been even somewhat fulfilled.

Firstly, and the one that has been somewhat fulfilled, was proving to myself that I could use my time doing something else. And I say somewhat fulfilled because like realistically I'm still online more than I would've liked, just on like Duolingo or whatever relearning Japanese. And don't get me wrong, I still feel like that's better than being on social media for 15 hours a day and it has somewhat helped me manage my time better. Likewise, I do have a ton of offline activities coming up, but they're all temporary holidays. And it may sound weird to remedy that with coming back online but that leads into goal two.

The second goal was to feel more connected to people. Realistically, I still feel the same (very positively) about my offline friends and just feel more disconnected to the community I had here. And now that I think I can balance my time better with social media, I'm willing to try find a better balance for that.

And then there's the elephant in the room, which is tied with the third goal. The third goal was to get away from the noise because honestly? I've had very mixed, but more rapidly negative growing emotions about being in the Taylor Swift fandom since Midnights' release but especially this year, like more so than ever (which, those of you who have been around since 2015 know, is saying something). I had hoped that time away would somewhat subdue the negativity, especially because my expectations for Taylor have been far lower since 2019 than they were previously and I found my way back to her then. But honestly? It only reinforced it. I'm not saying that I hate Taylor or her fandom now. Like I will still go to eras in February and I love you guys, but I can't pretend like May didn't happen or that it didn't have real world/offline effects to people who I love including violence from others and self harm. And more so, I can't pretend like it doesn't make me resentful that despite god knows how many posts and tiktoks and whatever from Taylor Swift fans saying that they've also faced offline harm, people are still acting like this was just a chronically online issue that was 'overreacted' on. And like honestly? This year, and the acceptance that this stuff likely isn't going to change, was the straw that broke the camel's back with that stuff, not the whole issue.

Like my whole view of being a fan has changed; everything from engaging in her music purchasing her music (Speak Now TV was the first time I hadn't preordered it and only own it now because I was gifted it, the same will go for 1989 TV and tbh have barely listened to her music lately), to other media where I'm not as motivated or scared of FOMO as to feel the need to see everything straight away or get more eras tickets (I'm likely going to cancel the accommodation I had for the city I was going to get resale tickets for) and I no longer feel comfortable reblogging any photos that Taylor hasn't taken/approved herself. And that's led to a place where ultimately I feel like I am here more for the community than even being a fan if that makes sense. Like again, I love you all and I don't hate Taylor, it's just more than she's now at the level of just say The Weeknd for me where I appreciate the musicality more than stanning her as a person as opposed to it being both like before. And I've had a lot of fear around that, particularly earlier in the year because I may not be able to have the community without being as involved with the factor tying us all together, but I'm in a far better headspace now where I can trust that that won't be the case but also be fine if it is.

Anyway that was a rant and a half, but the point is that if and when I come back, which may or may not be sooner than I thought, I'll be looking at following more non-Taylor blogs. I still haven't made a choice on level of personal posts though, but I do think it's going to be more of a balance of positive moments in my life and leaving most of my negative ones for myself because while I'd like to think that I've been an honest influence by showing my struggles, a large part of my conflicting feelings about being online is just how identifiable I've been through posting those struggles, especially in a country where any onus of defamation is on the person making the statements. It's honestly a big reason why 99% of my biggest struggles from last year weren't posted, because unfortunately, with how uncommon some of my issues have been, posting them plus the selfies I have over the years (and tbh even without the selfies) has led to feeling like I have a target on my back and I just can't do that anymore. So yeah, this is another rant but while it's not set in stone, if I post anything about my life, it will be more manufactured and 'best of' rather than the whole picture... ironically given I feel like tumblr has often been my diary/venting space for the worst moments lmao.

But anyway, I've ranted enough and it's after midnight here now, so that's where things stand atm.

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amanda-n-newman-author · 2 years

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On Switching to a “Different Kind of Project”

Okay, so the title of this post might sound a little strange. You’re probably asking yourselves “does she mean going from writing novels to writing something else, like short stories or poetry?” The answer to that is no, I’m still writing novels and will be continuing to write novels for at least the foreseeable future (and beyond because I honestly can’t imagine writing anything else, unless it’s purely for bonus or expanded lore content). So what do I mean by “switching to a different kind of project”? Well, basically, it means that I’m going to be switching to working on a different series (which also means a bit of a different kind of fantasy mixture).

Now, you’re probably wondering what this means for my dystopian fantasy series. If you’ve been following me on social media for a while, or if you know me in real life, you probably know that I’ve been working on a dystopian fantasy series known as Tales From the Outback and that I’ve already released two “companion books” for the series (which take place concurrently with the second book) and that I’m releasing A Tale of Two Bitzers (book 1 of the main part of the series) on November 13th this year. Don’t worry, that release date will not be changing. I’ve actually started writing book 2 of the main part of the series but, honestly, getting through it has been like pulling teeth (even with a full outline, which is not common for me at all). The only reason I can think of is that I might be a bit burnt out on the series. And the reason for that burn out could be a few reasons.

First off, this series tends towards being very dark (I’m talking having a content note at the beginning of every book dark). That could be one reason (especially considering all of the dark, depressing, and dystopic type things going on in the real world lately). Another possible reason could be the length of each of these books. For those who don’t know, all of the books I’ve currently written for this series are over 150k words each (for reference, the minimum word count for a novel is typically between 50-60k words). And each of the books is told from multiple first-person points of view. Both of those factors combined with the dark themes means that each of these books is a huge undertaking. To be clear, I don’t mind this undertaking...usually, but it might be wearing on me lately, especially when combined with reason number three. Reason three, these books, as much as I love them, are not easy to market (at least not for me). That could partly be because of the state of the world (and a bit of me not wanting to bring down anyone’s mood with the dark & dystopic). Yes, people are often intrigued by darker fiction, but not necessarily when they’re living in uncertain and borderline dystopic times. And part of the marketing difficulty might also be that these books don’t really have much of a “crossover” to photo or video opportunities I can realistically set up (in everything from genre, to setting, to symbolism, etc). This leads into my next point, the content, plus the length, plus the difficulty marketing makes these books a very hard sell (even being enrolled in Kindle Unlimited). And finally, I first started Children of the Outback (the first book I released set in this “world”) in 2014 (& then released it in 2019). I’ve been writing in this world (or part of the world) with all of its darkness for almost ten years, and I think I’ve just gotten tired.

Now, none of this is to say I’m giving up on this series, because I’m not. This series is still very important to me (and to a few others who I know love these characters as much as I do). I won’t be giving up on it, but I need a break from it. At this point, if I keep trying to force the draft for book 2, all I’m going to do is make more work for myself later when I have to go back through and edit and I run the risk of reduced quality and building resentment for the project (yes, I know it sounds crazy). This is not a decision I’ve made lightly or without thought (I’ve thought a lot about it over the past few weeks/months because it goes against a lot of self-publishing advice I’ve read/heard, mainly to write within one series or write closely connected books until you’re more established). But when I was watching a YouTube video last week, it was the final “nail in the coffin” when I heard the advice that “your wants and needs are important too. If you’re not enjoying writing the book, your readers won’t really enjoy reading it” (yes, I’m paraphrasing. So, it’s with a heavy heart that I officially announce that the Tales From the Outback series will be on hiatus/the backburner following the release of A Tale of Two Bitzers.

Now, you’re probably wondering what I’m going to be working on in the interim (because, let’s be real, we all know I can’t sit still or not be writing something). Well, back in the spring (when I took my first hiatus from writing TFtO Book 2) I drafted what I thought was going to be a short standalone new adult urban fantasy type book, and... only one of those criteria ended up not getting met. It’s still urban fantasy, still new adult, and still short (compared to the Tales From the Outback books). But it’s no longer a standalone. I ended up falling hard for the character (big surprise because that’s how it usually starts for me) and wanted to spend more time in their world, and ended up finding out more about their stories. So, for now, I’m going to be working on a new series tentatively called the Shadowed Curses series.

Now, I don’t have covers for any of the books yet (though I will be getting a cover for one of them made in November), so the graphic doesn’t look the best. But, this graphic gives basically what you can expect (a series structured similarly to the Tales From the Outback series). Only this time I have much more of a plan than I did for Tales From the Outback (probably because I figured out much earlier how the series will go and acknowledged much sooner that this won’t be simply a standalone). As it stands right now, I have book 2 completely drafted and have started drafting book 3 (I decided to go back to book 1 last because it takes place several years before books 2 and 3). As for the companion books, companion book 1 takes place at the same time as book 2 and companion book 2 takes place at the same time as book 3 (which is why I haven’t started on those yet). Other than that, all I can really say for now is that these books will be much “lighter” than Tales From the Outback (there will still be some darkness, but these characters aren’t fighting to survive in a dystopian world every second of every day. They actually get the chance to breathe and have hobbies and interests). Also, if you like the idea of “learnable magic” (to a degree), slow-burn romance (of course), a “hybrid” school system [for high school and college] (meaning both magic and non-magic subjects are taught), and mythical creatures being commonplace, you’re going to want to keep an eye out for more information on this series.

