it's like a rainbow of references

ok aside from the obvious, i just love yoi’s usage of gay imagery and symbolism. like Victor’s homages to Johnny Weir and John Cameron Mitchell (both are openly gay men), Seung-Gil Lee’s rainbow costume (looks exactly like the pride flag), Yuuri’s dance to Eros (references the god of mlm), and the Nishigori triplets blue-purple-pink color scheme (bi pride flag).

First You Came for the Trans Women: An Open Letter to the Chicago Dyke March Collective

Core Members of the Chicago Dyke March Collective (CDMC),

I am a Jew. I am also the first trans woman to have been a member of your collective. I am writing in regards to your collective’s decision to ask three women carrying Jewish pride flags to leave the 2017 Chicago Dyke March.

My interest in questions regarding inclusion at the Chicago Dyke March goes at least as far back as 2009, the year when I became a core member of your collective. Almost immediately I became concerned when another core member violated a trans woman’s privacy in such a way that, had it happened to me, I would have considered it a violation of my sexual boundaries. In the backlash that ensued after I voiced my complaint other core members put their feelings before trans women’s need for safety and scapegoated me. It was only after the aforementioned core member of your collective violated my sexual boundaries, demonstrating even to the most loyal member of your collective that my concerns were justified, that the verbal abuse subsided. But still no justice. It was nearly two years before representatives of your collective met with me to talk about what had happened. Your collective made four promises to me and to Chicago’s queer and trans community. It immediately kept the only promise that required it to do nothing substantial—the promise to publicly apologize. To this day it has not kept its other three promises. But it has found new ways to hurt me, including publishing personal correspondence that had the potential to out me. The last time I asked CDMC about its cascading failure, it gave me no collective answer, but in 2012 one of its members responded in a way that now seems like eerie foreshadowing: She said that your collective owed me nothing because I had already gotten my “pound of flesh”, thus drawing a connection between me and an antisemitic caricature.

I am hardly the only one who wants answers from your collective. Many people are now asking, “Was the Chicago Dyke March Collective’s decision to ask three Jewish women to leave the march antisemitic?” It is a fair question. The political right likes to use divide-and-conquer schemes to keep us from uniting to confront oppression. As April Rosenblum argued in The Past Didn’t Go Anywhere, one of the most successful instances of this scheme has been the scapegoating of Jewish people to keep us from focusing on our real oppressors. Blaming diasporic Jewish people for the actions of the State of Israel is the latest variation on a theme at least as old as The Protocols of the Elders of Zion.

Of course not all fair questions have “yes” as an answer. To find out if your collective’s actions play into systemic bias against Jewish people we need to look at the facts. I was not at the march, so I will charitably assume the account your collective gave in its statement is true. You wrote, “We have since learned that at least one of these individuals is a regional director for A Wider Bridge” (emphasis mine). Does it need to be said that what you learned about one of the Jewish women after you asked her to leave the march could not have been the reason you asked the women to leave the march? You also wrote that the women were “carrying Israeli flags superimposed on rainbow flags”. If the flags you were referring to were like the one seen in a photograph published to the web site of the Windy City Times on Saturday, there was nothing superimposed on them besides Stars of David, making them no different from the Jewish pride flags I first saw at Dyke March in 2005 (five years before A Wider Bridge was founded). The Star of David is a symbol of Judaism and my people, the Jewish people, and there is nothing inherently Zionist about it. It is evident to me that your collective has put some people’s feelings before Jewish queer women’s need for queer community.

I find no comfort in your assurance that “anti-Zionist Jewish volunteers and supporters are welcome at Dyke March and were involved in conversations with the individuals who were asked to leave”. For one thing, Jewish people, including those of us who express our pride through the use of Jewish symbolism, should not have to be extensively educated on all political viewpoints before we can participate in an event that is purportedly for all “dyke, queer, and trans” people. For another, all too often Jewish people are subjected to a political litmus test that non-Jewish people are not. (Nobody asked me what my views on Palestine were before they found out I had Jewish ancestry. Such selective outspokenness on Palestine does a disservice to both Jews and Palestinians.) Finally, it reminds me of the reassurances I heard after your collective violated me—that there were trans people who nevertheless stood among you. The goal of solidarity is not to collect oppressed people to insulate yourself from criticism even while you crush us. Rather, the goal of solidarity is to stand with all who are being crushed throughout our struggles even while we resist internalized oppression. In 2010 your collective’s insistence that I was “welcome” to participate in a march with people who had hurt me did not stop your collective from violating me again. And in 2017 your collective’s insistence that the Jewish people you approve of are “welcome” to participate in a march where my people have been harassed does not make your collective any less antisemitic.

