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There are some things I discover which resonate deep within me. Often, why they make such an impact is a mystery to me, but it becomes obvious to me that I was always searching for such a thing, even if I hadn’t yet been aware of its existence. One of these most recent discoveries is Cats on Synthesizers in Space. It is beautiful.

I know nothing about cats and I know nothing about synthesizers, but both fascinate me. I never thought that the two could be combined. I was so blind. All I know now is that my life will never be the same again.

Originally posted on Could They Beat-Up China Miéville?:

Walking along the promenade, eating his chips, China Miéville’s attention was drawn by a sudden yelp of pain. He turned instinctively, seeing a Cliff Richard Impersonator on the ground, being savagely attacked by a crescent of half a dozen Elvis Presley Impersonators. Bristling at the abuse of Britain’s most inexplicable celebrity (by proxy) he called out and stepped forward. Like one beast with six heads, a coiffured hydra, their eyes locked onto China Miéville, and they attacked.

As they swarmed over him he felt the crush of those Elvis Presley Impersonators who focussed on the latter part of The King’s career squeezing the breath out of him. Struggling futilely his leg kicked through, knocking a stack of Thai Elvis Presley Impersonator’s recordings off the edge of the pier. Shrieking, said impersonator jumped over the barrier and tumbled down into the sea.

Some of the weight lessened, China Miéville tried to…

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I’ve always felt  guilty about enjoying South Park. While it is funny for the most part, some of the jokes go way too far. I love black comedy, but I’ve never been a fan of offensive comedy, and whenever South Park includes something that’s genuinely offensive, I get really uncomfortable. For example, the Inception parody episode was hilarious…until it got to that particularly nasty joke about child abuse near the end. Most of the time it’s witty and insightful, but there are other times when it’s just not. So, when I found out that the latest episode was about transgender people, I didn’t know what to expect, because even if it did make some good points, the creators still might not understand the issue fully. The reviews I read were positive, though, so I decided to give it a go. I was pleasantly surprised.

The Cissy is wonderful. I usually find that South Park can be a bit heavy-handed when it comes to morals, but this episode delivered its message just as well as Breast Cancer Show Ever, another of my favourites. (Admittedly, it’s still anvilicious, but considering how little education there is on stuff like gender identity, it can be forgiven for that.)  Plot-wise, it’s similar to Le Petit Tourette, in that Cartman pretends to be part of a disadvantaged group because he thinks it will benefit him. Annoyed that the boys’ toilet is always full, he proclaims himself to be transgender so that he can use the girls’. Of course, Cartman would be the first person to mock anybody who was genuinely transgender, a fact made painfully obvious when he starts taunting Stan later on in the episode. His behaviour is a clever parody of the way some ignorant people see the transgender community, especially when it comes to the whole toilet issue, which has been blown completely out of proportion in real life. None of the girls in the show seem bothered by the idea of a transgender person using their toilet- what they have a problem with is that Cartman is using it. When Wendy gets angry with Cartman and challenges him, it’s because he’s trivialising the problems of people who truly aren’t comfortable with their assigned gender. Absolutely nobody is fooled by his act (except for Butters, which shouldn’t come as a big surprise to anybody), but not knowing how to deal with the situation, the school decides to appease him with his own “executive” toilet. However, Cartman continues to misrepresent transgender people, and things start to get confusing for Stan, who discovers that Randy is having similar problems at work.

To try and stop Cartman, Wendy pretends to be trans too. With two of his friends now claiming to have gender dysphoria, Stan is no longer sure about how he identifies himself.

The really cool thing about this episode is that it doesn’t portray transgender people as weird or attention-seeking. The only person like that is Cartman. I particularly love how it’s Stan, one of the sanest characters on the show, who starts to question his gender identity, and for a pretty good reason. Beforehand, none of this stuff probably ever occurred to him, but now, two people he knows really well have begun to use a separate toilet, and things aren’t so black and white anymore. And what’s really great is that this confusion isn’t made out to be a bad thing. It might not be fun, but by the end of the episode, Stan does seem to be a lot happier. He realises that it doesn’t matter where he chooses to do his businesses. Randy (who it turns out is actually Lorde) identifies as male, but he still prefers to use the female bathroom at work, simply because that’s where he writes his best songs. His crossdressing is used as a source of humour, but not in a mean-spirited way. The Lorde parody is affectionate (the creators constantly heap praise upon her music, which isn’t surprising considering how they’re also fans of The Cure), and Randy’s actions are shown to be harmless. A gender-neutral toilet might be a good idea, but not to separate trans from cis people. Rather, it can be used for people who are scared or uncertain, or for bigots who need to be kept away from the open-minded people who don’t really care.