Also, bear in mind that I have a ton of other book ideas to write (a whole google doc full of them). But going through those could be a post in itself ;)

#self-published authors #Fantasy Writing #fantasy writer #amwriting #fantasy books #authors of tumblr #writers of tumblr #readers of tumblr #fantasy reads

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sportsest · 2 years

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Zimbabwe and Netherlands Qualified for T20 World Cup 2022

Zimbabwe and Netherlands Qualified

ICC Cricket world is one-day international cricket, an event arranged by the “International cricket council.” It is organized every four areas in different countries of the world. The latest ICC cricket world was held in 2019, it was managed from 30th May to 14th July, and England won it while New Zealand was the runners-up. It was even hosted by England (10 venues) and Wales (1 venue). It was full of fun and a well-organized event. This year it will be played in Australia, and nowadays, teams are qualifying to make their place in the main event held in Australia. Zimbabwe and Netherlands had recently played qualifiers round in ICC Men world cup 2022 and they both, Zimbabwe won by 27 runs by PNG and Netherlands also defeated US by seven wickets in Australia and qualified for the T20 world cup. Before these matches that were worn by both countries on Friday, two berths were available to be filled that were later on filled by both of them by their efforts and fantastic performance. The winner will be classified into group B, but on Sunday after, they will play against each other to decide the final groups to start the main event in Australia. Whoever will be the winner of that team will be selected in group B, as mentioned earlier as well as Ireland, West Indies, and Scotland; whoever will be the loser that will play with Namibia, Srilanka, and UAE.

How Does Zimbabwe Qualify?

As you know, Zimbabwe has beaten PNG in the first semifinals by 27 runs, making their place in the T20 world cup for the sixth time in T20, which is an outstanding achievement. They won the toss and elected to bat first, playing well. Their hard-working players played well and led their team to a big finish: their first three players, Regis Chakabva, skipper Craig Ervine as well as Wesley Madherev. Along with the contribution and efforts of Sikandar Raza, Seam Williams, and Milton Shumba played well. Afterward, PNG took an awful start with the loss of almost three wickets and was playing very difficultly unless Tony Ura came, and he played well and did 66/35. But unfortunately, they couldn’t qualify.

How Did the Netherlands Qualify?

Netherland defeated the USA by seven wickets, and they are qualifying for the first ICC tournament. Still, the USA couldn’t because Steven Taylor and Monank Patel made almost fifty runs during the first five overs at the start of the match. Afterward, Netherland picked their wickets quickly, with Paul van Meekeren 2/22 and Bastian de Leede 2/23. In the end, the entire team made a score of about 138 with difficulty. Ultimately, the Netherlands qualified, but unfortunately, they couldn’t be eligible. https://www.youtube.com/watch?v=u3kLuCzQP74

Conclusion:

ICC Men’s T20 world cup will start from 16th October to 13th November and will be played in Australia ( Melbourne, Sydney, Brisbane, Perth, Adelaide, etc.). Different groups are made to select the most well-deserving teams to play the main matches, and right now, they are qualifying for it. I hope you liked the article, and you will be updated about all the matches in the future on our website. You Also Like: Asia Cup Schedule 2022 Read the full article

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lamm97russo · 2 years

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benson11benson · 2 years

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greyknighterotica · 2 years

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I think I’m starting to see why you feel like everyone is welcoming more death, and I’m so sorry that you’ve been feeling like this for so long. I’m sending you lots of extra love and hugs today.

When I've used terms like "everyone" and "anybody" I made a mistake every time. It makes people who are just trying their best, living their lives feel worse, and I am sorry for that.

But yes, death is on the rise. For some fun, I now crunched Michigan and Alabama death versus birth numbers available and they're pretty shocking, how quickly far more people are dying than being born in these two states.

For instance, without deaths listed for November or December, Michigan is already at its 2019 death level, just about, and had over 30,000 excess deaths listed (I think there will be somewhat more when fully mortality comes out) for 2020. And over 20,000 more deaths than births for the year (the same will be true for 2021 and unless a ton of women get preggers by March, 2022 as well).

Trigger Warning: Child and fetus death.

While breakthrough infections have not been tracked on a national level, some states are, and those states are now reporting a massive increase in stillbirths. In 2019 the average rate for a stillbirth was about .5%, or 1 in 200. So far, in the Delta wave, that has jumped up to 2.5%, or 1 in 40.

I keep asking myself, "what does that number become before a lot of women say they are not going to risk it. 5%? 10%? Is 2.5% high enough, I doubt it..."

Either way, these don't count as deaths to me, but the right to life crowd crows cowardly over these deaths on the single issue of abortion and will, on the issue of Covid restrictions, cheer them on.

Hungrily cheer them on.

With glee in their eyes.

In case that was all too depressing, I have some good announcements:

- I'm feeling stronger and have been working at things a spell, feeling more put together after a long rest. So, starting tomorrow Patrons are getting 31 days of December, an advent calendar in which there are goodies every day, brand new and some good, solid work.

- Podcast will resume with brand new episodes on Thursday, January 13th with live shows returning starting Friday, January 14th, 10 eastern on the server.

- Commissions and dates have, even in this long period of silence, never gone better. If you want a commission for 2021, send in a request or form by December 10th at the latest.

I did a lot of writing, thinking, drinking and pouting and I feel as though I've adjusted to what 2022 has to bring, even if I personally think it's going to be a year of mental health checks.

I hope as you look towards the end of the year, you feel the same or better, that if you have a more optimistic view, that you are right.

Either way, that's my plan. Thanks for being a part of it.

Sorry again for saying things in anger and accusation. No, I don't much care for those traits in myself, either. Really doing my best not to let them out, with various success these days.

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dramaruni · 3 years

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@bpdaf so this answer opened a can of worms (that I can call procrastination) and I wanted to address it, but with the limited characters in the reply function, I decided to answer it with a new post. Also sorry if this come as an attack, I promise it's not. I just became really curious if I had the wrong idea about the live-shooting system as I was ready to refute your points, but realized I didn't have enough knowledge to do so.

*also tagging @jahe, @yasmini24, @le-amarant as they also replied to my post and I figured maybe you were also interested in this (although it's really long and rambly, so I don't blame you for ignoring the post entirely). So yeah warning, this post is really long.

So I'm well aware of kdrama's live shoot system. But I did wonder if it was normal to start shooting 6 months before the first airing episode, as I was under the impression 6 months of shooting exceeded the standard duration of filming. But I couldn't actually refute it without some data to back that up. So I went to find data.

According to Wikipedia's page on Korean Dramas, they write: “As producing a series involves high expenses, production companies seek to shoot the episodes in the shortest time possible. In contrast to practices elsewhere, the first four episodes of Korean series are usually shot in advance, but the rest are shot continuously as the series is being aired.”

This fits in line with what I believed about Korean dramas live shooting system. They film a couple of episode ahead of time and then rest comes while it's still airing to fit with the audience response to it. Even preproduced dramas are sometimes reshot and re-edited while it's airing. But it didn't really say anything about the average filming duration for a drama or what shortest time possible was defined as. Probably because all dramas will aim for different things and given the content it can vary a lot how long it takes to film.

But I highly doubt it took Vincenzo 6 months to shoot something around 4 episodes and then crammed the rest into the 2 remaining months, as they knew from the start they had 20 episodes to fill.

So let's go through some other drama's shooting schedule to compare with Vincenzo.

I chose to limit the list to 2020 dramas (as they were likely affected by the pandemic) and tvN dramas, so it's the same broadcasting company as these dramas will likely share the same practices. Obviously with the amount I have included, I can't make any definite conclusions, but it does show a pattern.

*disclaimer I tried my best to accurately determine the shooting duration from when filming started to when it ended, but not all of these dramas had that information readily available, so I made do with the information I had at hand. This means some of these are just estimations.

So without further ado, here's the list:

Vincenzo:

May 2020, Director Kim Hee Won and writer Park Jae Bum teamed up.

July 2020, Song Joong Ki and Jeon Yeo Bin were considering the drama, while Ok Taecyeon had confirmed

September 2020, filming started

February 20th, 2021 first episode aired

No episodes April 17thand18th

April 17th, last episode script delivered

April 23rd, filming wrapped

May 2nd, 2021 last episode aired

Shooting time: 8 months

Shooting duration before first aired episode: 6 months

Filming wrapped before last airing episode: 8 days

1. Crash Landing on You

*not affected by the COVID-19 Pandemic * includes overseas filming

July 31st, 2019 – first script reading

End of august 2019, filming overseas begin

December 14th, first episode airs

January 12th, filming wrapped

February 16th, 2020 last episode airs

Shooting time: 5 months

Shooting duration before first aired episode: 4 months

Filming wrapped before last airing episode: 1 month + 4 days

2. It’s okay not to be okay

I couldn’t find the exact time shooting started, so these numbers are based between March and May, as I assume they didn’t shoot without Oh Jung Se being casted and while the table read photos were released in May, it could very well be they had started shooting before this.