L’shalom,
Veronika Boundless

I Don’t Remember That Part

Characters: Dean, Sam, Reader

Word Count: 1,103

Warnings: mild language, drunken shenanigans, less than effective comebacks

A/N: This was written for Rosie & Nicki’s Impossible Prompts Challenge. Congrats to both of you on 500! My prompt was: I came to gank monsters and get drunk, and I just finished ganking monsters. I’ve never written drunk anyone before, so bear with me on this @rosie-winchester and @nickiwinchester97. And thanks to my letter checker/constant encourager @hannahindie and my PA for this project @wheresthekillswitch (she helped me word…I love you…sometimes :P)


“A Shōjō? This should be fun!”

Famous last words.

You see, when I agreed to this plan I thought that I’d seen the Winchesters drunk before. After particularly long hunts, when we all wanted to blow off some steam, both brothers tended to knock back one too many rounds. They didn’t have much of a filter with that much alcohol running through their veins, and many a colorful line would have me snorting into my beer bottle as the night progressed. I’d normally drive them home, random complaints and commentary drifting from the backseat.

But this.

Well.

This was a different ballgame altogether.


“Y/N! The banana! Give me the… that… Potassium!”

I blinked heavily, focusing on the object in my hands until it came into a slightly fuzzy focus. Yellow, slightly green on the top, just the way I liked it. But…why the hell am I holding a banana? My stomach growled, and I reached up with my other hand, fumbling as I tried to break the peel.

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taintedvirus  asked:

Out of all the designs you've done for Jwittz's alola and mega forms, which from each category would you say you had the most fun coming up with and liked Tue most? In my opinion Alola Clefable was just beautiful, and I loved the Mega Flygon.

Thanks! My favorite from the Mega Evolution designs was Lunatone because I had to come up with what sorts of design changes for it would reflect its change in type to part Fairy, and giving it pretty clouds and a more opalescent color scheme was nice, but my favorite part was adding the bunny ears crater to its eye - giving it a reference real world folklore (tsuki no usagi)!

My favorite of the Alolan designs was definitely Clefable. Alolan forms are such a cool concept because Pokemon physically change based on environmental factors (and human interference). So I had to figure out what sort of changes like that would affect Clefable. My thought was, “lunar rainbows are such a fairy tale-like phenomenon, I wonder if they occur in Hawaii anywhere?” I learned that Hawaii is actually one of the more well-known places to view them, so basing Clefable’s Alolan counterpart around that was rather fitting! 

Okay, guys, I keep seeing people who keep thinking that only a few or some of the characters in RWBY follow the color naming rule, and people don’t fully know the details of what the rule actually is, so… here’s the image Monty released way, way back before volume 2. He tweeted it, and I saved it before Twitter made it impossible to view the full size image.

Knowing the naming rules can be helpful in creating an OC, which is exactly why Monty released the color naming rule. So, regardless of whether or not you’re interested in the rest of the info in this post, I hope you find the above image useful! :D Also…

“Thus all the names in RWBY (Minus Ozpin… for reasons….) follow this rule.” Every single character except Ozpin “for reasons.”

No more of this “Ironwood doesn’t follow the color naming rule” “Glynda doesn’t follow the color naming rule” “So-and-so doesn’t” stuff. All of them do. And paying close attention to the rules will help you understand how they do follow the rules.

  • Be a color
  • Mean a color
  • Sound like a color
  • Make people think of a color

The name can live up to one or more of those requirements, and it can be

  • First name
  • Last name (Example: Lisa Lavender, the female reporter from volume 1 episode 1. Lavender is a purple flower.)
  • First and last name (Example: Weiss Schnee. Weiss means white, and Schnee means snow, which reminds people of white. Or Dove Bronzewing. Doves are white/gray birds, and Bronzewing has the word bronze in it.)
  • A combination of the first and last names (Example: Cyril Ian, the male reporter from volume 1 episode 1. Miles said his full name is Cyril Ian because it sounds like cerulean.)

Below the Read More is a list of all the named characters as of volume 2’s finale and how they follow the color naming rule, as well as my take (shared with many other people, I’m sure) on how Ozpin doesn’t follow the rule.

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ZeRoyalChaos>ChillyViking
  • GaLm: Chilled, have you always agreed with it being ZeRoyalChaos? That kind of puts Chill- er- Ze in a more dominating position for the relationship 'cause he gets two parts and you just get "chaos"
  • Ze: Well what else do you want it to be? I saw Chilled wanted like "ChillyViking" but that just sounds lame
  • Chilled: Wah-uh- "ChillyViking" does not sound lame! ChillyViking sounds like we have sex and then we go cut down logs! Okay? That sounds amazing!
  • Chilled: ZeRoyalChaos sounds like we sit on a throne and we're all pompous and all "MMMmmm, Y E S, we had gay sex!"
  • Ze: It's always been ZeRoyalChaos. That's what it is.
  • Chilled: Hollywood's always been...pervert trap. It's time for change!
  • Ze: You just want it to say "Chilly" first, that's why
  • Chilled: ChillyViking sounds sexy!
  • Ze, laughing: You want your name to come first
  • Chilled: I WILL come first
  • Ze: It's like a Chilled and Ze's Excellent Adventure versus Ze and Chilled's Excellent Adventure thing
  • GaLm: Ze says, as they take ZeRoyalChaos (referring to the rainbow shot)
  • Chilled, mocking: Yeah, we'll keep the status quo 'cause it has my name first!
  • Chilled: You know, I- I like em both, okay?
  • Ze: I'm saying that's what it currently is! If it was always ChillyViking then that's what it would be
  • Chilled: I think ZeRoyalChaos sounds a little girly
  • GaLm: It sounds like a perfume
  • Chilled, mumbling: Well, not that girly
  • GaLm, in a narrator voice: ZeRoyalChaos, Mmmm
Hiveswap names

