Your stories are frigging awesome. I fell in love with Gal Friday and it’s the best boss and Asst fic I have ever read in any fandom. You made Sakura so Bamf without Mary sue tendencies. I am desperately hoping for a small sneak peek into Sakura and Sauce’s interactions at the office from Sauce’s Point of view. It can just be a one-shot as I know you are very busy. Take your time and keep up the awesomeness Kuri.
A lot of advice for beginning artists really drives home that you have to practice, and you have to practice effectively by doing certain things, but it’s worth remembering that for most people: the only reason to practice is to further your enjoyment. You don’t have to enjoy every second but remember that practice is for your enjoyment.
If you’re drawing because you enjoy it, that’s ultimately the end purpose of any activity which goes into drawing. It’s the reason to draw every day, or practice, or take classes, or try new things, or stick to what you’re good at. Your enjoyment is the reason to improve.
You can’t assume that enjoyment’s just going to stick with you no matter what you do. You have to foster your enjoyment just like you foster your skill, only moreso because it’s more important. Especially when you’re just starting, that involves drawing what you want, when you want, because you want to. Maybe supplement that with drawing exercises, but you’ll get better even if you don’t.
What’s important right now, and forever unless you’re hoping to get paid or have another end goal in mind, is that you enjoy it.
Brave Trails is a camp that provides not just an amazing community of support for LGBTQ youth, but the opportunity to foster the skills of a leader. Check out the video here for a brief overview. See if you can spot one of our directors in the vid (he’s proudly donning one of our t-shirts)!
Foster the People interview: 'This record had its own pressure'
About halfway through “Loyal Like Sid & Nancy”, singer Mark Foster segues into a spoken-word piece that recalls Gene Wilder’s memorable lines in Willy Wonka and the Chocolate Factory, complete with that ominous bassline running beneath it.
It’s one of many moments that should surprise fans who listened to Foster the People’s first two records. Sacred Hearts Club is an album by a band who seem to have finally broken away from the trappings of what people think they are.
They’re in London for the Somerset House series, and Foster – who has a fresh tattoo on his arm – and keyboardist Isom Innis, who joined the band as an official member this year after touring with them since 2010 (“it feels exactly the same”) are detailing how the album came together.
“We were totally referencing that [moment in the film],” Foster nods. “Actually there was a different variation of the lyrics… so the beat dropped and we actually did this…”
He starts to sing: “A world of pure imagination, take a look, and you’ll see/into your imagination…” And then the beat came back in, “duh duh dom”, and there was this instrumental string thing. We played with it for a few days then ended up scrapping it.
“It’s been interesting, making this record,” he continues. “We started working on it at the end of the Supermodel tour. When we’d catch a few weeks off me and Isom [Innis] would go into a studio in LA or wherever we were and just start writing. And when we finally ended the tour for that, for the first year we just wrote as much as possible. Verse chorus vibe was kind of our rule.”
By the end of that year the band had about 100 ideas to choose from, and the record had begun to take shape – with plenty of twists and turns along the way. What began with a 60s psychedelic influence transitioned to something altogether more “weird”, which Foster credits to Innis’ skills as a beatmaker.
“On ‘Sid & Nancy’ it was originally this atonal kind of beat that you hear in the verses, like an atonal dance track,” Innis exlains. “Mark took it in the studio, added a chord progression, arranged a song that was really meant to be in the dance world. And that’s when it started to transform.”
Members of the band are split between LA and Nashville, which seem to have overtaken New York as the creative hubs of America, where artists from the US, the UK and everywhere in-between are forming their own communities.
“I think you can have a more comfortable life as a musician there, in terms of having your gear and moving around,” Innis suggests. “I lived in Boston for four or five years and would commute to New York to play gigs. New York City became so expensive, all the recording studios started shutting down because they couldn’t afford rent anymore…”
“I moved to LA when I was 18 and it was a piece of s*** city,” Foster says. “It was terrible. You had the weather and the ocean which were great, but it’s really developed in the last six or seven years.”
For Foster the People, LA has been “a very generous muse, for a long time”. You can hear it on Supermodel, this sort of wry, suspicious look at artificial beauty. But the band have widened their gaze, and Sacred Hearts Club is a more critical look at global issues that Foster would see every morning when he turned on the news.