February 2020 Kim Soo Hyun and Seo Ye Ji casted

March 2020 Oh Jung Se casted

May 8th 2020, first script reading photos released

June 20th 2020, first episode aired

July 31st 2020, filming wrapped

August 9th 2020, last episode aired

Shooting time: 3-5 months

Shooting duration before first aired episode: 1-3 months

Filming wrapped before last airing episode: 9 days

3. Start-up

August 4th, all the leads are confirmed for casting

September 2020, promotional starts to come out

October 17th 2020, First episode aired

November 21st 2020, Bae Suzy wraps up filming (assuming filming wraps up around the same time as her as she is the lead)

December 6th, last episode aired

Shooting time: 2-4 months

Shooting duration before first aired episode: 1-2 months

Filming wrapped before last airing episode: around 15 days

4. Hospital playlist season 1

*only aired 1 episode pr. week

October 2019, principal photography took place

March 12th, first episode aired

Late April 2020, filming wrapped

May 28th 2020, last episode aired

Shooting time: 7 months (couldn’t find when they actually started shooting, so let’s just pretend they also filmed around October)

Shooting duration before first aired episode: 6 months

Filming wrapped before last airing episode: 1 month

5. A piece of your mind

February 7th 2020, article of the first script reading

February 13th, first photos from drama unveiled

March 23rd, first episode aired

April 8th 2020, tvN announces that 4 episodes are cut due to low ratings

April 28th, last episode aired

Shooting time: 2-4 months

Shooting duration before first aired episode: 1-2 months

Filming wrapped before last airing episode: N/A (couldn’t find the exact time but they also axed four episodes and I don't know how much that affected filming)

6. Psychopath diary

*not affected by the COVID-19 pandemic

August 2019, first script reading

November 20th, first episode aired

January 9th 2020, last episode aired

Shooting time: n/a

Shooting duration before first aired episode: 3-4 months (assuming they started shooting shortly after the first table read)

Filming wrapped before last airing episode: n/a

7. Stranger /Secret Forest season 2

* preproduced based on the information I found

January 2020, first script reading

June 20th, 2020 lead actors wrapped filming (But I only found this article that says this)

August 15th 2020, first episode aired

October 4th 2020, last episode aired

Shooting time: 6 months

Shooting duration before first episode aired: 6 months

Filming wrapped before last airing episode: 4-5 months

What does this mean?

So the drama that comes closest to Vincenzo's filming duration is Hospital Playlist, but they also did things a bit differently. According to their Wikipedia, they only aired 1 episode a week to comply with 52-hour week system and to avoid overnight filming for the cast's and crews' health. So that would extend their shooting time. They also had the same amount of shooting time as Vincenzo before the first episode aired, i.e. 6 months, but Hospital playlist was only 12 episode drama so they also had less content to fill.

The rest of these dramas has a shooting time with 6 months or less. I will say though a lot of these dramas are not action-packed (also I haven't checked the budget for any of these), so comparatively they probably have different needs when filming. The drama that comes closest in terms of action is Stranger/Secret Forest, and it's also pretty close in shooting time with only 2 month different (that's counting from the first table read though). This was however pre-produced so they wrapped up filming before the first episode even aired (if my information is correct). Also this was a season two so they were operating under a little different circumstances.

But with the exception of Stranger/Secret Forest (preproduced) and Hospital Playlist(tried to work with humane working hours), none of this drama has a 6-month filming duration before the first episode aired. In fact some of these dramas don't even exceed 6 months of filming. Meaning they had less time to shoot before the first episode aired. Their production was probably also lower and none them did CGI (although I haven't watched all of them so feel free to correct me if I'm wrong) as that should also be accounted for.

So 8 months of filming is a lot to allocate to a drama, at least it's not the norm. There are other dramas that exceed that filming time that didn't make the list (Mr. Sunshine sorry too much research for at this point), but obviously that is not the standard.

Obviously I don't know how the filming was divided, how many of the episodes they had filmed before the first one aired. I don't know how many of the episode scripts were written before it aired. But I can see that even with the live-shooting, Vincenzo has some very uneven scheduling that doesn't align with how the rest of these dramas did their scheduling and airing. None of the mentioned dramas had any delays (in airing, I can't be sure about filming as some of them are probably affected by the pandemic), and yet Vincenzo did, even though they had spent more time filming before the first episode aired.

Also, most of these dramas wrapped up filming with more than a week to spare before the final airing, with It's Okay Not To Be Okay coming the closest to the airing date (with the ones where I know the date when they finished shooting), but they also only had 1-3 months of filming before the drama actually started airing so much less time than Vincenzo. And although they didn't have CGI, they did have the animations for each of the fairytales which I don't know how long it took but I can imagine it took some time.

So then I looked up another drama not by tvN but by Park Jae Bum:

Good Manager/Chief Kim

December 15, 2016 first script reading

January 25, 2017 First episode aired

March 30, 2017 Last episode aired

I couldn't find the date they finished filming, but given they only started a month before airing (honestly I felt super sorry for the cast and crew when I saw these dates), I am assuming the hit the last airing date pretty closely with filming, and that would give them 3 months of filming roughly. And they also had 20 episodes like Vincenzo.

I haven't seen this drama myself, so I can't say anything about the writing quality, but here Park Jae Bum was working under even more time pressure and was able to deliver the ending on time and as I hear, it was pretty a pretty good ending (but I haven't seen it, so feel free to refute me). And yet he couldn't do it for Vincenzo. So I do think something happened with ending, whether it was Park Jae Bum just took a long time writing it for whatever reasons, or someone/thing (be it something personal, writer's block, execs not liking the ending etc.) actually interfered and that prolonged the writing or entirely changed the ending.

Anyway this became too long, so let me just end it here.

I wish I had time to make a more comprehensive list so I could be more definite in the conclusion because obviously I can't base everything of the schedule of 8 dramas that also vastly different in production quality, genre and content.

So yeah I might have just wasted the last three-four hours making something that doesn't even make sense. But hey, at least I'm less prepared for the exams now, good use of time. ¯\_(ツ)_/¯

#Vincenzo #so much procrastination #I don't know if this was just an excuse to not look at unity #probably #also I think this mostly also to satisfy my curiosity about the live-shooting broadcasting system in general #although there is still a lot to be learned #sometimes I have this idea that bad dramas are live-shoot and the good dramas are preproduced #but then I think of descendents of the suns and remember not all preproduced dramas are good #and if chief kim/good manager is as good as everyone says #they did a pretty good job considering the circumstances they had to work under #I have put it on my watch list #so once I'm done with exams I can watch it #and then I can tell you if I think PJB can write a good drama under immense time pressure #anyway this was probably pointless #but here it is anyway

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sinceileftyoublog · 3 years

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30 (Technically 34) Albums We Loved That Happened To Come Out in 2020

So much has already been said and written about this cursed past year, but a few good things came out of it, including the music. Album-wise, like many before it and many to come, it was an embarrassment of riches. But even with so much time on our hands to devour new tunes, it was often old favorites, songs of comfort or familiarity that garnered the heaviest rotation. For many artists, too, it was a year ripe for revisiting or reissues of old material, looking at existing songs with fresh and new perspectives. Simply put, with so much to listen to, new and old, the prospect of ranking a finite number of albums felt not only daunting, but frankly a bit stupid. Maybe we were late to the game, but 2020 taught us that music should and can be appreciated in multiple contexts, not limited to but including when it first came out and when it was heard again and again, even if years later. The records below--listed in alphabetical order--happened to be released in some form in 2020, whether never-before-heard or heard before but in a different format. And the only thing I know is that we’ll be listening to them in 2021 and beyond.

Autechre - SIGN & PLUS (Warp)

The legendary British electronic music duo surprise released SIGN a mere month and a half after its announcement and then PLUS 12 days later. The former was a beatific collection of soundscapes that belied the band’s usual harsh noise, while PLUS embraced that noise right back, drawing you in with the clattering chaotic burbles of opener “DekDre Scap B” and lurching forward. -Jordan Mainzer

Against All Logic - 2017-2019 (Other People)

The perennially chill ambient house artist Nicolas Jaar had a busy 2020, as usual, releasing two albums under his name, Cenizas and Telas. But it was 2017-2019, the follow-up to the debut album from his Against All Logic moniker, that came first and throughout the year helped to illustrate Jaar’s penchant for combining inspired samples with club beats and tape hiss. Take the way the lovelorn vocals of “Fantasy” or soulful coos of “If Loving You Is Wrong” war skittering, scratchy percussion and cool arpeggios, respectively: Jaar is coming into his own as a masterful producer almost a decade after he released his first full-length. Oh, and bonus points for including none other than Lydia Lunch on a banger so blunt it would make Death Grips blush. - JM

Bartees Strange - Live Forever (Memory Music)

Like many, my introduction to Bartees Strange was through Say Goodbye to Pretty Boy, his EP of The National covers. Creativity and shifting perspectives shine through each song’s reimaging, like flipping the coarse, almost manic “Mr. November” into something softer, more meditative. It felt like a mere peek into what was to come on Live Forever. Bartees Strange is a world-builder. Each track on his debut unfolds and welcomes you to a wildly engaging tableau, a fully constructed vision. “Jealousy” opens with soft vocals and birdsong. “In a Cab” is the slick soundtrack to racing through a cityscape in the rain, seeing the blurred lights of the high-rises above as you pass by. “Kelly Rowland” warps wistful pop song feelings. “Flagey God” takes you into a dark, pulsing club while only a few songs later, “Fallen For You” wraps you in echoed vocals and romantic, raw acoustic guitar.