CREDIA JEEVIK:

The Caridea, commonly known as caridean shrimp, are an infraorder of shrimp within the order Decapoda. They are found widely around the world in both fresh and salt water.

The name Jeevika is a baby girl name. The name Jeevika comes from the Indian origin. In Sanskrit the meaning of the name Jeevika is: Water. Similar Names: Evika ( Hebrew )

FIAMET:

Fiammetta [fi-ammet-ta] as a girls’ name is of Italian origin, and the meaning of Fiammetta is “little fiery one”. The word fiamma means “flame”: it may refer to the flames of the Holy Spirit that descended on the apostles on the day Christians commemorate as Pentecost.

DAMMEK:

His name is derived from Adama, Hebrew for Earth, alluding to his role as the troll who was transported to Earth.

It is possible that his name is derived from “damma”, which is Latin for deer, alluding to his antler-like horns.

TRIZZA TETHIS:

Her first name, Trizza is a plait or a braid in both Sicilian and Maltese languages. This is possibly a reference to Meenah’s hair, or maybe her own hair. Her last name is likely derived from Tethys, a greek Titaness of the sea. Saturn also has a moon named Tethys.

MIERFA DURGAS:

Mierfa is a change in Mirfak, which is the brightest star in the Perseus Constellation. Mirfak also means “elbow”, a slight reference to her elbow-bent horns.

Durgas is from Durga, a Hindu goddess most notable for her slaying of demons and monsters.

NEKTAN WHELAN:

Nektan: Variant of Nechtan, an Irish water deity, also popular name for Pict royalty.
Whelan: Irish surname, eventually derived from Faolin, meaning wolf. Nektan is a wolf of the sea (a pirate).
The fixation on the number seven for his typing quirk relates to: the seven seas, the seventh deadly sin (pride), the shape of his left horn, the seven main islands of Atlantis, and the seventh visible color of the rainbow (violet).
His symbol is one of the ones belonging to Neptune.

A nekton is any animal that swims to get its food, hence Nektan’s name and status as a sea dweller. 

XEFROS TRITOH:

Xefros is possibly named after Zephyrus, the Greek god of the west wind.

His lusus is a large sloth-like creature; his surname reflects this as it sounds like “tri toe” to reference the Three-Toed Sloth

anonymous asked:

The press kit referring to Harry as *the* star of 1d is not helping the optics of his situation wrt OT3 (esp with him snubbing Louis on SM while Louis acknowledged his bday and Robin). I don't actually think it indicates anything irl, but it's creating a look that makes him seem less than generous. Same with him taking pride of place in interviews with the actual star of Dunkirk. I get why in both cases, but it's sure giving material to anyone checking.

I feel like there should be a kit for Harry defense, like a rainbow-colored marshmallow spray gun, some assembly required, not for children under age 6, additional warnings may apply. It’s easy, it’s pretty, it’s fun to use.

IMHO the only people who pay attention to SM metrics are fervent fans like us. Harry’s SM engagement is minimal at this point. Louis continues to have some fan engagement. There are personality and philosophical differences, and in my opinion Harry has been done for a while. The further we get into hiatus/ solo projects, the more I think this is the sane thing to do. He’s damned if he does, and damned if he doesn’t. There is never enough he can do; he’s always doing too much. He’s trying to steal the spotlight from his co-stars; he’s not contributing enough. He’s talking too much, too little, etc. Despite all of that, his appearances for HS1 were things of radiant beauty. 

The Dunkirk promo machine has one job: to raise box office receipts. All of these quibbles with interview placement etc. will disappear as soon as the premier happens. If Harry delivers, he will star in another Nolan movie, as the director values actors he knows– the same with every other costar in Dunkirk. Our speculations are just that: speculations. Very inconsequential, in the grand scheme. There are more things in heaven and earth, Horatio, than are dreamt of in [our] philosophy. Buy tickets to Dunkirk. Buy Back to You. Stream Back to You. 

anonymous asked:

Since request are open, what about Bokuto falling for someone extremely shy and introverted but he manages to catch her heart... (im like that and i am head over heels for this owlhead)

combined! i’ve been waiting 84 years to write a soulmate!au and also been waiting for some more bokuto. this also took really long to write because it ended up being long (it’s like 6-7 pages with default ms word formatting lmao)

soulmate!au: where your tattoo is like a mood ring, it changes its color depending on what your soulmate is feeling at the moment and you’re not sure exactly what rainbow means. (source) in this au, everyone’s soulmate tattoos are different depending on who you are (e.g., some have matching tattoos, some have countdown timers, etc.) also used this mood ring color chart for reference. i tried to mention or imply what each color means the first time it’s brought up, but be sure to refer to it as needed.