“For the past two years I felt like I’ve woken up and something has happened that is tragic,” he says. “A bombing, a terrorist thing, refugee crisis, the political situation with Trump, with the DNC leaks, watching what happened with Brexit and seeing nationalism rise around the world, racism, homophobia… All these things I thought we were evolving past as humans seem to have come back in full force.
"It was an interesting narrative, walking into the studio with that being on my shoulders from that morning. And for us it was really important, it became clear that as artists we wanted to make something that was joyful and unifying, and remind people that life is still beautiful. Supermodel is very pointed, politically, because I feel like we were pretty apathetic and living in a bubble.
"The world seemed in some way pretty comfortable, it didn’t really care what was going on in other places, and that record was very much like… I wanted to slap people a little bit, throw some cold water on them. This record, it would have felt wrong to do that. I felt like people needed a hug.”
After Trump won the election, explicit statements from artists were released in full force; artists who were angry at the world they lived in, at the people making the decisions, and perhaps also at themselves for not speaking out sooner.
“Look, I was fighting like hell before the election, to try and get people to vote against him,” Foster says. “But after he got elected, I started to realise that I really wanted to unite people. That political race was so polarising, these two extreme factions seemed more divided and more volatile against each other than ever. The last thing I wanted to do was add gasoline to that fire.”
While there was plenty to say on the record, the band maintained a strong level of self-discipline. Some of the songs started out at seven-10 minutes; the outro on the closing track used to be much longer.
“I’m really glad we cut it down because we ended up sequencing it all for vinyl, to flow in one continuous listen,” Innis says. “That outro on the final track is one of my personal, favourite moments on the record.”
“We had that saying which was 'no stone left unturned’,” Foster adds “So we took the ideas in many different ways and there was this process of construction and deconstruction.”
Sacred Hearts Club brings in plenty more of the catchy-as-hell pop hooks that Foster is such a master of, but there are also plenty of nods to DIY punk and post-punk, dance, and hip hop.
“We’ve always loved to play in the grey areas between genres,” Innis says. “All of our favourite records do that. 2000’s Donuts, J Dilla - that’s like the manual of hip hop production. When you start making beats and writing, it comes out of your subconscious. You’re not sitting down necessarily to emulate a certain record, but you play this pattern and realise there are 10 different influences that caused it.”
“We wondered whether we wanted these different sounds we were creating to interact with one another… or to separate it,” Foster says. “And as we continued to write, the sounds started to come closer again, intersect in a way that felt like we wanted to put it on one record. The records that excite me the most are the ones that take me on a ride.”
“Growing up playing the drums I idolised Questlove from an early age,” Innis says. “Phrenology was the first Roots record that I ever heard, and that was like my introduction to hip hop. The first song on there is in the hip hop vein, and then track three is a blast beat, hardcore punk track, like an exclamation mark. If you look at that record, they’re all over the place, and it fits together so well. I’m about to be 30, and people around my age and younger were just used to playlists, putting Johnny Cash on the same mixtape as Jay Z - that’s where that comes from, I think.”
It’s an interesting point that few other artists have pointed out in interviews - that as much as we like to thank streaming for a younger generation’s adaptability at genre crossovers, it’s been going on for a little longer than that. There’s still that problem with attention spans, though, and how a band can keep fans interested when they’re constantly demanding something new. To sate their appetite, at least for a short while, Foster the People released an EP before Sacred Hearts Club as an aperitif, giving them a hint of what was to come.
“Even with Kendrick’s record Damn., when it dropped it was this incredible deep record,” Innis says. “And To Pimp A Butterfly, as well. A week later people were sniffing around like ‘what’s next?’. So with people’s attitudes to music today, it’s hard to sustain their attention.”
Perhaps this is partly why the end process for Sacred Hearts Club saw the band re-mastering the album another two times, after thinking that they were done.
“I don’t even know how it happened, but I’m so thankful that it did, because it doesn’t normally happen this way,” Foster says. “We have this ritual of getting together, pouring a drink and then sequencing each record. Then we’ll listen to it top to bottom, change a few things until it feels right. So we sequenced Sacred Hearts Club, and then halfway through I just had this sinking feeling come over me.
"I paused it and said ‘guys it’s not done. It’s too long, it’s bloated’. And luckily, our label and management talked separately about it afterwards and they agreed. We’d been working so hard to finish it… but to open that back up again, it was so painful.”