It’s an accomplishment to craft an album of individual songs that stand strongly on their own but still feel cohesive. 2020 wasn’t all bad. It gave us Live Forever, a declaration of an artist’s arrival. - Lauren Lederman

Charli XCX - how i’m feeling now (Atlantic)

Back in the spring, many of us wondered who would put out something great in 2020’s quarantine. It was hard to imagine that the intensity of a global pandemic would really allow for artists to embrace creativity. That thought carries the same eye-roll inducing feeling of “We’ll get some great punk music out of a Trump presidency,” but of course, Charli XCX delivered. Through live workshops with fans and longstanding collaborators, she delivered songs to dance alone to in your bubble. Charli embraces the unknown of the moment but clutches onto what’s familiar. Under the glitch-pop veneer of the album, she digs into the anxieties of not just this moment of time but of the bigger questions we all confront: trajectories of relationships with friends, romantic partners, ourselves. Album standouts “forever” and “i finally understand” embrace that feeling of both looking for control and accepting the lack of it. Charli is a master at balancing this. - LL

Christine and the Queens - La Vita Nuova (Because Music)

Named after a Latin text by Dante Alighieri about missing a woman who has died, Chris’ La Vita Nuova is not about mourning a death but instead about loneliness and isolation, post-relationship or otherwise. It doesn’t bang quite like her previous two albums, but it hits harder than ever.

Read our full review here.

Dogleg - Melee (Triple Crown)

Released on March 13th, right as the COVID-19 pandemic hit, Melee was supposed to be supported by three cancelled tours–SXSW, an opening slot for Microwave, and an opening slot for Joyce Manor–and an appearance at this year’s cancelled Pitchfork Music Festival. Listening to the songs on the record, you can only imagine how they translate: the jerky momentum of “Bueno”, build-up of “Prom Hell”, gang vocals of “Fox”, clear-vocal anthem of “Wrist”, and odd groove of “Ender”.

Read “Buckle Up, Motherfucker”, our interview with Dogleg.

Dua Lipa - Future Nostalgia & Dua Lipa/The Blessed Madonna: Club Future Nostalgia (Warner)

Where Dua Lipa’s much-anticipated second album Future Nostalgia succeeded was in its disco anthems and retro, club-ready beats, so who better to bring out the best of the record than The Blessed Madonna? The turntablist masterfully curates a mix of heavy hitters of the charts and the underground that not only offers an essential complement to Future Nostalgia but transcends it. Sending the tracks out to various producers and singers for features and then adding her own samples on top, she invites you to peel back the layers, enter a YouTube rabbit hole of sample searching as much as bopping along.

Read our full review here.

Emma Ruth Rundle & Thou - May Our Chambers Be Full (Sacred Bones)

Roadburn Festival has long been on my bucket list, and since the pandemic showed me how much live music can be taken away in a flash, when it’s safe again to travel and go to a festival, I may just pull the trigger and go--especially considering it’s the springboard for such fruitful and inspired collaborations as the one between Louisville singer-songwriter Emma Ruth Rundle and Baton Rouge sludge dwellers Thou. Rundle embraces the heavier opportunities on the follow-up to her incredible 2018 record On Dark Horses with the ever-flexible Thou backing her up vocally and instrumentally. Slow-burning opener “Killing Floor” offers a familiar introduction to fans of both--sort of what a Rundle/Thou song would sound like--before grunge chugger “Monolith” introduces huge, catchy riffs and “Out of Existence” a True Widow-esque dirge, newfound inspirations for both artists bringing the best out of each other. - JM

Fiona Apple - Fetch the Bolt Cutters (Epic)

What makes Fetch the Bolt Cutters stand out among Apple’s catalog and music in general is the clarity with which Apple seethes at those who have wronged her, whether ex-boyfriends or patriarchal oppressors, and looks to her relationships with other women for peace of mind.

Read our full review here.

HAIM - Women in Music Pt. III (Columbia)

For HAIM, the title Women in Music Pt. III is suggestive that, more than their previous two records, their third centers around the experiences of being an all-female band in a historically white cis male-dominated scene, at least one that wouldn’t call catchy riffs written by a man “simple” or call attention to the faces a man makes while playing. What it doesn’t let on to is how deeply personal the record is, how, by unabashedly embracing genres and styles of music that they love, HAIM have made far and away their best album. Co-produced by the usual suspects, Danielle Haim, Ariel Rechtshaid, and ex-Vampire Weekender Rostam Batmanglij, it’s instrumentally and aesthetically dynamic and diverse, consistently earnest without devolving into cheese.

Read our full review here.

Irreversible Entanglements - Who Sent You? (International Anthem)

I’ve been captivated by Irreversible Entanglements ever since I first saw them at Pitchfork Music Festival 2018. The radical poetry of Camae Ayewa (aka Moor Mother) is the perfect front for a ramshackle mix of Luke Stewart’s spidery bass, Tcheser Holmes’ weighty drums, and a horn section that concocts tones that range from hopeful to desperate. At their best, Who Sent You? is a shining example of celebratory Afrofuturism and metaphysics that makes the urgency of Ayewa’s more concrete and political words all the more necessary. “No Más”, composed by Panamanian-born trumpeter Aquiles Navarro, is a declaration against imperialist oppression, while the stunning title track flips the switch like a Kara Walker painting, as Ayewa’s the one interrogating the police officer terrorizing her community. “Who sent you?” she repeats, never spiraling, grabbing a hold of the power and never letting go. - JM

Jeff Parker - Suite for Max Brown (International Anthem/Nonesuch)

It’s Jeff Parker’s mom’s turn. After 2016′s The New Breed ended up being a tribute to the guitarist’s father, who passed away during the making of it, Parker decided to pay tribute to Maxine while she was still alive. Suite for Max Brown (Brown is his mother’s maiden name; Max is what people call her) is a genre-bending collection of tracks inspired by Parker’s DJing, juxtapositions of sequenced beats with improvisation that certainly sound like the brainchild of one individual. Indeed, Parker plays the majority of the instruments on it and engineered most of it at home or during his 2018 Headlands Center residency in Sausalito, CA; though all of the players and the vocalist (Jeff’s daughter Ruby Parker) on The New Breed show up, plus a couple trumpeters (piccolo player Rob Mazurek and Nate Walcott of Bright Eyes) and cellist Katinka Kleijn, Suite for Max Brown is a distinctly Jeff Parker record.

Read our preview of Jeff Parker & The New Breed’s set at Dorian’s last year.

Jeff Rosenstock - NO DREAM (Polyvinyl)

Jeff Rosenstock throws us right into the spinning, manic energy of NO DREAM, his latest release from a seemingly endless well of music that never lacks urgency. It’s a reminder that though it’s been a strange year, the issues Rosenstock tackles here aren’t new. There’s no interest in making you feel comfortable here. On the album’s title track, Rosenstock sings, lulling you into a false sense of security, “They were separating families carelessly / Under the guise of protecting you and me.” But reality sets in, and the hazy guitars spin out as he spits, “It’s not a dream!” and, “Fuck violence!”

My image of Jeff Rosenstock in the year 2020 is masked up with “Black Lives Matter” scrawled across the fabric of his mask in Sharpie, performing album highlight “Scram!” on Late Night with Seth Meyers as high energy as ever. It felt like watching someone send out a beacon, both a distress signal and a call to arms. - LL

Jessie Ware - What’s Your Pleasure? (PMR/Friends Keep Secrets/Interscope)

I am not someone who goes to clubs. I don’t “go out dancing,” preferring to let loose in the privacy of my own home or a trusted friend’s house party. But Jessie Ware’s What’s Your Pleasure? makes me think I could embrace a night out like that, once the world opens up again, of course. The album is filled with syncopated disco beats that feel fresh and classic all at once. The abundant horns and strings on “Step Into My Life” are decadent, like light bouncing off sequins in a dark room. Ware’s voice is slinky and velvety one moment, windswept like her album cover the next. It’s songs like “Save a Kiss” that embrace both, allowing her to show off her range. - LL

Laura Marling - Song for Our Daughter (Partisan)

With sparse production, mostly from her but with additions from Ethan Johns and Dom Monks, Marling foregoes the comparative maximalism of the Blake Mills-produced Semper Femina, her last proper full-length, and 2018′s LUMP collaboration. The songs aren’t simple, but they’re succinct, and every element, from Marling’s finger-picked guitars, the occasional slide guitar, and that unmistakably calm voice, sometimes alone and sometimes layered, fits. It’s her most universal set of songs yet, centering around the times when we’re apart from one another but reflecting on when we were together and when we might be together again, with no guarantees.

Read the rest of our review here.

Les Amazones d’Afrique - Amazones Power (Real World Records)

The groovy pan-African collective expands upon their debut Republique Amazone and then some with Amazones Power, a tour-de-force statement of female empowerment in the face of oppression against women throughout the African diaspora. Indeed, the album is more than just songs boldly decrying FGM, though those demands ring heavily. Instead, the group goes further, delving into gender power structures in marriage on “Queens” and selectively finding strength in tradition on “Dreams”. And this time, they include men to stand alongside with them. “Together we must stand / Together we must end this,” sings Guinean musician/dancer/artist Niariu on opener “Heavy” in solidarity with features Douranne (Boy) Fall and Magueye Diouk (Jon Grace) of Paris band Nyoko Bokbae. But perhaps it’s her kiss-off on “Smile” that hits hardest: “I shut up for no one.” - JM

Lianne La Havas - Lianne La Havas (Nonesuch)

The British singer-songwriter’s much anticipated follow-up to 2015′s Blood was better than I could have ever imagined. A song cycle about life cycles--of nature, of lives, of a relationship--inspired by an actual breakup, Lianne La Havas is a contemporary neo soul masterpiece. Overview opener “Bittersweet” is an instant earworm, La Havas’ coo-turned-belt filling the space between classic and increasingly emotive slabs of piano and guitar. Funky, lovestruck strut “Read My Mind” is the soundtrack for the unbridled confidence of finding new love. Yes, the doubts begin to sow on the fingerpicked melancholy of “Green Papaya” and “Can’t Fight”, and where the album goes from a simple narrative perspective may be predictable: They break up, they don’t get back together, La Havas enjoys her independence. But the depth of the arrangements and assuredness of La Havas’ singing is a product of an artist starting to really show us what she can do. And how many people can pull off a Radiohead cover like that? - JM