“___! Your tattoo! It’s rainbow!” your friend Aiko exclaims. She points to the circle on the back of your right hand, her mouth slightly agape.

You stare down at your tattoo. It takes up most of your skin there, but you’re used to it being colored only solid hues. This is the first time it’s ever been more than one color, let alone all of them. You wonder if maybe it’s similar to how when you get an actual mood ring too wet, it stops working. But that can’t be right either; they just turn black when that happens. You fling your hand a few times to see if it the tattoo will reset itself, so to speak, like you might do when a pen’s running low on ink. However, the vibrant gradient display remains.

“What do you think it means?” you ask nervously.

“You don’t know?” she questions with a raised eyebrow.

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paintbrushcollector  asked:

Regarding the tweet about Keef unlocking new powers, do you think they're referring to his blade (which he only unlocked last season so we didn't get to see him do cool stuff with it) or do you think it could be about his galra heritage and him having more galra-like abilities?? (bc i have no clue lol)

i think they’re referring to his newfound ability to shoot rainbows out of his gay ass

anonymous asked:

Hiiii I think you already know I've been lurking on your blog for a few hours lol I've been reading your posts about mitam and sott, sweet creature etc. Is it possible you could make one for more songs on the pink album? I would love to see woman or only angel!!! Specially woman tbh. I know it's a lot to just ask but it would be amazing! If you already have a post about this just ignore me lol (or direct me to it) thank you, sea xxx

WOMAN has always puzzled me, and I have read a lot of good interpretations, but I was still not really satisfied for my own musical curiosity. So here goes nothing. 

I am basing my interpretation on these lyrics, and will refer to times from this video:

Someone very fortuitously discovered an allusion to Charles Bukowski’s poem, Old Man, Dead in a Room

Keep reading

anonymous asked:

Do you have any information about Dylan's red Chem Bros shirt with a rainbow? Devon mentioned, and in a couple videos Dylan is wearing a red shirt with what looks like a rainbow so I assume it's the shirt she was referring to. Can't find it online.

“Dressed in jeans, and a red Chemical Brothers T-shirt with a rainbow, he gave Devon her presents before the (Devon’s 16th birthday party) started because a couple girls he didn’t like were going to be there.”
[x]

The red rainbow shirt Dylan is wearing is an out-of-print Chemical Brothers promo t-shirt from the Dig Your Own Hole LP Setting Sun tour 1997.  Essentially, what that means is, this particular shirt was made for this Setting Sun Tour and after that tour had ended in ‘97, the t-shirt was never produced again (nor duplicated by any t-shirt printing company since). So, it’s super rare and veeery hard to find.  Much more difficult than locating a NIN Downward Spiral 90s version tee but perhaps not as hard as the KMFDM Symbols American Tour shirt or the DJ Spooky Tee Dyl is wearing on 4/9 at King Soopers (another one-of-a-kind promo concert t-shirt he acquired from attending that particular concert). 

It’s interesting that the shirt is very bright red and basically goes to show that the nineties video camera they used (plus all the duplication of the tapes over the years) is very pixelated and low quality so it doesn’t translate the actual colors of the boys clothing in their video productions. Dylan’s shirt in the video, at times, looks like a dull burgundy red and the image of the rainbow, a muted hint of one with no discerning nuance of colors.  In actuality, it’s a very bright and cheery, pretty even, t-shirt. And it’s got that Dyl hippy vibe going on. Gotta wonder what ol’ Rebby thought of his best friend wearing it with a tough-guy trench. 

Just goes to show that yesss, real (Hit) Men aren’t afraid to wear bright red with multi-colored rainbow t-shirts to school. ;) 

Back of shirt..

Here’s the best photos I could find that really translates the color and image well enough. Note, that just like the actual shirt above that the Chemical Brothers Setting Sun logo is faintly visible  in yellow Dust Mites font and directly underneath the rainbow on Dylan’s shirt. :)

Good luck locating this shirt, it was super hard but was well worth it to put this obscure Dylan t-shirt mystery to rest. ;)

Video of the scary rainbow Hitman  lol

My first attempt at drawing SnowBaz! I am actually really proud of this one! ^.^

I know Baz is a vampire, but I wanted him to look a little like his mum, so his skin is a few shades darker.
(I actually like the idea of his skin getting paler the longer he goes without hunting? And then returning to its natural color? Idk what do you guys think?) Also, shorter hair for Baz and tamer curls for Simon are just my personal preference…oops