“More power to Mark, because I was ready. I was almost ready to say ‘we’re done, it’s mastered, it’s great’,” Innis says. “But he really pushed for us to go back. I think it took me a night to really think about it.”
“We added stuff like 'Orange Dream’, 'Time To Get Closer’, to tie things together,” Foster explains. “We ended up cutting about five minutes. 'Pay the Man’ has a whole other verse that no one’s ever heard.”
On Supermodel he experimented with the way he wrote songs, making lyrics the priority. Before then, he would listen to the music, flip the mic on and then channel “whatever energy there was that day”.
“And after the initial response to a song, that was where a lot of the most pure ideas would come from,” he says. “It was like spiritual improvisation.
"Supermodel was way more methodical, and in some ways I think it has some of the best lyrics I ever wrote, but it doesn’t have the same life, or the cadence. So I kind of went back to how I was doing it before… or a mix of the two.”
“Those were some of my favourite moments in the recording process,” Innis says smiling, “when Mark would go in the booth and open up and just channel these vowels and certain words until all of a sudden something would come into the room. Like on the bridge for 'Doing It For The Money’, he was vamping and it was ‘silicon rush’. I don’t know where that came from.”
“This record, it had its own pressure on it,” Foster nods. “It was me and a creative kindred spirit locking ourselves in our own studio, with nobody in the room who could ‘contaminate the water’. No one who could put their hands on it and change it. We had absolute freedom and time to explore things and get weird and not judge it.
"It was a very non-judgemental process until the very end, and I think the last six months, at that point we put on a different hat that was more methodical. And I think learning from this process, it’s something that I would repeat again.”
Sacred Hearts Club, the new album from Foster the People, is out now via Columbia Records
One of the core characteristics of people like historians is that they master habits of thought—analytic habits of thought—that have real utility in everyday life. These habits help one sort out the various and conflicting messages one gets continuously, from advertisements on television to criticism by a loved one, and assess their significance and credibility. They help one figure out what one really thinks—and feels—when confused, even irritated, by such messages. And they help one persuade someone else to think similarly. This emphasis on fostering analytic skills lies at the heart of this book. There’s no better way of doing that than writing.
From Essaying the Past: How to Read, Write, and Think about History by Jim Cullen
I’ve seen people claiming that Yurio never loses, but they’re wrong. He
loses as early as episode three, when he and Yuuri first skate Eros and Agape
against each other. The thing is, it’s easy to miss, easy to forget, because he
does it so gracefully. Yurio’s major character trait is that he is a jerk. He’s
abrasive, he’s perpetually angry, and he insults everyone around him. He’s
literally introduced making a crying Yuuri feel even worse about himself. I
think we were all expecting him to be a terrible loser, but he doesn’t scream
or fight or argue, he just leaves. He recognises that he’s lost and leaves
without making a fuss. Furthermore, we never see him tear down any competitor
but Yuuri, who he has a…we’ll say complicated relationship with. He expresses
disgust at losing to J.J. in a previous round because he doesn’t like the guy,
but he doesn’t say anything to his face and there’s nothing to suggest that he
threw a fit or complained. He might not like him personally, but professionally
he doesn’t crib. He outright cheers for Otabek, and is pleased that he does
well even though Otabek’s score puts him just behind Yurio - i.e. he is the
closest to surpassing him after the short program.
In fact, Yurio is at his most civil during competitions.
His background could provide some explanation of why this is. We’ve only
seen one relative - his grandad. When Yurio angrily demands, ‘Who believes in
unconditional love anyway?’ he immediately thinks of his grandad afterwards.
There’s also the implication that his mother has left, when little Yurio tells
his grandad, ’it’ll be fun, even if mum’s not there’. So we’ve got a vague idea
of this small child abandoned with their grandad, and we know he’s been skating
from a young age. His Grandad does not live near his rink, so the two main adults
in his life are his coach and his choreographer. He trains at the same rink as
Victor (pre-series) and Mila, who he seems to be on fairly good terms with, but
when he and Otabek become friends in episode ten, Victor’s narration tells us
that ‘no one had ever asked Yurio to be friends before’. This implies that
Yurio feels like he has never had any friends. Given that Yuuri, out of all of
the other skaters, only considers Phichit a friend, this is plausible. Yurio
does not appear to go to school. If he went when he was younger (the internet
informs me that in Russia you can leave school at 14 with parental permission),
he doesn’t seem to have made any lasting connections (bear in mind that we meet
two of Yuuri’s childhood friends, and Victor is clearly friends with Christophe).