Lomelda - Hannah (Double Double Whammy)

What does it mean to title an album after yourself? Lomelda’s latest album is centered around discovering more about yourself while not always having the answers. Despite the lyrical content, the album is self-assured. Hannah Read’s voice feels as steady as ever as it navigates these twisting questions, like the way the world can shift after a kiss. She finds power in softness and reflection throughout the album, like when she explores the mantra-like words of “Wonder” or through a reminder to do no harm in “Hannah Sun”. In a year that allowed for perhaps more reflection than usual, Hannah makes space for the questions that arise out of figuring yourself out, of making sense of the messiness of it all, wrapped in warm guitar, balanced vocals, and steady drums. - LL

Moses Sumney - Grae (Jagjaguwar)

“Am I vital / If my heart is idle? / Am I doomed?” Moses Sumney famously sang on his stunning 2017 debut Aromanticism, an album that saw him developing his acceptance of being alone. grae, his two-part 2nd full-length, and his first since officially moving from L.A. to the Appalachian Mountains of Asheville, North Carolina, doubles down on themes of heartbreak, but instead of being sure in his seclusion, he embraces the unknown. The album teeters between interludes of platitudes about isolation and ruminations on failed human connection, and maximally arranged clutches of uncertainty. “When my mind’s clouded and filled with doubt / That’s when I feel the most alive,” Sumney coos over horns and piano on slinky soul song “Cut Me”; it’s an effective mantra for the album.

Read the rest of our review here.

Norah Jones - Pick Me Up Off The Floor (Blue Note)

At the time we previewed Norah Jones’ 7th studio album, she had only released a few tracks from it. Turns out the rest was just as powerful. From the blues stomp of “Flame Twin” to the rolling piano stylings of “Hurts to Be Alone”, Pick Me Up Off The Floor is an album full of jazzy orchestrations and soul and gospel-indebted arrangements, Jones’ silky, yearning voice tying together the simple, yet lush and deep instrumentation. And that other Tweedy feature, that closes the album? It’s a heartbreaking portrait of loneliness, one of many on a record that still manages to celebrate being alive all the while. - JM

Phoebe Bridgers - Punisher (Dead Oceans)

Phoebe Bridgers is a master of details. Her lyrics shine when they get specific. They range from the mundane to morbid: A superfan’s ghost-like wandering under a drugstore’s fluorescent lights, a skinhead likely buried under a blooming garden, reckoning with the you in “Moon Song”’s lines, “You are sick, and you’re married / And you might be dying.” Bridgers has always been able to set a scene meticulously, and Punisher arrived with 11 songs that expanded that skill, both lyrically and musically, with her dark humor intact and a fuller sound that includes her boygenuis collaborators’ harmonies. - LL

PJ Harvey - To Bring You My Love: The Demos & Dry - The Demos (Island)

Yes, revisiting Dry’s demos as a separate entity is still worthwhile. Harvey’s powerhouse vocal performance carries the acoustic strummed “Oh My Lover”, while the comparatively minimal arrangement of “Victory” highlights bluesy riffing, call-and-response harmonies, and layered guitar and vocals. The singles, the slinky and sharp “Dress” and propulsive anthem “Sheela-Na-Gig”, hold up to their ultimate studio versions, too. But it’s the To Bring You My Love material that provides novelty because it’s never been released and more so because it encompasses the greatest aesthetic contrast from the album. From the warbling hues and guitar lines of the title track to the tremolo haze of “Teclo” to the crisp snares of “Working With The Man”, the demos show a continuity and level of cohesiveness with the diversity of Dry and Rid of Me not shown on the studio version of Harvey’s more accessible commercial breakout. (Predictably, the album’s most well-known song, “Down by the Water”, is the closest to its eventual version.) “Long Snake Moan” is simultaneously more spacious and more noisy, its garage blues a total contrast to the lurking “I Think I’m A Mother” and swaying shanty “Send His Love To Me”. And “The Dancer” fully embraces its flamenco influences, hand claps and all.

Porridge Radio - Every Bad (Secretly Canadian)

Is there a better opening line than “I’m bored to death, let’s argue”? That kind of duality is found across all of Every Bad as it grapples with the frustrations and anxiety of trying to figure it all out, whatever that might mean for you. “Maybe I was born confused, but I’m not,” vocalist Dana Margolin repeats throughout the opening track, roping in listeners with the dizzying feeling of trying to make sense of yourself. The band’s guitar and synth sound coupled with Margolin’s howl makes for a dance party filled with dread, rendering Margolin’s already strong, repetitive lyrics even more spiraling. And yet, by the time we get to “Lilacs”, a glimmer of something else shines through as the music gets more manic and Margolin’s voice begins to soar: “I don’t want to get bitter / I want us to get better / I want us to be kinder / To ourselves and to each other.” - LL

Sault - Untitled (Rise) & Untitled (Black Is) (Forever Living Originals)

Yes, Black Is still pulls plenty of devastating punches. “Eternal Life”, a segue from the gospel boost of “US”, juxtaposes a deliberate drum beat with zooming synths, both ascending like a chorus of angels, as they sing, “I see sadness in your eye / ‘Cause I know you don’t wanna die,” presenting the oppression of Black life at the hands of white supremacy in inarguable terms. Ultimately, though, it’s the anthemic nature of the songs, resistant of platitudes, that shines through. “Nobody cared / This generation cares,” says Laurette Josiah on “This Generation”. Whether she’s talking about young people in general or the latest generation of young Black leaders, the sentiment is reflected on songs like “Black”, wherein over dynamic, sinewy instrumentation, the singers alternate between encouragement, support, and love of the self and others.

Read our full review here.

Shamir - Shamir (self-released)

Shamir’s voice is a bright beacon in a sea of conventional singers. Shamir captures the effervescence of pop music and weaves it together with elements of country, alt rock, and diary confessional lyrics all supported by the emotion and range of his vocals. There’s something for everyone across the album’s 11 shimmering tracks. Lead single and opener “On My Own” feels like a declaration of self and self-sufficiency, an anthem of a breakup song. The almost pop-punk bounce of “Pretty When I’m Sad”, paired perfectly with lines like the angst-ridden, “Let’s fuck around inside each other’s heads,” feels impossible to not bop along to. The twang of “Other Side” would put a country crooner to shame. That’s the power of Shamir. His voice has the ability to smoothly convey joy, resilience, and humor. He uses elements of several genres, not just the dance-pop of his debut, to build a unique album that gives listeners so much to sift through and, of course, dance to. - LL

Songhoy Blues - Optimisme (Fat Possum)

If Songhoy Blues’ second album Resistance lacked “the grit of its predecessor,” it’s clear from the hard rock stomp of the opening track of Malian band’s third album Optimisme that they rediscovered their mojo. More importantly, they couple this maximal brashness with tributes to those who make their world a better place: fighters for freedom, women, the young. It’s perhaps the first Songhoy Blues record to truly combine the celebratory nature of their desert blues with a balanced mixture of idealism and vigor. - JM

Spanish Love Songs - Brave Faces Everyone (Pure Noise)

How can you find hope in hopelessness, or optimism when every news story points to cruelty? Is it naïve to keep searching for light in the dark? I don’t think so, and I don’t think Spanish Love Songs does, either. I’d like to think we both believe that’s not naivety, but power. It’s the embers you need to really ignite a flame. After all, this is the band with a song titled “Optimism (As a Radical Life Choice)”. It’s a band whose crunching guitars and earnestness insist that despite death and depression and addiction, the instinct to survive shines brightly above all. That relentless hope resurfaces across Brave Faces Everyone’s 10 tracks even as it works through the bleakness of everyday life. - LL

Tashi Dorji - Stateless (Drag City)

The magnum opus from the Asheville-based picker is a group of evocatively titled, disorderly songs about the desolate hellscape of America for outsiders and immigrants. Enigmatic in its nature, not exactly narrative, Stateless combines Dorji’s urgent strumming with moody motifs, captured beautifully in a studio setting for maximum emotional wallop. - JM

Touche Amore - Lament (Epitaph)

Is this what an almost uplifting Touche Amore album sounds like? It’s cathartic in a newer way for the band, especially after the beautifully rendered grief of Stage Four. Lament loses none of the band’s aggression or urgency. “Come Heroine” thrusts listeners into that urgency and introduces a moment of warmth, Jeremy Bolm’s vocals still rasping and insistent: “You brought me in / You took to me / And reversed the atrophy.” The bounciness of “Reminders” may seem close to optimism, but a sharper look at the lyrics uncovers more than blindly looking to the things that bring joy. “I’ll Be Your Host” is reflective, a few years removed from Touche Amore’s previous album and the immediacy of loss, self-aware and growing, but still raw. The album closer, “A Forecast”, takes a turn, a lone voice and piano acting as a confessional before giving way to thrashing guitars and the realization that growth and reckoning with trauma doesn’t mean minimizing it. It means learning to keep moving forward and to stop for help when you may need it. - LL

Waxahatchee - Saint Cloud (Merge)

The best album yet from Katie Crutchfield is inspired by positive personal change (getting sober, dealing with codependency issues, her blossoming love with singer-songwriter Kevin Morby) and reflections on family and friends. Named after the suburb of Orlando where her father’s from, Saint Cloud is a genre-hopping collection of stories and feelings that doesn’t necessarily follow any semblance of narrative. On opener “Oxbow” and country-tinged ditty “Can’t Do Much”, Crutchfield’s increasingly aware of the need to pick your side and your battles, whether in the relationship between two people or between the allure of the bottle and the next-day hangover. Some of the best songs on the album see her finding commonalities with others as a means towards self-love. Gentle strummer “The Eye” refers to her natural creative relationships with Morby and her sister Allison. “War” she wrote for herself and best friend, who is also sober, the title a metaphor for one’s fight to remain substance-free. “Witches” is an ode to her best friends, including Allison and Snail Mail’s Lindsey Jordan, all equally frustrated by the toxic nature of the music industry and the world at large, ultimately lifting each other up because they simply have each other.

