will i get over this roundtable

I’ve been listening to the record all day and am only just now coming to terms with how much of an outlier “Sign of the Times” is. As a single, it suggested so much about the moody, apocalyptic potential of Harry’s first post-1D music, but in the context of these horny journal entries, it seems like such a strange song to peg the record to. It still feels just as volatile and tender as when I first heard it, but in between one song about hanging out in a hallway (of which there are two on Harry Styles) and the bluesy “Carolina,” it makes it seem like Harry is curiously experimenting more with genre than he’s done since the first couple of 1D records (neither of which he had much — if any — creative control over). I love that feeling of experimentation I get listening to this record — especially since I heard he cut, like, 50 tracks from the long list of potential inclusions.
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One more video from the roundtables. 

Do the wings change him (abilities/physically)? If he wanted to he could fly but if you get a present from someone you don’t like what do you do with it?

There is a purity about Ella that is alluring to Lucifer.

Linda might be time to open her self up to Lucifer this time around. 

Chloe is the closest Lucifer he had to a relationship (the *thing*) so with Marcus for the first time he will feel…. Well, Dan was never a real romantic interest for Chloe for Lucifer so now he has someone standing as tall as him (6′3″) and turns Chloe’s head. 

anonymous asked:

It's not over yet but I'm calling it: this has been the best SDCC to date. Not that that's a high bar or anything, lmao. But tons of cast cuteness and Candice and Grant actually acknowledging each other... more than once and Iris leading Team Flash? We've earned this.

It’s been great, I’m hopeful that we’ll get some good stuff in the roundtables, but I’m feeling like we may just get more stuff that we already know. Hopefully the panel will be posted soon. 

Challenge Me (Shadora)

Originally I was just going to draw something related to this AU but the temptation to write a fanfiction was too strong. :))

lame title is lame im sorry

-

Something about this knight fascinated her. Yes, he was attractive… Oh chaos, very attractive. However, it wasn’t his looks that caught her attention. She couldn’t place her finger on it. Aurora never got many chances to interact with the Knight, which frustrated her. The only occasion she got to see him face-to-face were during formal dinners that took place. What was he like? Other than the rumors she had heard from her parents and the girls that were “love-struck”. Clearly, he was strong and loyal; her father wouldn’t of selected him as head knight if he wasn’t. How about his personality, though? Surely there was more to him than just an attractive hedgehog, and strong fighter. An image of him being inconsiderate came to mind, if that was the case… he wasn’t worth her time. Aurora sighed heavily, and collapsed underneath a shade tree. She was exhausted from her studies, and the restless nights. Hoping a nap would clear her head, she watched the leaves swaying slowly; slowly luring her to sleep.

She was woken up by a butterfly tickling her nose, and the sound of a familiar deep voice. Standing to her feet to stretch out her stiff arms and legs, her ear swiveled in the direction of the source of that distinguish voice. She could vaguely see his silhouette from where she was standing. There were a few other figures standing nearby, but they were now leaving the training field and headed toward the palace. This was her chance. Sprinting toward the opened field where the knights of the roundtable came to train. Lancelot’s back was turned by the time she reached him. As Aurora approached him closer, she noticed he wasn’t wearing his helmet. The first time she would see him without it… interesting. She cleared her throat to get his attention. Immediately, Lancelot looked over his shoulder to see the princess. In panic, he quickly fell on one knee and hung his head. “M’lady, it’s a pleasure to-” Aurora scowled, like her father she wasn’t crazy about being talked to in this way.

“Yeah, yeah. Stand up will you? It’s just you and I. No need to be so formal.” She tapped her foot, impatiently waiting for him to stand again. When he did so, he cleared his throat awkwardly. Crimson eyes locked with her emerald gaze, sending a shiver down her spine. He was captivating, indeed. “So, I don’t think we’ve met properly yet?” She took a few steps closer, her hands folded behind her back. “Everyone says you’re great fighter…”

A sly grin graced his features, “what you say is true.” Ah, she was really stroking his ego now. It was time to change that.

“Show me what you got, then.” Aurora now stood inches from the knight, causing him to take a few steps back in surprise.

“Wha-”

“I challenge you to a fight. You aren’t afraid are you?”

“No, of course not! But I don’t think we should…fight.”

“You’re saying that because I’m a woman, aren’t you?” Aurora’s quills bristled in anger. Whether or not he meant to sound offensive, she was more than ready to prove him that she was more than capable. She took a sword from where it laid within it’s sheath. Drawing out her weapon, she pressed the blade against Lancelot’s chin. “I have you to know I know a thing or two about fighting with a sword.” From the corner of her eye, she noticed him reaching for his own weapon. Although Lancelot appeared to be hesitant, he wasn’t going to argue with the princess when there was no way he’d win. She was persistent, and he admired that.

-

“Y-you’re not bad, after all.” Both were breaking out in a pant from the intense feud. Quite frankly, Aurora never actually got to fight this hard with a sword of her own. It was nice. She wiped her brow, her bangs drenched with sweat. Crouching infront of her, Lancelot was still catching his breath. A devious gleam in her eye sparked, and she charged forward.