Per usual, I have a transparent version as well, so send me an ask if you’d like to see it ^o^ I did use some references, but none of them had a credited artist :(
Don’t repost without credit/permission please! (As if you’d want to lol)

auronlu  asked:

While the rainbow flag predates Granada Holmes by a few years, at the time it was not well-known, save perhaps in San Francisco; the pink triangle was more common gay symbol in 80s, early 90s. In the 80s rainbows were popular; doesn't seem like pop culture would influence Hammond though. So: nowadays we read rainbow as queer coding, but I'm guessing Hammond was using it for other reasons - suggesting subtle colors beneath surface? Symbolism of light split into its parts and analyzed? Not sure.

yes, precisely! all the rainbows and colors were part of his style and way to tell the story and set the mood. I was researching about a bit about his work and found several references to precisely that: his fascination with light and reflections in this book Two Against the Underworld - The Collected Unauthorised Guide to the Avengers.

“Toys in the attic? He is crazy.”: Deconstructing the Floydian Madman

                                                                   -by @your-dark-magic-man-mysterio

“Crazy. He is crazy. Over the rainbow, he’s crazy. He has delusions, he’s crazy. He hears voices, he’s crazy. Toys in the attic, he’s crazy. Look at how he’s dressed, he’s crazy. ”

Or is he not?

               As an ironic case of self-reference, it seems like the term “madness” has escaped the realms of psychiatry and/or psychology similarly to the stereotypical idea of mental patient who has broke loose and it has found its place in everyday vocabulary; hence everyday living and thinking. It has become a label that can conveniently be applied on any kind of perculiar situation, almost wiping characterizations like “strange” and especially “eccentric” out of Wernicke’s area.  Therefore, the question is posed: What does this careless application of the word mean, or in other words, in what sense it is applied on each scenario?

               In order to be able to answer what the nature of insanity is, we should take into consideration the labeling nature of this particular characterization and thus, identify  the qualities of the person who earns it in each case. So, what is the nature of the madman? There have been thousands of attempts to answer this question since madness was first conceived (and even more so when it started being used broadly) by every discipline that tries to understand human nature (such as psychology and medicine),more impersonal ones that try to analyze the nature of reason (like mathematics) or act as a medium of human expression (like art, which, ironically, often advocate more passionately for madness rather than reason, as will be later discussed) and they all try to provide a “model”. However, very few efforts successfully present a complete image of the qualities of the deemed as well as the complexity of those interconnections better than the movie “The Wall”, by Pink Floyd. And this is because of three reasons. First, unlike solemn theories which are precisely articulated, this is an artwork; which means that it conveys many explicit as well as implicit symbolisms that can be interpreted in a number of ways according to the viewer’s knowledge, attitudes, views and psychological condition. Second, this is not an ordinary movie with an ordinary plot or storyline; it is the visual accompaniment of the legendary album “The Wall”, so it works like an one-hour length music video; messages are being conveyed by the visual imagery, plot, lyrics and music. Finally, the mere creation of the particular album (and thus the movie) has to do with the band’s double experience with madness.

               The fact that Syd Barrett, the first frontman and composer of Pink Floyd quitted from the band because he developed schizophrenia is more or less known. And although the band’s exploration on madness had already begun with the release of the previous album “The Dark Side Of The Moon” (featuring songs like “Brain Damage”), “The wall” was the one haunted by Syd Barrett’s phantom, as it wasn’t concerned only with the direct consequences of insanity on the sufferer, but also with the social causes that lead to it, which, in Syd’s case, were sucess, publicity and pop culture’s conformity pressures and alienation that opposed artistic visualization and experimentation. As Roger Waters remembers in BBC’s docuentary series “7 Ages of Rock”, the idea of building a wall onstage was created by him “becoming increasingly upset at young people in the audience who would just scream for the show’s two hours, not listening to what we (the band) were doing”, as he noticed that spectacle was replacing intimacy. Consequently, the fear of mental disorders (as they had witnessed it on Syd) and the contempt of compromising and conforming to pop culture’s alienating standards that they felt lead to the creation of one of the most recognizable albums of all time. Alongside with a perfect portrayal of the Madman.