Read our full review here.

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alwaysmarilynmonroe · 4 years

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Today is a very special day, it’s Marilyn’s Birthday! Can you believe that if she were still alive, Marilyn would have been turning 94 years old today – just two months younger than the Queen herself! With each year I always try and write a special post about this amazing woman, who has helped me so much and achieved more than anyone could have imagined in her 36 years. Therefore, I decided to write 94 facts about the Birthday Girl – some you may know, some you may not, all in the hope that genuine things will be learnt and the real Marilyn will be more understood and appreciated.

Gladys and baby Norma Jeane spend some quality time together on the beach in 1929.

Little Norma Jeane, aged seven, in 1933.

Norma Jeane photographed by David Conover whilst working at the Radio Plane Munitions Factory in either the Fall of 1944 or Spring of 1945.

Norma Jeane by Andre de Dienes in late 1945.

Marilyn by Richard Miller in 1946.

Marilyn on Tobey Beach by Andre de Dienes on July 23rd 1949.

Marilyn by Ed Clark in Griffith Park in August 1950.

Marilyn attends a Party in Ray Anthony’s home, organized by 20th Century Fox on August 3rd 1952.

Marilyn filming The Seven Year Itch on location in New York City by Sam Shaw on September 13th 1954.

Marilyn by Milton Greene on January 28th 1955.

Marilyn by Cecil Beaton on February 22nd 1956. This was her favourite photo of herself.

Marilyn attending the Premiere of The Prince In The Showgirl at the Radio City Music Hall on June 13th 1957.

Marilyn by Carl Perutz on June 16th 1958.

Marilyn by Philippe Halsman for LIFE Magazine in October 1959.

Marilyn attends a Benefit for The Actors Studio at the Roseland Dance City on March 13th 1961.

Marilyn on Santa Monica Beach for Cosmopolitan Magazine by George Barris on July 1st 1962.

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1. Stood at a height of 5’5½”

2. Born in the charity ward of the Los Angeles County Hospital at 9:30 AM on June 1st 1926.

3. Married three times;

– Jim Dougherty: (June 19th 1942 – September 13th 1946) – Joe Dimaggio: (January 14th 1954 – 31st October 1955) (Temporary divorce granted on October 27th 1954) – Arthur Miller: (June 29th 1956 – January 20th 1961).

4. Suffered two confirmed miscarriages; an ectopic pregnancy on August 1st 1957 and miscarriage in December 16th 1958.

5. Suffered with endometriosis very badly, so much so that she had a clause in her contract which stated she would be unable to work whilst menstruating.

6. Starred in 30 films – her last being uncompleted.

7. Favourite of her own performances was as Angela Phinlay in The Asphalt Jungle (1950)

8. Winner of three Golden Globes; two for World Film Favourite – Female in 1954 and 1962 and one for Best Actress in a Motion Picture – Comedy or Musical for her performance as Sugar Kane in Some Like It Hot (1959) in 1960.

9. Her idol was the first Platinum Blonde Bombshell, Jean Harlow.

10. Amassed a collection of over 400 books in her library, ranging from Russian Literature to Psychology.

11. Favourite perfume was Chanel No.5

12. Had two half siblings; Robert “Jackie” Baker (1918 – 1933) and Bernice Miracle (1919) – the former she would never have the chance to meet and Bernice was not informed about Marilyn until she was 19 years old.

13. Former Actor and 20th Century Fox Studio Executive, Ben Lyon created the name Marilyn Monroe in December 1946 – Marilyn after fellow Actress, Marilyn Miller and Monroe after Marilyn’s mother’s maiden name. Ironically enough, Ben starred with Jean Harlow, in her breakout movie, Hell’s Angels (1930).

14. Legally changed her name to Marilyn Monroe ten years later, on February 23rd 1956.

15. Attended The Actors Studio.

16. Third woman to start her own Film Production Company – the first being Lois Weber in 1917 and the second being Mary Pickford in 1919.

17. First had her hair bleached in January 1946 at the Frank & Joseph Salon by Beautician Sylvia Barnhart, originally intended for a Shampoo Advert.

18. Contrary to popular belief, she was technically a natural blonde, not a redhead or brunette. She was born with platinum hair and was very fair until just before her teen years. Her sister described her with having dark blonde hair upon their first meeting in 1944.

19. Another myth debunked – she had blue eyes, not brown.

20. Was one of the few women in the 1950s to use weights when exercising.

21. Wore jeans before it was considered acceptable for women.

22. Her famous mole was real – albeit skin coloured, so she emphasized it using a brown eye pencil.

23. Was a Step-Mother in two of her three marriages to three children – Joe Dimaggio Jr. and Bobby and Jane Miller.

24. Found out she landed the lead role in Gentlemen Prefer Blondes (1953) on her 26th Birthday.

25. Another huge myth dispelled – only actually met President Kennedy four times from 1961 – 1962. Three of them were at public events, with the last being her performance at Madison Square Garden. One of them was at Bing Crosby’s Palm Spring house with various people, so at most (which again, is very unlikely) they had a one night stand – nothing more and nothing less.

26. Was the first Playboy Cover Girl, although she did not actually pose for them, nor give permission for them to be used. Hugh Hefner bought the photograph from a Chicago Calendar Company for $500 and the two never met.

27. Speaking of Playboy, the photo was taken by Photographer Tom Kelley on May 27th 1951 and Marilyn made a total of $50 for the photo shoot. The most famous photo then went on to cause a national sensation after being sold to the Calendar Baumgarth Company and became known as, “Golden Dreams“.

28. In 1955 it was estimated that over four million copies of the Calendar had been sold.

29. Favourite singers were Frank Sinatra and Ella Fitzgerald.

30. Attended the Academy Awards Ceremony only once on March 29th 1951 and presented the award for “Best Sound Recording” to Thomas Moulton for All About Eve (1951) which she also starred in.

31. Performed ten shows over four days to over 100,000 soldiers and marines in Korea in February 1954 – she actually ended up catching pneumonia because it was so cold.

32. Was one of the few Stars who had Director Approval in their Contracts. Some of the names included were, John Huston, Elia Kazan, Alfred Hitchcock, George Stevens, William Wyler, Joshua Logan and Sir Carol Reed.

33. Was pregnant during the filming of Some Like It Hot (1959) – filming finished on November 7th 1958 and she miscarried the following month on December 16th.

34. Featured on the cover of LIFE Magazine seven times during her lifetime;

– April 7th 1952 – May 25th 1953 – July 8th 1957 (International Edition) – April 20th 1959 – November 9th 1959 – August 15th 1960 – June 22nd 1962

35. Favourite bevarage was Dom Perignon 1953 Champagne.

36. By the time of her death, her films had grossed over $200 million, when adjusted for inflation that is the equivalent of $2 billion in 2019.

37. Designer, William Travilla dressed Marilyn for seven of her films, two (*) of them received Oscar Nominations in, “Best Costume/Design, Color“;

– Monkey Business (1952) – Gentlemen Prefer Blondes (1953) – How To Marry A Millionaire (1953) * – River Of No Return (1954) – There’s No Business Like Show Business (1954) * – The Seven Year Itch (1955) – Bus Stop (1956)

38. Spent 21 months of her childhood at the Los Angeles Orphanage, from September 13th 1935 until June 7th 1937.

39. Was one of the first Stars to speak out about child abuse, with her story appearing in movie magazines as early as 1954.

40. Fostered by her grandmother’s neighbours, Ida and Albert Bolender, for the first seven years of her life.

41. Lived in England for four months, during the period of filming for The Prince and The Showgirl (1957) from July 14th 1956 – November 20th 1956.

42. Her Production Company, Marilyn Monroe Productions produced only one film, The Prince and The Showgirl (1957) based on Terrance Rattigan’s play, The Sleeping Prince.

43. Was photographed by Earl Theisen in October 1952 wearing a potato sack dress after being criticized by the press for her outfit choice at The Henrietta Awards in January 1952. A journalist wrote that Marilyn was “insignificant and vulgar“and “even in a potato bag, it would have been more elegant.“

44. Was a huge supporter of LGBT+ rights, saying the following quote about fellow actor and friend, Montgomery Clift to journalist W.J. Weatherby in 1960,

“I was remembering Monty Clift. People who aren’t fit to open the door for him sneer at his homosexuality. What do they know about it? Labels–people love putting labels on each other. Then they feel safe. People tried to make me into a lesbian. I laughed. No sex is wrong if there’s love in it.”