From all this, we can deduce that Yurio’s social skills are lacking. It’s also
important to note that everyone he knows, he knows within the skating
environment. His coaches are in a (contentious, considering how much YoI
characters actually listen to them) position of authority over him. He needs to
get on with his rink-mates, because arguments could impact on their training.
All his relationships are effectively professional, and this seems to be the
environment that he’s grown up in. Remember how he could not understand why
Otabek would want to talk to him when they are ‘rivals’? He wasn’t angry, or
upset with Otabek, he just couldn’t comprehend the idea that they could compete
and still be friends. Yet he falls into the pattern of it quickly – it is
notable that he cheers for Otabek before Otabek
cheers for him. Yurio does not have issues with being friends with a rival,
which suggests that he has not actively tried to push people away. Taking into
account the implication of his mother leaving him, we can look at his abrasive personality
as a kind of subconscious defence mechanism. A way to avoid getting hurt again.
I think Otabek remembering him probably had a lot to do with Yurio’s
willingness to be his friend. If it wasn’t significant in some way, why give
them a shared backstory at all? Otabek had just saved Yurio from his fangirls –
that’s as solid a foundation for a friendship as any.
Yurio grew up in competitive sport, which would have taught him to be a
graceful loser, but he also grew up away from home and friendless. That’s not
going to foster good interpersonal skills off the ice. Of course, none of this
excuses the fact that he can be (and generally is) a jerk, but I think Yurio’s
a much deeper character than is generally assumed.
I’ve seen a lot of Avengers Hogwarts AU posts and most of them talk about Thor being the most Gryffindor character. I agree that Thor is undeniably Gryffindor but for me the person who is the most Gryffindor to Gryffindor is Jane frickin Foster. That woman is the craziest, bravest, most Gryffindor character I have seen in MCU. Let’s see a few points, shall we?
1. She was so passionate about her ideas and so confident about it that she rushes into a storm/twister of sorts.
2. She laughs maniacally in the face of impending doom when she makes Darcy drive into the first portal storm (when Thor falls to Earth). She laughs. This woman gosh!
3. Her first reaction when Erik says that they should take Thor to the hospital is “Oh he’s fine, look at him” even as she is excitedly trying to get samples from the crash site.
4. Absolutely reckless when she brings Thor home from the hospital and casually takes him in, without a second thought about her own safety. She wants info, she’s gonna get it dammit.
5. She trusts Thor despite him sounding absolutely cuckoo and drives him to the crash site of Mjolnir.
6. She gets in the face of SHIELD to defend her work and would have frickin fought Coulson if Erik hadn’t pulled her back.
7. She doesn’t even blink in the face of alien Gods coming into her place and is super cool with their costumes.
8. When the Destroyer throws Thor around, she is the one who goes to him and tries to make him get up. Absolutely reckless but brave and fearless.
9. The Bifrost breaks but she doesn’t give up on looking for Thor.
10. The entirety of Thor 2. Literally the entire movie. She has no hesitation in slapping the hell out of Loki. She doesn’t back down from sciencing off to Asgardian healers. She doesn’t falter in the face of global doom. She uses HER skills to win and doesn’t bemoan the lack of other skills.
Jane Foster is not just a scientist. She’s definitely not just Thor’s love interest (it’s the other way around tbh). She’s the most Gryffindor character of MCU and you cannot convince me otherwise.
Summary: Your meeting with Kylo Ren yesterday is having extended consequences. At this point, you’re ready to become a space hermit.
Word Count: 2061
Warnings: Language? I guess?
Characters: Kylo Rex x Female!Reader
A/N: So, here we go, Chapter 2! Any ideas for titles? I’m fucking awful at titles. Once I think of one, I’ll be putting the next chapters under those headings, and tagging them with the title as well. Anyway, have fun. EDIT: Find this under “Fix Your Attitude” from now on.