               Attempting to follow the floydian rationale, I begin the investigation with the first component of this portrayal, hence the view of the Madman as a mentally ill patient. In the movie there are many direct and indirect implications of the protagonist suffering from some kind of mental disorder (or a number of them at the same time). This polyphony, besides it reveals the merge of the different individual views and experiences of madness by Syd Barrett on the one hand and the rest of the band later on, can also be viewed as an attempt to fully explore this concept, thus, we can roughly separate the depictions of mental illness into two categories. On the one hand, we have the disorders ,which cannot be characterized as “madness” per se, as they do not fulfill the condition of a “break from reality”, even though the patient might be experiencing a lot of suffering. In the movie we have lots of portrayals of mood disorders, such as bipolar disorder, which was captured in the corresponding with the song “One of my turns” scene.  Hence, the viewer becomes a witness of the rapid mood changes between depression and irritability (or occasional paranoia ) that characterize bipolar disorder, when Pinkie (the protagonist) suddenly breaks from his previous apathetic state and starts trashing his hotel room in a fit of violence, completely dismantling whatever is in his reach and terrifying a groupie who he has brought with him; with most memorable image him throwing a TV screen out of a closed window, grabbing the broken glass, cutting his hand and his hysterical laughter, while the lyric “why are you running away?” echoes in the background. The follow-up scenes show a deeply depressed Pinky (“Goodbye cruel world”), who locks himself in the destroyed hotel room, cuts off the telephone lines and attempts suicide by a pill overdose (during the song “Comfortably Numb”). Apart from bipolar disorder and depression, there are some vague notions of post traumatic stress disorder near the beginning of the movie, in the “pool scene”(“vague”, because Pinky had never been to a war, however his father was killed in World War 2), where the memory of a bomb explosion inflict emotions that are experienced similarly to physical pain (excellently depicted as the clear pool waters turn into blood red). Overall, this sequence constitutes an illustration of the most common stereotype of the ravishing, uncontrollable, unpredictable, dangerous and at the same time completely hopeless and desperate madman.

               On the other hand, there are the depictions of disorders where a break from reality occurs. And this is where the Syd Barrett connotations become mostly apparent. Although the line that separates delusions of schizophrenia and those inflicted by drug abuse* is rather obscure, there is definitely an “out-of-the-world” aspct throughout the whole movie, partly because of imagery that relies on free associations (like the pool scene mentioned earlier, where there is a war-loss-pain of loss-memory of loss-memory of pain- physical pain of war association) or, more explicitely through Gerald Scarfe’s caricaturic animation. The vivid colours, surrealistic thematology and emotional intensity that characterizes them allows the viewer to have a taste of how psychosis is experienced. A characteristic example would be the visual accompaniment of the song “Don’t leave me now”, where the hallucination of Pink’s cheating wife haunts him in the form of a mantis-like caricature of female genitalia that are threatening to devour him. The emotional load of watching a terrifying Pinkie being chased by the painfully slow and confident figure, being cornered and clinging to himself in pure desperation is enough to make the viewer challenge the previous stereotype of the dangerous paranoid, by wondering who is  most threatened by schizophrenia, after all…  Thus, “madness” has the use of a mere descriptive term for mental disorder and its negative consequences. Right?

           Pink Floyd’s contemporaries thought otherwise. The arise of the anti-psychiatry movement in the late 60’s and early 70’s, as a compatible approach of the medical community to the Zeitgeist of the emergence of surrealism as well as a reaction to the publication of the Diagnostic and Statistical Manual of mental disorders  and thus the establishment of further categorizing and labelling mental patients challenged the view that schizophrenia is a mental illness with neurological-genetic backgrounds.  As Nikhil Swaminathan observed in her recent article in Scientific American, schizophernia constitutes a genetic paradox, as it reduces the reproductive effectiveness of the sufferers, so that it is less likely for the supposed “schizophrenic gene” to be passed down, in a virtual violation of Darwin’s theory of evolution. Were this  not enough, Catherine Nichols notices in her book “Personality, Psychopathology and Original Minds” that there were plenty of opportunities for the “schizophrenic gene” to be eliminated, and yet, it still exists. This means that are other factors that contribute to the emergence of schizophrenia, which are of social origin. Some anti-psychiatrists even rejected the conservative notion of the schizophrenia gene as a whole, claiming that the disorder falls on a genetic continuum in the sense that relatives show schizotupal traits and features even if they are not diagnosed as schizophrenic themselves. Offsprings then, learn the behavior from their parents and customize it in order to help them cope with the already altered reality of the family environment. Theodore Lidz separates the families that produce schizophrenic offsprings into two categories (skewed , when there are mainly emotional disturbances in the family and schismatic, when the one parent is dominant and the other is submissive). In both cases, parents delude themselves that the family environment is normally functioning (even though it is clearly not), leading the children to alter their own sense of reality in order to “fit in”. As Lidz puts it: “The brain permits thinking, but does not guarantee its rationality. Meanings alter in the service of emotional needs; and when a person’s acceptability to himself and others is threatened and no way out of an irreconcilable dilemma can be found, there is still the way of simply altering the meanings of events and abandoning logic, hence, one can become schizophrenic.”. Other advocates of antipsychiatry chose not to go that far and they casted an evolutionary view on the disorder, claiming that it is a bi-product of the development of language, creativity and expression. As Horribin’s theory suggests, schizophrenia is caused by “negative alterations in the neuronal membrane phospholipidic metabolism that lead to enhanced creativity”. Consequently then, mild cases of schizophrenia tend to exhibit increased divergent thinking than a normal person. So, the Madman transforms from a disfunctional poor creature into something entirely differrent.