45. Her measurements were listed as the following by her Dressmakers; 35-22-35 and 36-24-24 by The Blue Book Modelling Agency. For the majority of her life she weighed between 117-120 pounds, with her weight fluctuating around 15 pounds, during and after her pregnancies (1957-1960), although her waist never ventured past 28.5 inches and her dress size today would be a UK Size 6-8 and a US Size 2-4 as she was a vintage Size 12.

46. Her famous white halter dress from The Seven Year Itch (1955) sold for $4.6 million ($5.6 million including auction fees) on June 18th 2011, which was owned by Debbie Reynolds. The “Happy Birthday Mr. President Dress” originally held the record for the most expensive dress, when it was sold on October 27th 1999 for $1.26 million. It then went on to be resold for $4.8 million on November 17th 2016, thus regaining it’s original achievement.

47. Was discovered by Photographer, David Conover, whilst working in The Radio Plane Munitions Factory in the Fall of 1944 or Spring of 1945, depending on sources.

48. Now known as the, “Me Too” movement, Marilyn was one of the first Stars to speak out on the, “Hollywood Wolves” in a 1953 article for Motion Picture Magazine entitled, “Wolves I Have Known”. The most famous incident being with the Head of Columbia Studios, Harry Cohn, who requested Marilyn join him on his yacht for a weekend away in Catalina Island. Marilyn asked if his wife would be joining them, which, as you can imagine – did not go down well and her contract was not renewed with the Studio. Marilyn made only one film with Columbia during her six month contract, this being Ladies Of The Chorus (1948) which was shot in just ten days!

49. Loved animals dearly and adopted a variety of pets over the years. These included a basset hound called Hugo and parakeets, Clyde, Bobo and Butch with Husband Arthur Miller. A number of cats including a persian breed called Mitsou in 1955 and Sugar Finney in 1959. Her most famous pet was gifted to her in March or April of 1961 by friend, Frank Sinatra, a little white maltese named Maf. His full name was Mafia Honey, as a humorous reference to Sinatra’s alleged connections to the Mob. After Marilyn’s death, Maf went to live with Frank Sinatra’s secretary, Gloria Lovell.

50. The book she was reading at the time of her death was Harper Lee’s, To Kill A Mocking Bird.

51. One of the movies she starred in was nominated for the Academy Award for Best Picture and won, this being All About Eve (1950) at The 23rd Academy Awards on March 29th 1951. It ended up being nominated for 14 Oscars, a record at the time and has only been matched by Titanic (1997) and La La Land (2016).

52. Her first magazine cover was photographed by Andre de Dienes in December 1945 for Family Circle, released on April 26th 1946.

53. Joined The William Morris Agency on December 7th 1948.

54. Was right handed, not left as often believed.

55. Third Husband Arthur Miller wrote the screenplay for Marilyn’s last completed film, The Misfits (1961) which was originally written as a short story for Esquire Magazine in 1957. After the tragic ectopic pregnancy Marilyn endured in August of 1957, friend and Photographer, Sam Shaw suggested to Miller he alter his short story specifically for her. Ironically the making of this film culminated in their divorce and Marilyn stating,

“He could have written me anything and he comes up with this. If that’s what he thinks of me then I’m not for him and he’s not for me.” 56. Was Author, Truman Capote’s original choice for the role of Holly Golightly in Breakfast At Tiffany’s (1961) however, she was advised to turn it down by her Acting Coach, Paula Strasberg, who did not think the role of a prostitute would be good for her image. Writer George Axelrod, who wrote the Screenplay for Bus Stop (1956) and the play, The Seven Year Itch, ironically ended up being the Screenwriter for this movie.

Capote said this regarding Marilyn,

“I had seen her in a film and thought she would be perfect for the part. Holly had to have something touching about her . . . unfinished. Marilyn had that.”

57. Second Husband Joe Dimaggio had The Parisian Florists deliver red roses on Marilyn’s grave twice a week, for twenty years, from August 1962 until September 1982. Marilyn had told him how William Powell used to do this for Jean Harlow after her death and he reportedly vowed to do the same after their Wedding Ceremony. After the 20 years he then donated to a children’s charity, as he thought it would be a nice way to honour her memory. They also created the flower arrangements for her casket at her funeral.

58. The following five Directors directed Marilyn in more than one movie;

– John Huston; The Asphalt Jungle (1950) and The Misfits (1961) – Richard Sale; A Ticket To Tomahawk (1950) and Let’s Make It Legal (1951) – Howard Hawks; Monkey Business (1952) and Gentlemen Prefer Blondes (1953) – Billy Wilder; The Seven Year Itch (1955) and Some Like It Hot (1959) – George Cukor; Let’s Make Love (1960) and Something’s Got To Give (1962)

59. Was an illegitimate child, which unfortunately was attached with a lot of stigma in the 1920s. Her mother, Gladys, listed her then husband Edward Mortenson on the Birth Certificate, although it is commonly accepted that her real father was Charles Stanley Gifford, as Gladys left Edward on May 26th 1925. Gladys had an affair with him, which ended when she announced her pregnancy and he never acknowledged or met Marilyn, although she tried multiple times over the years to speak with him.

60. Stayed in a number of foster homes during her childhood,

– George and Emma Atkinson; February 1934 – September 1934 – Enid and Sam Knebelcamp; Fall of 1934 – Harvey and Elsie Giffen; January 1935 – March 1935 – Grace and “Doc” Goddard; April 1935 – September 1935 and June 1937 – November 1937 and end of 1940 – February 1942 – Ida Martin; November 1937 – August 1938 – “Aunt Ana” Lower; August 1938 – End of 1940 and February 1942

61. Had her hand and footprints immortalized in cement at Graumans Chinese Theatre on June 26th 1953, with Gentlemen Prefer Blondes (1953) co-star, Jane Russell. Marilyn would place a rhinestone in the dot of the letter “i” as a reference to her character, “Lorelei Lee” but it was sadly stolen. This was an incredibly special moment for her, as she often talked about placing her hands and feet in the many prints there, when she spent her weekends at the Theatre as a child, especially in 1933 and 1934.

“When I was younger, I used to go to Grauman’s Chinese Theatre and try to fit my foot in the prints in the cement there. And I’d say “Oh, oh, my foots too big. I guess that’s out.” I did have a funny feeling later when I finally put my foot down into that wet cement, I sure knew what it really meant to me, anything’s possible, almost.”

62. The famous gold lamé dress worn in Gentlemen Prefer Blondes (1953) and designed by William Travilla, was deemed too risqué by the censors. Unfortunately for fans, this meant that the musical number, “Down Boy” was cut from the film and we only glimpse a few seconds of the dress from behind, on screen.

63. Due to the censors, the original, “Diamond’s Are A Girl’s Best Friend” costume was changed to the now iconic pink dress with black bow. Originally it was to be a diamond encrusted two piece, which was extremely daring for the then Motion Picture Hays Code.

64. Loved Erno Lazlo Skin Cream, Vaseline and Nivea Moisturizer.

65. Had she completed Something’s Got To Give (1962), Marilyn would have been the first Star in a major Motion Picture to appear nude on film. As she passed before it was completed the achievement went to fellow Blonde Bombshell, Jayne Mansfield in, Promises! Promises (1963).

66. Met Queen Elizabeth II in England at the Empire Theater in Leicester Square whilst attending the Premiere of, “The Battle Of The River Plate“ on October 29th 1956.

67. The Misfits (1961) was both Marilyn and Clark Gable’s last completed films. Clark died 12 days after filming finished, on November 16th 1960. The film was released on Clark’s would be 60th Birthday, February 1st 1961 and Marilyn passed 18 months later.

68. As Marilyn died before the completion of Something’s Got To Give (1962) it ended up being remade with Doris Day and James Garner, entitled, Move Over Darling! (1963). The film was originally intended to be a remake of, My Favourite Wife (1940) which starred Cary Grant.

69. Signed a recording contract with RCA Records on September 1st 1953. One of her songs from River of No Return (1954) entitled, “File My Claim” sold 75,000 copies in its first three weeks of release.

70. Was admitted to the Payne Whitney Psychiatric Clinic on February 10th 1961 by her then Psychiatrist, Marianne Kris. Originally thought to be for rest and rehabilitation, following her divorce from Arthur Miller and the strain of filming The Misfits. However, Marilyn was placed on the security ring and held against her will. Thankfully, she was able to contact ex Husband, Joe Dimaggio, who stated he would, “Take the hospital apart brick by brick” if she was not released and after three days of emotional trauma, she left.

71. Visited the following Countries;

– Canada – (July – August 1953) – Japan (February 1954) – Korea (Feburary 1954) – England (July – November 1956) – Jamaica (January 1957) – Mexico (February 1962)

72. Purchased her only home, 12305 Fifth Helena Drive on February 8th 1962, where she would tragically pass just under 6 months later.

73. The home had the following tile located on the front paving entrance saying, “cursum perficio” meaning, “my journey ends here.” The title is still there to this day.

74. Her final interview was published in LIFE Magazine on August 3rd 1962 and was written by Richard Meryman.

75. Aside from her millions of fans, had a staunch group of supporters affectionately known as, “The Monroe Six” who followed Marilyn around New York during her time there. Their nickname for Marilyn was, “Mazzie” and they became so acquainted that Marilyn actually once invited them for a picnic at her home.

76. First married at just sixteen years old, this was to avoid returning to the Orphanage she had spent almost two years in as a child.