Lancelot was taken off guard, yet quick enough to react to his “opponent’s” attack. He evaded just in time before the blade made contact with his shoulder. Unfortunately for Aurora, once her attack was avoided she lost her footing. Before she hit the pavement, a firm grasp on her arm helped her upright and turned her around to face him, arms wrapping around her waist.Heat rushed to her face and ear tips. Up close, she felt his metallic armor that protected his chest, and stomach. She could also get a whiff of his scent, and to her surprise it was… pleasant despite being a little sweaty. “Uh… I guess you win this round, hm?”

“… If you like, we can call it a tie.” The corner of his mouth twitched into a grin. “You impressed me, I’ll admit.” Aurora’s eyebrow arched slightly when he said this. The compliment was nice, instead of the negative comments she’d received from her combat trainer. Even if Lancelot might’ve been nice simply because she was royalty, it meant a lot to her. 

“Oh yeah? Well-” The sound of footsteps and a cry of pain interrupted her from rambling on. Both her and Lancelot turned around to see her father there with a dagger piercing his left shoe. The dagger had slipped out of his grasp the second he saw how close his daughter and Lancelot standing so close.
Quickly, they distanced themselves, widening the gap that once was absent. “Dad… ?” She glanced down at his foot, and looked back at his face in concern. 

“I-I’m fine. I’m… f…ffine.” He pulled out the dagger, blood stains were on the blade.

“Sire, I think you should get that checked out.” Lancelot withdrew his weapon and took a step toward the king, willing to help back to the castle.

“NO! I said I was fine! What in the world were you doing with my daughter?!” He took a step toward them, and immediately regretted it as pain shot from his left foot throughout his whole body. Bless his soul for trying though. He limped closer to Lancelot, and aimed the bloody dagger at him. His hand shook as he held it close to the knight’s face. “I swear if you…try…anything-” From the blood lose, the pain, and the panic attack he experienced after he saw those two he totally lost consciousness and fell in Lancelot’s arms. Not a swell way to end his rant, at all.

-

I feel so bad for Sonic’s foot but at the same time I want to laugh. does that make me cruel?

I hoped you enjoyed this e-vay! I wasn’t planning on writing this week but I really wanted to write another Shadora story after that anon sent me that ask. XD

anonymous asked:

I'm just catching up on comic con and there's a lot of interviews to watch for the show, can you just give me a rundown of Candice said about Iris storyline in the new season, like past episode 1. Thanks

The roundtables aren’t out yet, but from the more general interviews that are out, it sounds like Iris is focusing on the team to kind of distract herself from Barry’s absence. 

It DID sound like from one of the interviews, tho, that she has a (potentially) major issue with Barry just running off into the Speedforce without talking it over with her and over her objections. I hope we get to see a little fall-out from that, like Barry goes ABOVE AND BEYOND (I mean even moreso than usual) to apologize for that shit. 

He does stuff like that more than he should, remember that time he was gonna sacrifice himself to aliens without talking to Iris about it first? I hope someone asked Candice if Iris ever found out about that. 

3

Helena Bonham Carter: Once you are over 40, there’s a certain perspective you get that I’m so grateful to have now. Because I think there’s a lot of baggage you carry around with you. I just have more confidence as an actor. I’m certainly not confident with my sexuality. It took me ages to get a handle on that. And it’s still kind of questionable. I just want to be comfy and be happy to be a woman. I’ve always been a late developer, so there were lots of parts that I just was not ready for because I was a slow starter.

Jazz Criticism and Race

Two of my favorite critics of the music known as jazz are Albert Murray and Amiri Baraka. Their voices are at opposite ends of the spectrum in terms of presentation, but are equally valid. They brought nuance to their criticism. That is something jazz critics, most of whom are white, do not bring to the table. Jazz critics skate around race issues, which is absurd given the history of this music. They also elevate some white musicians far higher than they should be. Look no further than Chet Baker and Gerry Mulligan. They are prime examples of a very long list.

What separates critics like Murray and Baraka from the pack is that their opinions were voices from the inside. The music they critiqued was part of their communities. Most jazz critics are outsiders looking in. A lot gets lost in translation when you’re critiquing something as an outsider looking in. You won’t understand simple things that will come naturally to someone who recognizes the musicians beyond their music. They understood because they shared the same plight as the musicians who birthed this music.

A white jazz critic can write a review of Art Blakey’s and The Jazz Messengers The Freedom Rider and go on and on about the technical merits and how well Blakey and the Jazz Messengers played, completely bypassing what the album was about, what they were trying to convey and what their message was. That record was about the Freedom Riders. The stunted narratives of what many of these records were about happens because white people are writing them. When it comes to race matters, one thing white people know how to do well is erase the black narrative. Hey, we’re “post-racial” ain’t we? They don’t see race, even when the art deals directly with race, they won’t see it. Just don’t make Annie a black girl. They will see race then.

