(via https://soundcloud.com/kid-mud/accounts?utm_source=soundcloud&utm_campaign=share&utm_medium=tumblr) id mud is a 5 piece indie rock band from Central Valley, Ca. With five diverse musicians from varying tastes and backgrounds, they come together to compile a sound of their own. Unlike earlier Kid Mud (recorded and live) the sound has taken on a new beast of delivering a full, rich sound while maintaining compelling dynamics. Kid Mud’s sound brings both the soft and loud like some more well known bands, And You Will Know Us By The Trail of Dead and Built to Spill.Their latest EP “The Ghosts on Lee St” is a full concept album of childhood memories concentrating on hardships and lost lives. For this EP they asked some friends to make guest appearances on the recordings. Guest include members of Grandaddy, Built Like Alaska, The Good Luck Thrift Store Outfit and Others. The Ghosts on Lee St is slated for release on June 18th and Kid Mud is planning a west coast tour in July.www.waygrimace.comwww.facebook.com/kidmudkidmud.bandcamp.com/
I was born in 1989, 1 of May in Dier, Hungary, spent my childhood in Truskavets (Ukraine). My photographical way started in 2011. First of all it were small documentary projects about city and ordinary life. I have took a part in exhibitions inside a country. After my long being in Poland I have published a photo book “4,2 km” in 2013.
36. where i would like to live: i’m okay with chicago
37. one of my insecurities: my acne even tho it’s not terrible
38. my childhood career choice: a teacher
39. my favorite flavor ice cream: i answered this in the one i did earlier!! (but it is mint chocolate chip)
40. who i wish i could be: kendall jenner lowkey
41. where i want to be right now: an mgk concert
42. the last thing i ate: chicken nuggets
43. sexiest person that comes to mind immediately: ptk2k
44. a random fact about anything: i like tarantulas
45. i posted one below bc idk how to attach one!!
The Childhood Friend and I are living together, we share a bed together, a dinner table together, and he fixed me breakfast yesterday morning before I had to go to class. Things are really easy with him. It is great!
What next, the harrowing story of Stripe the Gremlin's tragic childhood? 
Today sees the release of Maleficent,
Hollywood’s latest stab at turning a traditional mythic archetype–pure
fairytale evil–into one of its favorite stock characters: the
Angelina Jolie’s performance has already earned widespread praise. But Disney’s cannibalizing of Sleeping Beauty and its baddie–and the formulaic, CG-slathered commercial mess that results–has left most critics cold. Yet Jolie herself is amazing! She almost makes it work.
We all know why. Transmuting evil into trauma (ideally childhood
trauma) gives antagonists motive, complexity and texture. It addresses a
human desire to explain pain, especially pain paid forward. At its
best, the tragivillain acquires a literary quality that sticks with us
long after the story they inhabit fades.
What’s the tragivillain’s storytelling superpower? She knows the
listener brings all the context. Few boys aspire to be a mischievous god
of Norse myth, but many are troublemakers who wish their fathers would
pay more attention to them. Few girls imagine themselves as evil queens,
but many know what it’s like to have their wings clipped by selfish,
self-justifying men. A villain we can identify with is an insidious
creature, an infection vector for the virus of self-knowledge. It speaks
to the hope that reform and healing is possible without losing the
subversive, impolite, Dionysian virtues we attain through suffering.
(Augustine: “Lord grant me chastity…but not yet”).
Still, it’s getting spread thin.
These tragic backstories are so formulaic they feel less like
human experience and more like something generated by a computer using
passages from psychiatry’s Diagnostics and Statistics Manual. Moreover,
tragivillain status tends to negotiate away the delicious nastiness of
true malice. In creatures from Hiddleston’s Loki to Mads Mikkelsen’s
incarnation of Hannibal Lecter, their epic selfishness ends up reduced
to narcissistic self-pity. We’re swarmed by villains that are crap at
Worse, though, is that the tragivillain fad is lazy. Instead of
creating characters whose badness is intimately tied to experience that
could be revealed through conflict and drama, we’re simply looting an
inventory of established baddies and subverting them in the crudest
fashion. The same trick for every pony.