77. Supported numerous charity events, most famously riding a pink elephant in Madison Square Garden, to support the Arthritis and Rheumatic Affections Association on March 30th 1955.

78. Left 25% of her Estate to her then Psychiatrist, Marianne Kris and 75% to mentor and friend, Lee Strasberg. For reference, her Will was last updated on January 1961 – a month before she entered the Payne Whitney Hospital on the advice of Marianne Kris.

79. At the time of it’s release, The Misfits (1961) turned out to be the most expensive black and white movie ever made, costing a budget of $4 million dollars.

80. The Premiere of The Seven Year Itch was held on her 29th Birthday, on June 1st 1955, she attended with ex Husband, Joe Dimaggio.

81. Laid to rest at Westwood Village Memorial Park Cemetery on August 8th 1962 at 1:00 PM, with friend and mentor Lee Strasberg delivering the Eulogy.

82. Although so often associated with diamonds, actually wasn’t that fond of jewellery stating, “People always ask me if I believe diamonds are a girl’s best friend. Frankly, I don’t.”

83. Spent her 36th Birthday filming Something’s Got To Give (1962) and then attending a Charity Event for muscular dystrophy at the Chavez Ravin Dodger Stadium, which also happened to be her last public appearance.

84. Whilst recovering in hospital from an appendectomy in April 1952, Marilyn asked long time Makeup Artist and friend, Allan “Whitey” Snyder to do her makeup, should she pass before him. She gave him a gold money clip with the inscription, “Whitey Dear, while I’m still warm, Marilyn” and he did fulfill this promise to her.

85. Converted to Judaism for third husband, Arthur Miller on July 1st 1956.

86. Despite appearing in 30 films, she only actually dies in one, that being her breakout movie, Niagara (1953) where her character Rose Loomis, is strangled by her Husband George, played by Joseph Cotten.

87. Moved to New York City in 1955 and attended The Actors Studio, after breaking her Film Contract with 20th Century Fox. This was for a number of reasons, mainly years of low pay, unsatisfactory scripts and lack of creative control. A new contract would finally be reinstated on December 31st.

88. Repurchased a white Baby Grand Piano that her mother, Gladys, owned during their time living together in 1933. After Marilyn passed it would then be sold at the Christies Auction of her Estate in 1999 to none other than, Mariah Carey for $632,500.

89. Wore long hair pieces in River of No Return (1954) and a medium length wig in The Misfits (1961). The first I can only assume was due to the time period and setting of a Western and the second was due to the bleach damage her hair had suffered. After the filming in 1960, she wore the wig a couple of times in public events and then reverted back to her normal hair.

90. Like all students, it was tradition to perform in front of each other in The Actors Studio and on February 17th 1955, Marilyn acted out a scene from “Anna Christie” with Maureen Stapleton. Although it was an unwritten rule that students were not meant to applaud one another, an eruption of cheers and clapping happened after Marilyn had finished.

“Everybody who saw that says that it was not only the best work Marilyn ever did, it was some of the best work ever seen at Studio, and certainly the best interpretation of Anna Christie anybody ever saw. She achieved real greatness in that scene.”

– Actor Ellen Burstyn, on recalling Marilyn’s performance.

91. Used the pseudonym, “Zelda Zonk“, when trying to remain incognito.

92. Marilyn’s mother, Gladys Baker, suffered from Paranoid Schizophrenia and after various stays in institutions, was declared insane on January 15th 1935, when Marilyn was just 8 years old. After 10 years she was released and managed to retain various cleaning jobs and had developed an intense interest in Christian Science. However, by 1951 she was back in various institutions and would stay in the Rockhaven Sanitarium until 1967. Even after death, Marilyn continued to cover her mother’s care payments and Gladys would go on to outlive her for 22 years.

93. Favourite photograph of herself was taken by Cecil Beaton on February 22nd 1956.

94. Last professional photos were taken by Bert Stern, famously known as “The Last Sitting” for Vogue Magazine on June 23rd, July 10th and 12th 1962. Allan Grant took the LIFE Magazine interview pictures in her home, on July 4th and 9th 1962. Whilst George Barris took his photos for Cosmopolitan Magazine, the previous weekend on the 29th and 30th of June, until July 1st 1962. ______________________________________________________________________________

To those of you who took the time to read through all 3000+ words, thank you! It truly means more to me than you know and I really hope it’s shed some light on the truly special person Marilyn was and made you hold a good thought for her on her big day.

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Happy 94th Birthday Marilyn! Today is a very special day, it's Marilyn's Birthday! Can you believe that if she were still alive, Marilyn would have been turning 94 years old today - just two months younger than the Queen herself!

#1940s #1950s #1960s #angel #blonde bombshell #classic hollywood #hollywood #icon #legend #marilyn #marilyn monroe #norma jeane #norma jeane baker #old hollywood

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precisemuseum · 3 years

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Response to Allegations Against Precise Museum

On November 13th, 2020, we became aware that there were tweets calling for action against two of our members, Ant and Cove. Ant was accused of showing a 12 year old porn of Puyo characters Schezo (age unknown but often interpreted between 17-180 years of age) and Arle (coded as a teenager) and for forcing a minor to draw porn of these characters for them. Cove was accused of defending Ant’s actions and saying that pedophilia doesn’t matter. The accusations further said that Ant and Cove had negatively influenced Precise Museum translations to fuel their own ship preferences.

Here is a summary document here made by a third party.

As the leader of Precise Museum, I (Ingu) was initially skeptical of the pedophillia accusations because no details to narrow down the incident (such as year or server name) were given and my Twitter account was blocked by those making the accusations for being associated with Ant and Cove. I ended up talking to someone whose friend was a friend of the victim for further details before the victim themself came forth. Precise Museum takes allegations of pedophilia very seriously and I would not be satisified with leaving such an allegation uninvestigated.

After personally looking into the accusations, I can say that one of the accusations against Ant — that they had requested porn of Puyo characters with vague ages from a minor on multiple occasions — is true. As a result, we have removed Ant from our group and cut ties entirely. The following details what we found, and what we confirmed of the incidents. The identity of the affected party will remain anonymous, and we ask that you protect their privacy if you know who they are.

In 2018 and 2019, Ant was part of a Puyo server called “Puyo Puyo Fan Club!”. This server had two NSFW channels, one of which was called #NSFW-lite. Ant was very active in this channel. Though the server supposedly restricted these channels to adults using the Discord NSFW channel function, minors who clicked “Yes” on the prompt asking if they were over 18 were easily able to access the content. As of June 21st, 2020, Discord now prompts users for their birthday the first time and will lock them out of all NSFW channels if the age entered is too young, but this was not the case in 2018~2019, when Ant interacted with minors in #NSFW-lite. The fact that this was allowed to happen when the channel was clearly labeled “NSFW” and meant to be restricted to adults indicates that this server was poorly moderated in this regard. I have talked to one of the moderators, Richet, about this, and they admit that the moderation team did not take enough responsibility in this regard.

At one point during this time period, Puyo Puyo Fan Club! had an event called “Tiddy Thursday”, where those in the NSFW-lite channel could request art of bare-chested characters from each other. Ant made requests, “regardless of age”. The minor drew softcore porn (sometimes bordering on explicit) for Ant on multiple occasions. We have censored screenshots of the exchanges in March, November, and December of 2018, and again in March 2019, though it is unclear how many of these were related to the event. In the screenshots, we have censored the victim’s picture and name, as well as another minor who happened to be active in the channel, though we do not know if this minor directly interacted with Ant in this way as well. The victim’s art has also been blocked out (on top of the censoring they did themself when they gave me the screenshots) as their style might be used to out their identity. Regardless, the channel name is there to see, and the moderators of Puyo Puyo Fan Club! can confirm that these images are indeed NSFW. I’ve also pointed out that Richet was in the channel at times to witness these interactions, but evidently did not take action, potentially because no one in the server had to verify their age with the moderators due to the reliance on Discord’s NSFW channel settings.

Here are the screenshots.

We rescind all connection with Ant but otherwise stand by our other statements. Cove admitted to and apologized for eir comments immediately instead of deflecting or pretending it didn’t happen, so ey will continue with Precise Museum unless new evidence arises.

I want to reiterate that Precise Museum takes allegations of pedophilia very seriously. If there is ever a problem with any of our members, please contact me, Ingu on Twitter (@ingaluboi) or on Discord (66ccff#2217). I understand the desire to get justice for your loved ones, however reaching out to me is much more efficient in accomplishing that goal over posting to social media with an incomplete recollection of the events, especially if you do not know the affected parties personally yourself. The manner that was taken this past Friday caused unnecessary strife in the community and distracted us from uncovering the truth of Ant’s actions sooner. Rest assured that once I am alerted that a member of Precise Museum has acted in a predatory manner, I will keep those who contact me anonymous, look for corroborating evidence, and take necessary action against involved members.

With that said, I ask that anyone who defended us to cease negative interactions with Moussume and Cookie, teenagers who posted the original accusations. We understand why they did so, and even if the content of their screenshots were mostly inaccurate, they were correct in that Ant acted predatorily to a minor. But I emphasize again that the best way to center and protect victims is to collaborate with them in making statements (while allowing them to remain anonymous if desired) and to reach out personally first.

Otherwise, it’s truly unfortunate that this happened. It is impossible for me to promise that I will be able to keep up with the actions of each and every one of our (currently 27) members, but I swear I will hold anyone accountable if need be.

#text

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