               The Madman becomes an artist. Eccentric, erratic. Creative. This is the second component of the floydian portrayal of madness. The mentally disturbed individual, having resorted to building an alternative reality to host his dilemmas and altered perceptions is excluded from the “rational” world.  The best art draws the artist into its world, and, vice versa, the artist creates his own world through art. Being confined inside the reign of his wall, he tries to explore every inch of it, he experiments and puts his divergent thinking into exercise,  in order to gain better understanding of this new situation which he unconsciously built; according to Kavafy’s poem “Walls” rationale. Of course, the realization of the exclusion leads to the terror of abandonment and loneliness, so the artist is desperate to reach out and find someone willing to hear him, feel him and connect with him. The movie provides an accurate illustration of this despair and need for understanding and intimacy that gloom over the Wall, during the song “Is there anybody out there”.  Pink bangs the wall’s surface with his fists at every eerie repeat of the single line of the song “Is there anybody out there?”, after tentatively feeling its surface, attempting to understand what is going on, to fight the denial of his realization of his trap and seek a way out. The next thing we see is the same trashed hotel room, and Pinkie (whose mind has clearly wandered either under the influence of some psychoactive substance or paranoia) creating strange order from the chaos he had created, by arranging the destroyed objects into aesthetically sound entities. The imagery speaks louder than words and is a perfect illustration of how the isolated mad artist tries to put his fragmented self into order, all within his unique perception of reality by arranging his destroyed environment into schemes. Schemes, which may seem odd at first sight, but they hide a deeper meaning for the careful observer. For instance, it is of no chance that Pinkie places empty coca cola cans inside a broken TV screen. Besides symbolizing the survival of pop culture staples on their media promotion, It reveals the important social function of art: the artist acts both as a receiver and transmitter of feelings and ideas. With his high intuition, and sensitivity, he is able to listen to the era’s voice and feel its pulse before everybody else; then, he interprets the way he experienced them through his very own sense of reality and he conveys them aesthetically into artistic entities, either abstract or elaborate, but always compound in symbolisms for the world to see and experience through their own sense of reality and possibly give them new meanings, providing the artist with new spiritual stimulus. So, the process starts all over again, for ideas and interpretations always feed off each other, they evolve and regenerate. This is what upgrades art and madness to almost the status of a deity (as it senses the future before it becomes present) and gives  the artist the freedom to be beyond his time and above social rules. However, what are the costs of this freedom? This might ring a bell:

“ The prisoner who now stands before you
Was caught red-handed showing feelings
Showing feelings of an almost human nature; 
This will not do.”

 

               "This will not do.“ The immediate answer to the question posed, to be found in the cataclysmic epilogue of the movie and the album "The Trial”.  And it is exactly what the title suggests: an animated symbolic trial, where Pinky, the artist, in the form of an almost inanimate puppet goes under society’s trial in the Worm’s (social decay’s) court of law and has society’s most fundamental structures testify against him (his teacher-education, and his wife-family). Also, this is the first time in the movie that the term “crazy” is being explicitly used to address him as an additional charge, revealing that a senseless use of the word as a label serves social functions. So, here comes the question: Why “showing feelings” or what Pinkie  -the mad artist- did “will not do”?

               It is all because of another idea that dominates the movie and Pink Floyd’s concept: modern society’s pressure for conformity. It is also included in the most famous excerpt of the movie,  the music video of the song “Another Brick In The Wall”, where the educational system functions as a factory, producing uniform, deformed students, which have no judgement whatsoever and they depend on the teacher’s guidance, towards the meat grinder… Later on, the teacher’s role is being fulfilled by political leaders (in the same form of masked crowd cheering at the song “Run like hell”)but the essence is still the same. So, the madman violates this “principle of conformity” of modern society. And he does that by showing feelings in two ways. First of all, by living into his own eccentric sense of reality and thus denying the already set one (either because -as mentally ill- he’s unable to do otherwise or -as an artist- he consciously refuses to) and therefore he becomes unproductive. However, given that productivity is one of the primal functioning bases of modern societies, the existence of the madman poses a direct threat to the societal construct. And in order to avoid the negative consequences if the “madman’s ” lifestyle becomes a norm , society must make him a negative example, so every possible way to humiliate, label and expel him would be utilized. Because we shouldn’t forget the hidden charms of this kind of lifestyle and the freedom it implies. Someone who does not conform to societal rules and norms hasn’t internalized them, so for him, the social contract cannot be applied. And no matter how important the social contract is for co-existence, its concept unavoidably includes the abandonment of certain self-interests for mutual benefit. Then, would the need for rejecting whoever does not (or cannot) comply stem from envy of insanity’s privileges apart from a basic societal self-preservation? Probably.