Truly though our being is so much more than thinking. Our cognitive process is an evolutionary development. An adult sees an object and instantly makes assumptions based upon experiences. We look at a coffee cup and we mentally compare it to our catalog of experience with other similar objects. We make assumptions about its physical qualities based on prior observation. Very useful.
A child however has no catalog and experiences each event fresh with no preconceptions. In Taoist philosophy and in Zen, heavily influenced by Tao, this is a skill to be developed through meditation and practice. It is called “child’s mind”. It means looking at everything with fresh eyes. I have the good fortune to be able to recall a few of my childhood perceptions and I can say that these early perceptions differ greatly from perceptions as an adult. They are more intense, more vivid and woven together with powerful emotion.
“There are children playing in the streets who could solve some of my top problems in physics, because they have modes of sensory perception that I lost long ago.”
I choose to watch the movie Amelie for the blog five discussion. After I got over the fact that it wasn’t an American made movie and it only had subtitles I’m happy I choose to watch this. The movie is about a girl who is lonely most of her life, and as she gets older she tries to help people in need. After returning a long-lost childhood item to a former tenant she decides to set out on a mission to make others happy, and pursues a guy who collects discarded photo booth pictures who she used to talk to with a mirror as a child across town. I thought the movie took place in the 60’s or 70’s but then I saw a blue Volkswagen bug that was made in the early 2000’s.
The main shots in this movie were in and out shots. Whenever a new character would come to screen the camera would zoom in on them and show their appearance. When we first see Amelie’s parents, it shows them far away and then a close up to their faces. We then learn their likes and dislikes in color. All the other characters we see throughout the film it does the same thing, but instead of showing likes and dislikes in color, it shows them in black and white. When we first meet Amelie it’s a close up but then zooms out and shows her surroundings. All the other characters start far and zoom into their faces.
The lighting in this movie starts of with a yellowish-greenish tint on the frame for most of the movie. I think it was used to enhance or show a romantic vibe throughout the movie. The scenes that were shot outdoors were bright and sunny, but not so bright that it was noticeable from the scene. In one scene the city was going through stormy weather, there was a filter of gray over the screen to depict the unhappiness Amelie was feeling. A few scenes had a soft filter to place the light directly onto the actors faces during a scene that was a close-up or medium shot to show one of them blush or seriousness in their faces. In one scene, Amelie is sitting in the movie theater and judging by her facial expression she is completely involved in the film she is watching. The lighting on her face is much softer than the rest of the crowd and they are slightly out of focus. I noticed the weather went with Amelie’s mood. In the beginning of the film the weather was sunny and there was not a cloud in the sky. However, as Amelie’s mood changed and she became sad the film seemed to be in shades of gray along with the cloudy sky.
The main two colors I noticed were yellow and red. They were mainly on Amelie. She wore a lot of yellow in the beginning of the movie and towards the end she wore much more red. The filters being greenish and yellowish also made the brighter colors stand out. Yellow also creates an unreal and almost surreal feel to the film, which mainly stands for Amélie’s fantasy carried out throughout the storyline. One main thing I noticed on the art was that it was painted with a lot of blue, orange and red inside the train station. For example, in the opening scene we’re introduced to the color red through Amelie’s childhood imagination. Red cherries, raspberries and her red-orangish fish all symbolize her childhood and wild imagination. Green is used commonly throughout Amelie and mainly because it lighten up the scene and brings comfort to the viewer’s eyes. Green is used in the film to create contrast with the warmer, more saturated colors. Red, green, and yellow are the most used color throughout Amélie. Many of the scenes shot in the late afternoon are lit with soft yellow to represent the sunlight of spring and acts as a metaphor for Amélie’s emotions.