One final great thing about this episode is that it’s continuing the thread of establishing a sort of continuity for series 18, with a few small references to the previous two. Thankfully, it’s done well enough to not feel like a gimmick, and I’m interested to see what will follow. Also, Butters dances in a tutu, which is something that everyone needs to see.

noveller

Originally posted on the sunday experience:

okay admittedly this has been out for a while but this just has to be heard it is immense and guaranteed to leave you struck dumb in awe and disbelief that somehow perhaps you have survived thus far through life’s daily grind without having this at your shoulder to offer solace and escape. Seriously I’ve played this twice, cried 6 times and quite frankly – hate to get maudlin on you – but elevated it to the top of the records at my funeral playlist – it could well be the last record – that good – I’ll go as far as to say I’ve not been this blown away by a track since hearing Peel playing Bang Bang Machine’s ‘geek love’ – the extended mix – for the first time. The atmospherics, the resonance, that sense that you are in the company of something truly monumental, emotionally unravelling, statuesque…

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Day before yesterday I saw a rabbit, and yesterday a deer, and today, you.

I’ve been meaning to watch the anime series RahXephon for ages, but unfortunately the chance to do so hasn’t presented itself to me yet. Still, I did get to read one of the works that inspired it, a short story by Robert F. Young called The Dandelion Girl. It should be noted that this is not about a girl who is also a dandelion, or a dandelion who happens to be a girl. Rather, it is about Julie Danvers, a young woman from the future who has dandelion-coloured hair. Wearing a dress composed of a “material seemingly compounded of cotton candy, sea foam, and snow” and claiming to belong to the year 2201, she travels to the sixties in her father’s time machine, to stand on the hill and observe the world in silence. There she meets Mark, a middle-aged man on holiday by himself while his wife is on jury duty. They become friends, with Mark visiting her at the same place each day. Even though he loves his wife, he finds himself strangely eager to see Julie, and can’t understand why.

Julie Danvers is described as looking like the poet Edna St. Vincent Millay.

It would be easy to assume that The Dandelion Girl is going to go in the direction of The Seven-Year Itch or something like that, but instead it takes a more surprising turn. I can’t go into the details, because to spoil this story would be a legitimate crime, but its outcome is both unexpected and poignant, with slightly more emphasis on sweetness than on the bitter. Mark and Julie’s relationship might seem puzzling, and not everything matches up quite right, but it’s forgivable, and it makes sense for the most part once you take into account Julie’s explanation of how time travel works. The only moment that I really didn’t like was when the two of them were discussing the works of great minds like Einstein- it came across as a little too grand and forced. It should also be mentioned that Julie’s portrayal can come across as pretty sexist in places, because of the time it was written in. She’s a bit too sweet, and is presented more like the “ideal” girl than a real person. Otherwise, The Dandelion Girl is very sincere. The language used is sentimental, but it works here. This is a gentle story, though the ending does hint at danger to come.

Originally posted on the sunday experience:

Curios certainly don’t come any more curious than this rare archive gem. Never before released, it has remained locked in the archives and forgotten since its recording in the summer of ’66. A pop collaboration between Delia Derbyshire and Anthony Newley, yes you read right a ‘pop’ collaboration. Of ‘moogies bloogies’ the press release details specifically its timeline, even how much work  Derbyshire afforded to her part of the collaborative bargain (64 and half hours in case you were wondering with a particularly lengthy and productive day on the 9th August and a total rethink session rethink the following day) and of the meeting at Derbyshire’s Maida Vale flat where the plans were hatched – Newley arrived there driven by then wife Joan Collins and sister Jackie who waited outside during the meeting. What remains unknown is to how such a recording – (Newley’s star was still high at…

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Originally posted on Cage Wisdom:

Megahex sounds like it could be the title of a Cage film. It would be about a heavy metal fan who falls in love with a witch and brings the power of rock to her heart and to her coven. However, in this case, Megahex is the title for the first printed collection of ‘Megg and Mogg’ comics by Simon Hanselmann, which I will review now.

Meg and Mog (note the lack of double ‘g’s) are two characters created for a series of children’s book by Helen Nicoll, illustrated by Jan Pienkowski. I read about their mild and gentle antics when I was a child. Meg was a witch and Mog her black cat. They were also friends with an Owl.

Here they all are tucked up in bed together:

600full-meg-and-mog-photo

Pienkowski’s illustrations really are gorgeous. Pop-art meets Russian poster design filtered through a child’s view of 70s psychedelia!

There is also…

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