The dread pooling inside of you didn’t evaporate overnight, and as you dragged yourself to your post the next day, it only grew worse. You had thankfully avoided Sam by coming in early–he’d try to get you to talk about what happened yesterday. Besides, you wanted to get a head start on the repair, and maybe get a chance to work on literally any ship under your fleet assignment other than the Command Shuttle.
Bruce Willis is a definite Gryffindor ISFJ. On first glance, he seems to be pretty hardcore, which is not the case. In fact, the Gryffindor ISFJ has a reputation of being some kind of uber-parental figure among their contemporaries. They just can´t say no. Some of them are dogmatic in their views, so it takes an ISFP from Ravenclaw to get them onto the right track. Love snacks and watching movies, or reading a book at night. Excellent car drivers and tutors of any kind.
Carry themselves with grace. The Kate Middleton of ISFJs. Foster their conversation skills and social image, and they care a lot about being informed, too. They like to go on long walks with their fellow ISFJ Ravenclaw friend. They enjoy the autumn and its mood, which inspires them to paint. Loyal to the core just like their Slytherin counterparts. Constantly underestimated, that´s why they outperform others when working behind the scenes. Value their homebase a lot and would/ can fight off any possible threat to their loved ones. Specialists at hugging.
They like simplicity. ISFJ Ravenclaws get stressed easily, and let a lot of people trample over their self-esteem for the sake of keeping peace. Yet, they have developed a barrier of sarcasm to defend themselves. They find refuge on the Internet often. Their motto: If others depend on me and I depend on them, we can get along (legit!). They talk to INTP Hufflepuffs in their breaks. Skilled at astronomy, astrology, theology.
Anthony Hopkins. They don´t care about poise; ISFJ Slytherins believe that there is more than that. Their search for a save haven in life almost drives them insane. The Slytherin ISFJ´s sensitivity doesn´t help them in real life, but in art. They keep a journal and update their blog on a daily basis. Courage is their issue, that´s why they enjoy the company of ISTP Gryffindors. They are good at keeping secrets and are devastatingly loyal.
sometimes i can write serious stuff. based on the elements prompt.
She’s got eyes like thick smoke, the kind that Levi’s only seen being purged from furnaces.
Levi first meets the girl when she’s eighteen and he’s twenty-three on the seventeenth floor of a building scheduled for demolition. She’s a mutant who’s been passing under the radar for most of her young adult life, an oddity in more ways than one. Possessing power of enormous destructive capabilities, she’s exactly the kind of person Levi would have expected to be inducted in Smith’s School from an early age. However, she’s grown up on the streets.
“You’re Mikasa Ackerman?” His eyes flicker from the blurry photo on her profile—the only image they could capture of her was through the occasional security camera thanks to Armin Arlert’s technopathy. She looks older in real life, darkness painting the area under her eyes, shadows in a gaunt face.
She nods, almost as if she doesn’t trust herself to speak in front of him.
“I’m not telepathic,” he supplies. “Can’t force you to do anything you don’t want.”
Gavin and Hayden make their scenes look so natural, even in their promotional stills. Nothing ever comes off awkward or forced on screen when they are together. I am always connected with what they are saying or doing. I love their friendship. I can definitely see how their off-screen friendship benefits Jude and Connor’s on-screen chemistry. Such talent. I’m weak. Hold me.
I keep hearing that Jude and Connor express their feelings differently in that Jude uses his words and Connor uses his actions.
That really isn’t true though. Yeah, Connor tends to use actions (see: the nail polish scene in “The Morning After”, the ouija board scene in “Padre”, the pinkie hug in “Light of Day”, and the kisses in the tent and in “Now Hear This”), but Jude does NOT usually use words.
In fact, Jude really only uses his words when he’s pissed at someone (see: Callie in “I Do” and “Mother Nature”, Jesus in “Family Day”, Connor in “Play” and “Now Hear This”); usually he conveys his emotions using his facial expressions (and holy crap he has a wide range of them).
I mean a big part of Jude’s storyline was him not talking for a few episodes! I feel like it’s hard to say that Jude conveys emotions with words with these things in mind.
The purpose of this tumblr is to provide content and resources that foster better communication skills among people. I feel that most misunderstandings are due to not being able to communicate what’s important to one self or finding it hard to do so.
Hence, I wanted to create this blog as part of my journey to be better at communicating. Hope you guys take part and will interact with our content!