Anonymous asked: You know more electronica than anybody else I'm acquainted with; can you tell me if anybody has done a track sampling the end of Rush's 2112? You know, this bit: youtube CBivfBCPZow ?
Anonymous asked: That was the first place I checked. I'll take their word there's a "2112" sample in there, but I couldn't hear it when I listened—it's certainly not that bit.
Yeah I dunno. That does seem like a really obvious bit to sample, it’d fit in great at the start of a happycore mixtape or something. Maybe hard house.
[W]henever sexual freedom is sought or achieved, sadomasochism will not be far behind. Romanticism always turns into decadence. Nature is a hard taskmaster. It is the hammer and the anvil, crushing individuality. Perfect freedom would be to die by earth, air, water, and fire.
Like 3 pages in and I have a very good feeling that Camille Paglia’s Sexual Personae is going to be quite interesting.
Hawai'i really is its own nation in the US, that’s not appreciated enough.
Like, it’s the only place where white people pick up the native language for public AND private usage (borderlands use public Spanglish, urban whites talk black but only to other whites)
Like, what does it mean to be half-Malay, half-Japanese? You don’t know! They do!
The thing as I see it, the thing that’s been central to the development of my worldview ever since I maxed out not believing in gods and assigning things human causes – growing up during the Jesus Seminar –
I had to deal with the fact that when you dispelled primitive myth there was still an actual human that corresponds to the mythic figure Jesus Christ, and there was an actual human that corresponds to the mythic figure Gautama Buddha, and there was an actual human that corresponds to the mythic figure Muḥammad, and closer still there was Joseph Smith and there was L. Ron Hubbard
and even if there weren’t divine powers there – especially if there weren’t divine powers there – that shit is within the range of human capacity and you’ve got to account for that
“Brew reader ‘Test Pilot’ was looking through his copy of The Illusion of Life when he stumbled onto some Xeroxes circa 1989 tucked inside of the book. The story and artwork, which he posted on his blog, is by Chris Sanders, director of Lilo & Stitch and How To Train Your Dragon. It’s called The Big Bear Aircraft Company, and of course, the drawings ooze with typical Sanders appeal.
The story is an allegorical tale about the animation industry. The message is loud and clear: a management-heavy, writer-driven animation studio will be doomed to produce safe and unoriginal animated films. His devastating takedown of writers is notable; he doesn’t even bother extending a metaphor to them and bluntly depicts their uselessness in his story’s setting, which is an aircraft factory.”
What she really means: ever since the VII century there have been outbreaks of dancing mania, one person or several would start dancing, others following them in course of days, sometimes even months, until they collapsed of exhaustion, died of a heart attack, or were taken for an exorcism, these stopped abruptly in the XVII century and to this day historians are baffled, what caused it and made it stop, was it an outbreak of a disease causing hallucinations, was it fashionable, out of fear, why do we have reliable sources stating that thousands of these poor people danced in the streets, what does it all mean
Max landis is the same dude who went on Twitter and whined about how people don’t want original movies when like every movie he ever wrote bombed
“Casting Scarlet Johansson is the best thing that could have happened to Ghost in the Shell” Is a real thing that came out of this guys mouth, I legit want to die
I can name two, right now, who are in mainstream television shows and have a strong history of martial arts.
Lucy Liu and Ming-Na Wen.
Okay. Hold on.
I dunno if y’all actually watched the video Max Landis put out, but this post boils his argument down past his actual points and simplifies it so he looks like a racist idiot.
I don’t necessarily agree with his whole ‘Scarlett is the best thing that could have happened to this movie’ thing, BUT I do think the argument behind why he says it is actually pretty solid. There are different ways to get a movie green-lit and to receive substantial monetary backing for projects. One of those ways is to have an international big-name star attach their name to the project, because the industry sees a big name as a big draw for audiences and thus they think the movie will make money. Right now none of the well known Asian actresses on the market are actually big enough to be able to do that. Landis is not talking about how good Asian actresses are at their craft, he’s talking about how the industry views their relative star power. Also, Landis isn’t less defending the white washing, so much as explaining why it’s happening.
I do think it’s worth arguing that the movie producers could have tried harder to get green lit through other channel. It’s worth talking about how few Japanese people were cast, even outside of the main role. It’s worth talking about why the industry doesn’t put more value on Asian actresses, and why there are so few roles for them in the first place which limits their opportunities to become bigger stars. I also think Landis is out of line saying people shouldn’t be angry at the movie industry, but rather at the culture that makes it so we have no A-List Asian actresses (especially because the movie industry plays a large role in creating/disseminating that culture, as much as it is subject to the outcomes of the culture itself). But dismissing his argument out of hand isn’t actually going to help anyone improve the situation because it ignores the realities of big-budget movie production and the underlying causes that need to be addressed.
Also, I would like to point out that the character and story in question are fundamentally Japanese and neither Lucy Liu nor Ming-Na Wen are Japanese. While having an asian actress would be better than a white actress, it would still be pretty suspect to pull a ‘one asian is the same as any other asian’ thing. So if you want to suggest actresses, keep that in mind.
All good points.
I’ve noticed that often people on Tumblr will be right that someone is wrong, but wrong about why that person is wrong.
Something that isn’t mean but isn’t right either gets taken as something else that is much more, and much more obviously, horrendous.
The problem is, it seems that he’s wrong.
Look at Ms.
Johansson’s own filmography from the era before The Avengers. It’s not nothing, but going by IMDB, if you COMBINED the gross revenue for all 20-ish films she appeared in the 10 years before her first appearance in the MCU in Iron Man 2, it would be ~$475 million, less than Iron Man 2 individually and less than half of Avengers: Age of Ultron.
Either he’s wrong about how Hollywood works, or, more likely, he’s wrong about the fact that Hollywood is justified in thinking that way (and hence he’s wrong that the movie industry is merely reflecting the preferences of the culture at large).
He’s right. Presales. As far as a distributor in Buttfuckistan judging yet-to-be-filmed prospects is concerned, “[solid, well-told story] in [foreign language] featuring [talented and thematically appropriate thespian]” is arthouse shit (and neither of those quality promises are guaranteed), while “[cinematic output] featuring [actor his audience has not only heard of, but recognizes as an aspirational icon of humanity]” is a saleable product.