For some time in the 60s, Jackie McLean released some fiery records tackling anti-black racism and standing in solidarity with the civil rights movement. His record titles reflected the urgency of black people fighting for their rights. I addressed that here in this post. Fast forward to now, when you read about Jackie McLean, and those records in particular, you will read superlatives about how funky it is, how great the playing is and all that. Everything but the meat of the matter, that musicians like McLean were making music to fight anti-black oppression and they were taking a stand against white supremacy. Jazz magazines remove this narrative without fail. One thing you’re not going to get from a jazz magazine is unfiltered race dialogue. Most of their readers are white, and white people don’t want to read about that, even though they are consuming black art (jazz). They want the art, but those pesky black people are in the way. 

The other aspect of mostly white men being involved in jazz criticism is that they get enamored with people who look like them that play this music, even when they are clearly inferior. It’s why Dave Brubeck can win awards and accolades, and be considered the best pianist in the land at a time when pianists like Thelonious Monk, Bud Powell, Duke Ellington, Jaki Byard, Wynton Kelly, Red Garland and Sonny Clark to name a few were alive and were doing things that Brubeck could only dream about. At least Brubeck admitted to being ashamed that he got a Time magazine cover before Duke Ellington. He admitted that it was racism. Most white men in his position would not have admitted that it was wrong to be on the cover before the distinguished and highly accomplished Ellington, who was playing this music while Brubeck was still in diapers.

That might have been over a half century ago, but nothing has changed. White men still make the rules, and they decide what gets coverage and what doesn’t. This is all the more reason why I laugh when I see article after article, or roundtable discussions about how to make jazz more inclusive and diverse like it’s rocket science. Jazz writers and critics love writing about the state of jazz, and how it’s dying, completely ignoring the fact that the music is the way it is because of people like them; old white men. When mainstream white America gets a hold of an artform that was created by people on the margins, it will die. The further away art drifts from the source, the weaker it becomes. Ask a layperson what jazz music is and they will tell you it’s Kenny G. A music that was birthed by young black people is now the domain of old white men. They have a knack for sidelining the creators and putting themselves at the helm. How can the art flourish under that circumstance?

All these jazz roundtable conversations always have a few things in common. The moderator will be an old white man. The people in attendance will be largely old white men. They will have their discussion somewhere in academia, in a town hall, in an auditorium or a venue that will be run and facilitated by old white men. Then they will ask themselves why mostly old white men show up. It’s fascinating to watch it unfold. I mean, they did their best to bypass black people, young people, and women, but they continue to ask why mostly old white men show up.

These old white men will not talk about the racism and sexism in the industry that is perpetrated by people like them, old white men. There is blatant ageism and racism that rejects hiphop influenced jazz, yet they want to ask why young people aren’t interested in anything they have to say. They continue to repeat silly platitudes amongst themselves, and continue to hold conferences amongst themselves for the purpose of inclusion. They don’t reach out to other people but themselves, yet they are asking about how to get more people interested. They can start by not having roundtable discussions moderated by old white men. That’s a start. They should take a back seat for once, but asking an old white man used to “delegating” to take a backseat is like telling a snake to ride a bicycle.

Of course I’m not holding my breath about old white men reaching out to others, and I don’t care. That’s neither here nor there. The damage has been done. If I asked jazz fans to name 2 female jazz writers without consulting google, could they do it?  I highly doubt it. That’s a problem. Why are voices like this marginalized? The industry caters to the sensibilities of old white men, that’s why. If middle-aged white men don’t dig it, it won’t survive because the gatekeepers are middle-aged white men. They don’t care about the perspectives of women, young people, black people or anyone not like them. Thus people who aren’t white men will be less inclined to join the fold. Why would they? Who wants to walk into open hostility? Yes, open hostility is apt here. Places that are white and male are not welcoming to people who aren’t white and male.

So when I read another article from a white man about the current state of jazz or declaring the death of jazz, I really couldn’t care less. Good. Let it die. They killed it. Why should I be concerned about something that seeks to keep voices like mine on the sidelines? Why would I want to be a part of that? Quite frankly, it can’t die quickly enough.

Q: Vince, you’re working on Better Call Saul, the spinoff to Breaking Bad. Spinoffs can be tricky, particularly with something so beloved and, in this case, so recent. What has that process been like so far?
A - Gilligan: "Scary. It opens you up to a lot of fears, like, “Is this going to be Frasier – or After MASH?” I don’t know yet. If it’s After MASH rather than Frasier, it won’t be for a lack of hard work. There are a lot of smart people doing their best, but you just don’t know until the world takes it. I figured the best thing to do is get back up on the horse, which is an odd thing to say after something good happened. I just came over here from the writers room, and we’re a week behind, and we’re probably going to be two weeks behind at the end of this week. It may turn out that this was a mistake, but there’s no time to worry about it.“
– from Inside THR’s Drama Showrunners Roundtable