               On the other hand, maybe the cause of the social criticism of the madman is even more deep and disturbing. Namely, there is a tendency to confuse “difference” in perspectives with “alteration of perspectives”. “Mad people are have wandering minds”, they say. Yes, but whose minds and from what starting point did they wander? The automatic answer would be: “the commonsense, of course.” Of course, indeed. It is always more convenient to ostracize something that is not obvious or one’s cup of tea as crossing reason’s limits rather than try to view and understand the different aspects of reason from which it was originated. And that is because there are cognitive foundations to this convenience in the form of the common biases of “familiarity heuristics” and “confirmation bias”, both discussed in Feldman’s book “Understanding psychology”. According to the book, “the familiarity heuristics is a bias in decision-making where a familiar item is seen as superior to an unfamiliar one”. This theory is ,however, not only restricted to common decision-making problems but it is also a way of thinking and problem solving that extends to social activities. Consequently, even when it comes to ideologies or even common views, people tend to remain stuck to the ones they have been used to believe, either because they willingly chose to get accustomed to or because they had been brainwashed into believing - (according to Pink Floyd’s views the second happens, however, this is not an issue to be discussed here). So they will naturally oppose to a challenge to these ideas, as reconsidering the solution of a problem that already appears solved “requires extra cognitive effort”, (this process is the “confirmation bias”). What’s more, when it comes to creative and abstract thinking, there is a psychological impediment which is called “mental set”, namely a tendency for old patterns of problem-solving to persist. This ,practically, indicates a form of restrictions in processing that involves alternative ways of thinking, that often finds place in art perception which reduces significantly the possible cognitive translations and makes perception harder for the individuals. So, again,in order to avoid spending more mental resources on the subject, it is more convenient to conform to a single answer given from an extrinsic source, which is deemed as “official” or even worse “common sense”. Thus, a sense of peril stemming from anticonformist worldviews, as they cast a shadow of doubt on already existing mental sets, threatening the established perceptions of the world. Which, in turn, means that fear of the insane is in essence fear of the different and concern about whether the definite truths on which someone builds his sense of self are standing on solid grounds or not. It is truly ironic then, that the need for conformity and the despise of the “wandering mind” is based on our inner uncertainty of sanity.

It is understandable not to be able or willing to understand different definitions of reason on trivial or deeper issues. However this is no excuse to label someone as mentally disfunctional or sufferer from a pathological ailment because of it and on this basis to disgard, or ,even worse, try to “help” or “correct” him. Or, better said, punish him. Because this is the Trial’s ending. The madman “deserves full penalty of law” and receives the punishment he feared most of all: He is “exposed before his peers” by the demolition of the safety harbor he constructed with society’s aid to avoid alienation and criticism and at the same time be able to seek out for opportunities of artistic experimentation and intimacy. When the Wall is torn down, he is once again unprotected against rejection and conformity pressures and consequently he will have no choice but be dowsed deeper into the pit of his destruction, like what happened to Syd Barrett.

              The circle is closed, then. Insanity and art. Art versus spectacle and expression versus alienation. Judgement and punishment. And even more madness. All of them, fluidly presented in one ENTITY of a being, the floydian Madman; nothing more fragmented and nothing more consistent. For this is the reason why this movie conveys this concept so successfully: it captures the different uses and definitions of insanity, while also reflecting the complecity of the interconnections between them, eventually doubting the mere use of this label. You can say that someone is eccentric. You can say that someone is psychotic, paranoid even. You can call yourselves conservative thinkers, if you like or care to admit. But him, mad? No. Don’t use the name of god in vain.

 

*There are lots of drug references in “The Wall” album -for example in the song “Nobody Home”- and even more depictions in the movie itself -with imagery of needles, and other drug paraphernalia -. Let’s not forget that we are in the 70’s at the height of the surrealist movement which went hand in hand with the increase in hallucinogen drug use. LSD was the main contributor of Syd’s undoing, as he resorted to ever higher doses to cope with success, but in turn, it made his mental condition even worse.

161016 Mokdong fansign ~Hoseok

Q1:Which one you like the best? (Mama or Intro)

HOSEOK:Both(he couldn’t pick)

Q2:Hardest choreography for ‘Boy Meets Evil’?

HOSEOK:The rainbow*

*Hoseok was referring to this move:

source rinakookie

4

[MONSTER] Mizugeiko.

Kana: ミズゲイ子
Romaji: Mizugeiko

Alignment/Organization: Dead Moon
Superior: Tiger’s Eye
Type: Lemures
Status: Defeated by Moon Gorgeous Meditation.
Voice Actor: Chiharu Kataishi
From: Bishoujo Senshi Sailor Moon SuperS - Episode 136

ABILITIES

  • Weaponry: Mizugeiko was armed with geisha-themed weapons, including a multipurpose parasol and hand fans that sprayed hot liquid. The umbrella could be ridden, granting its passenger the ability to fly at low levels. The parasol also generated a rainbow that unleashed ferocious teru teru bozu-like creatures.

TRIVIA

  • Her title was “The Water Trickster” (水芸; mizugei).
  • The “mizugei” (水芸) in her name means “water tricks.”
  • The word “geiko” (芸子) refers to a geisha from western Japan, including Kyoto.